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Making movies

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Sunday was yesterday

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Ao vivo

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We Lie Down With The summer

01 - The Zombies, Brief Candles
02 - Love, Live and Let Live
03 - Fleetwood Mac, The Chain
04 - Ratatat, Tropicana
05 - Os Mutantes Bat Macumba
06 - Black Dice Endless Happiness
07 - Deerhunter Strange Lights
08 - Girls Hellhole Ratrace

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Here I am

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Itinéraires - Florence

"Too eager to remain entirely master of himself, too late to go straight to the point, the Italian never spoke as the French or the Greeks that language relentless defending the imagination beyond the limits of logical plans and defined volumes. "
Elie Faure, Art History - Renaissance Art

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Fuji Pro 400H (format 120)

far I was only black and white format 120 ( Ilford FP4 + + and HP5, Fuji Neopan 400). It must be said that the rollers 120 color are generally sold by five, which in case it does not work would be a bit annoying.

It must be said that the three devices that I have on hand in this format, both are frankly old (the Voigtlander and Semflex) I admit to not being very sure of the color of their optical behavior. Recall that, without appropriate surface treatment of the lenses, their properties are slightly different depending on the wavelength, which induces aberrations Chromatic not necessarily pleasing to the eye. The YashicaMat was one of three that worried me the least from this point of view, so it is with him that I did the test. And I'm pretty happy with the result.

• Type: color reversal film
• Manufacturer: Fujifilm
• Type: Pro 400H
• nominal Sensitivity: ISO 400/27 ° Format
• : roller 120 (also exists 135 format, etc.).

One advantage of this film is very tolerant of differences of exposure, which, when calculating its exposure with a cell hand-off age, is quite valuable. And then the colors are subtle as always with Pro400H: more dynamic we believe when the sun shines, light sweet weaker.

once I have purchased the prints from my first roll compulsive disorder. Per package of five.

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Flash Pentax AF330FTZ

A flash Pentax detonates a bit in my range (the T series models, such as flash AF200T which I had already spoken): Pentax AF330FTZ.

The nomenclature

the Pentax flash is actually quite explicit: the number gives the power (330 guide number means = 33m) and the letters that follow provide capacity. T means a flash that can adapt its power by the TTL (sensor internal to the device indicating the amount of light to be provided); F flashes reported adapting their power according to data from auto-focus, which implies a fourth point in the connector connecting the flash unit for digital data communication, Z, finally, indicates that the flash is capable of zooming to adapt its coverage to the distance where is the object photographed.

short: FTZ means a flash designed for the latest generation of film cameras, such as my Pentax MZ-10 (or the MZ-5n).

Flash AF330FTZ a housing mounted on Pentax MZ-5n.

(By the way: to get the photos larger, simply click on it, it's a link to the Picasa gallery dedicated to this blog.)

• Type: TTL flash electronic only head fixed and electronic zoom
• Manufacturer: Pentax
• Model: Pentax AF330FT3
• Guide Number: 33m at 100ISO
• Modes:
  • power: TTL, auto (two modes), manual MH (full power) or ML ( 1 / 16)
  • zoom: automatic or manual (28/35/50/70/85mm)
  • other: sync first / second curtain support for autofocus
• Purchase Date: December 2 2007 (France ebay).

So what about this flash?

First, we must know that all the advanced features (most attractive) only work with recent cases (type MZ something) - but not with digital SLRs, that are not TTL, but the P-TTL ( Pentax FGZ series, dear dear dear plus VAT). On the other, it has a fairly basic flash functionality, integrated cell-free (I am generally more confident in the cell at sensor TTL flash) and with a fixed head. Not very exciting.

Note also that the guide number shown (ie the maximum range for ISO 100 film with an f / 1) is valid for the maximum zoom, ie a focal length greater than or equal to 85mm. In 50mm, it has a guide number of 28, not exactly impressive. To translate it into French, it means that maximum zoom, ISO 400 with aperture at f / 4 it has a reach of 16m. Not bad, but not with how we will make nature documentaries.

short, on all Pentax lately, this is a very suitable alternative to flash. But do not ask him to play flash professionals.

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Flash Pentax AF200T

After some disappointing experiences with flashing Sunpak and Cobra I made a decision: for flash, as the objectives and enclosures remain faithful to the constructor. And therefore, the Pentax. I bought a fully automatic flash (AF330FTZ), but I wanted more control over what I did: T-Series was so perfect for me. So I bought it on ebay U.S., arrived a few days back home in time for Christmas ...

• type electronic flash to TTL or standalone, fixed head
• Manufacturer: Pentax
• Model: Pentax AF200T
• Guide Number: 20m at 100ISO
• Modes: TTL Auto (two modes), manual (full power 1 / 2, 1 / 4 or 1 / 8)
• Date Purchase: 21 December 2007.

This flash has several advantages and a disadvantage. Benefit # 1: it is tiny, fits easily into a tote picture even if you are not sure in need. Advantage No. 2: the wealth of manual mode, which allows fine control of power. The disadvantage: the fixed head, making it difficult to operate bounce flash - not in auto mode, anyway, since in this case means that the cell is correctly aligned with the target.

the sum of these benefits and this drawback: the flash is ideal if you want to use in filling. Remember what it is: we want to photograph a scene reasonably informed, but the preliminary plan may be somewhat offset by the lighting of the background. typiqeue case: the portrait outside when the subject does not face the light.

In this case, it sets the aperture and exposure time as if there had not flash (ensuring However, that speed is greater than or equal to the flash sync speed of the housing, a fast film may thus be a problem). And adjust the flash so that its flash is one-quarter to half the power it would if it were a pure flash picture. For that, using a flash cell, we can simply make him believe that the sensitivity of the film is two to four times higher than it actually is, otherwise he must juggle the openings and power setting.

In any case, it is a very convenient flash, well built, not Cell too greedy to boot.

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Film Ilford HP5+ (format 135)

I told you about this film for the 120 format and is also my favorite movie in black and white for fast 24 × 36.

• type film reversal panchromatic black and white
• Manufacturer: Harman Ilford
• Type: HP5 +
• nominal Sensitivity: ISO 400/27 °
• Format: 135 (24 × 36); also available in rolls and sheets 120 different formats
• Dates of production: since 1989 (replaces HP5, produced since 1976, and HP4, produced since 1965).

A subtle movie and great versatility at its nominal sensitivity, a little trickier for exposure when pushed (I have not tried to push him over 800, but we can push for an EV without additional problem, in principle).

short: for portraits in natural light, even indoors, which have tails; I also like the pictures of machines for example.

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Film Fuji Superia Reala 100

In contrast to the Pro800Z Scale sensitivities: Fuji Reala 100 - Fuji Superia Reala or: as for Acros 100 , nominally integrated into the range Neopan Fuji chose commercialize Reala 100 as part of the consumer line Superia. Who knows why.

• Type: color reversal film
• Manufacturer: Fujifilm
• Type: Superia Reala 100
• nominal Sensitivity: ISO 100/21 °
• Format: 135 (24 × 36)

In fact, if I know why: the film called "professionals" are actually films made for the portrait, the last stronghold of the negative film among professional photographers is the wedding photo. The Reala 100, with its very bright tones and colors rather hot, would easily pass the bride for more pintée it really is ...

Basically, this is a film designed for the landscape - specifically the niche of the Superia range. That said, I