Jump to content


  • Posts

  • Joined

  • Last visited

  • Days Won

  • Country


Alan7140 last won the day on 28 November

Alan7140 had the most liked content!


3,929 of my posts have been liked

About Alan7140

  • Birthday 07/01/1953

Profile Information

  • My Real Name
    Alan Lesheim
  • Gender
  • Photographic Interests
    Photography, Guitar
  • Edit my pics?
    Ask Me
  • My Favourite Camera
    Pentacon Six
  • My Favourite Lens
  • My Favourite Image Editor
    Rodinal, with some elbow grease ;)
  • My Location
    Tasmania, Australia
3,905 profile views
  1. I've a fair bit of work to do regarding setting up my copy rig for both film and paper negatives, but at the moment I'm a bit stymied as the new Fujinon 30/2.8 1:1 Macro I'd ordered is on back-order, something the dealer neglected to put in the ad but took my money anyway. When I get the lens I'll be able to set things up properly for that focal length, get everything square and in alignment and have something that can be swapped from film to paper in mere moments yet still keep everything true. The X-T5 will probably spend most of its time mounted on the copy stand as a result, but I an a bit tempted to use it for actually taking digital colour photographs as the few shots (not pixel-shifted)I've taken with it are astonishingly good, and a huge step up from the X-T2.
  2. No, it takes 20 frames which are combined in software during processing later. Pixel shift moves the sensor at half-pixel distances for each exposure, utilising the IBIS system to achieve this. So absolutely still subject and camera are essential. (I accidentally found out that a moving subject makes for an extremely rapid 20-shot burst when I forgot to turn Pixel-shift off. The files are initially saved as normally Fuji *.RAF files tagged & numbered in sequence that the desktop software combines later for pixel-shift, but can also be accessed individually as a normal raw file.)
  3. This is just the beginning of a journey, but here's a much reduced size comparison between photographing a 6x6 neg with a Sigma sd Quattro H camera and Sigma 70mm f/2.8 Macro lens using just the uppermost sensor layer (so approximately 26 megapixels and no interpolation, therefore a 26 true MP with no cropping), and a Fuji X-T5 with an adapted 1970's Minolta 100mm f/4 MD Rokkor lens (still waiting for the Fuji 30mm Macro to show up) using the pixel-shift mode (so 160 true MP with no cropping). Obviously with the squarish negative the end result was a lot less than this in both cases owing to cropping the best part of a third of the sensor, but the visual difference is certainly there even at these reduced-for-web example sizes. At first glance the more contrasty Sigma result is a bit more eye-catching, but the detail in both the highlights and shadows of the Fuji result perhaps indicates that going down this path to digitise my B&W negs (both film and paper) was perhaps not quite the folly I feared it might be. Of course as far as regular digital photography goes, the 40MP X-T5 completely swamps anything I've ever shot with before - the colours and acutance of the photos it produces are really stunning in comparison to what my X-T2 could deliver. So, first the Sigma "scan", then the X-T5 "scan":
  4. So I made a commitment to "adopt" an 8½-year-old German Shepherd from the Hobart Dogs Home for surrendered, abandoned or unwanted dogs. Aside from getting me out for a 5km walk every morning now, I also took him for a walk in a nearby rainforest reserve a couple of days ago, deciding to carry a Pentacon Six fitted with a Mir 3,5/45 lens loaded with T-Max 400 film rather than take anything even vaguely digital. Aside from this scenery being totally new experience for the dog (it soon became apparent that he obviously had never seen a river before, nor a forest pathway, nor even a footbridge, let alone a waterfall), I was reminded yet again how shooting film is, for me anyway, a wholly more involving and satisfying way to take photographs than with the digital cameras and phones that have now swamped the photography field. With only 12 frames for the whole walk at my disposal, thinking before pressing the shutter release became an active part of taking the photograph, rather than just clicking away and selecting the best later as we're so used to doing these days. There's also something about the visual quality of a true medium-format negative that sets it well and truly aside from the digital world's attempts at providing "equivalents" for cameras with postage stamp-sized and smaller imaging sensors, and that even processing the film afterwards is a whole lot more satisfying than staring at a monitor with glazed-over eyes. Unfortunately the waterfall at the end of this walk is at the end of a narrow and heavily vegetated, debris-strewn gully which limits possible viewpoints, plus the recent rains meant that it was literally thundering down, with clouds of spray all but obliterating the falls themselves, which, along with the fact that the sun is always behind this waterfall means that it backlights the spray, which makes things even worse for photography. Both the Pentacon Six and the Mir lens are of course not "weather resistant" either, but as neither shares so much as a battery, diode, wiring or anything electronic in their functioning parts, I thought maybe a shot for fun was in order, so we all got wet, the camera, lens, dog and myself, in order to get this almost indiscernible (but fun) photograph.
  5. I usually try (and fail miserably) to keep things reasonable. For instance I swore off any new digital gear in favour of returning to old cameras using film and paper for negatives. I'd been doing pretty well, my last digital purchase being a Sigma sd Quattro H in early 2017, and that in itself was because it's really the only camera, film or digital, which can produce proper infrared photographs with no structural modification (digital), or trying to find usually out-of-date IR film (film cameras) that can actually still return a result. Until an hour ago, that is, when I pulled the pin on a Fujifilm X-T5, which will be immediately followed by a 30/2.8 macro lens to join the camera, both of which will almost exclusively (and unusually) be used to give me pixel-shift-hi-res copies of my large format paper and film negatives without having to stitch segments of individually copied portions for stitching to get the same resolution that I have to do now with either my X-T2 or the Sigma sd Quattro H. At least that's the intention, we'll see how that works out as soon as the items become available and are delivered.
  6. Having just read through the specs of the new Fujifilm X-T5, it appears that Fuji have hit the nail squarely on the head with this one for me, reduced in size compared to the X-T4, re-oriented to stills photography instead of the video bias that its other recent cameras have been focused on, and a 40MP sensor with pixel-shift enabling 160MP hi-res mode, all at a release price that seems eminently reasonable. Along with a long-waited for 30mm f/2.8 1:1 macro lens to finally(!) give me a macro lens that equals the angle of view and nearer lens-to-subject distance that the 50mm macros of the 35mm film era cameras were pretty much standardised on. For my principal use on a copy stand this outfit will be unsurpassed and will finally enable me to produce high quality files from the large format B&W paper and film negs that I'm currently concentrating on without having to copy and stitch sections in order to produce a resolution that properly compliment these ultra-fine grain original negs. 160MP is as much as I'll ever need, I reckon. Granted this is a truly left-field and unusual requirement, but this camera will deliver in spades for me, bolstered by the fact that I already have a bag full of XF lenses and accessories - seems I chose wisely when I switched to the Fuji-X system way back in 2012 (X-Pro1, followed by X-T1 & X-T2). The X-T5 is the one I've always hankered after, though, and I sat out the X-T3 & X-T4, and Fuji have finally got there for me. 😃
  7. This is the sort of thing that attracted me to photography in the first place, and probably why Cartier-Bresson was my earliest and still most important influence on me, and also why I like the discipline involved in film photography which forces the calculated release of the shutter at a certain moment, rather than the current "spray and pray" CH setting that the sound track to any video of a press conference or similar proves through the continuous shutter chatter that so many digital photographers use these days. I'll offer this, just an ordinary, generic scene, using a Pentacon Six camera, just a single frame taken, composed, paused and shutter released at precisely the right moment:
  8. Thanks, Chris. Similar angle, but a lot closer to the flowers to render them roughly to scale - I don't know what the actual focal length of the phone camera lens is (as opposed to the "equivalent" nonsense), but the lens is only a couple of mm away from where I presume the sensor is; the 360mm camera lens was 560mm away from the film plane, however.
  9. Thanks, Dallas. Light from one North-facing window with diffuse glass, seedling laid on a raised piece of clear glass with a piece of plywood below to give some very slight, very out-of-focus modulation to the anticipated very light grey background.
  10. Pulling weeds from under my 142 year-old oak tree the other day, one turned out to be an offspring of the oak, which in turn gave me a visual on exactly how an acorn lying prone on the ground eventually becomes a tree. Photographed with one of my Thornton Pickard 1910s ½ plate camera, 1930s 4,5/210mm Carl Zeiss Jena lens, exposure 3 minutes @ f/16 using Ilford Multigrade paper for the negative.
  11. People will hate this, because.... well, no colour, for one thing, it's not digital, and it's got very few sharp bits. That said, I was trying out my Thornton Pickard ½ plate camera (c.1910) with an early 1960's 360mm f9 Rodenstock Apo-Ronar lens a couple of days ago, using a small stand of feral Blue Plum Hyacinth flowers as a macro-sized target, at near full triple extension on the camera giving something in the order of 1:2 Magnification. Busy bees knocked a couple of the flower heads around during the 4 second exposure to boot. Shot using Ilford multigrade B&W photographic printing paper for the negative, I still liked the result for its zero grain and lovely smooth B&W tonal rendition. The setup involved rolling around on the ground a bit, the lens, and as well the flowers as seen by a phone camera 😊:
  12. Thanks Chris. Only one of nine batteries in the bag had enough juice to get the camera working, so these shots nearly didn't happen!
  13. No batteries, no memory cards, no circuitry, no auto anything, impressive presence, always draws comments and conversation when out in public, and it cost practically nothing. And it's BIG! In fact it makes a "Pro" DSLR look like a pipsqueak. 😁😁😁 Plus it makes photography both fun and challenging again, and it actually forces the user to make use of that grey matter between their ears.
  14. From my back porch I spotted some movement in the still waters of the farm dam in the next paddock. Chipping the rust and dust off my Fuji X-T2 after months of it lying idle owing to my return to traditional B&W film photography, I walked over to the dam and managed to grab a shot of an extremely busy little platypus (Ornithorhynchus anatinus) as it surfaced briefly for some air before diving again to forage. Meanwhile a local black swan (Cygnus atratus) paddled over and posed briefly for its own portrait (all this barely 50 metres from my back door).
  15. Living inland on this island of Tasmania limits my opportunity to visit coastal locations with any frequency, but this is the dawn view one gets of the North West coast of Tasmania as the overnight Spirit of Tasmania vehicular ferry from Melbourne arrives in Devonport after crossing Bass Strait, taken at around 5:30 a.m. in November 2011 (two images stitched, taken with my then brand new Fuji X100).
  • Create New...

Important Information

By visiting this website you are agreeing to our Terms of Use, Privacy Policy & Guidelines.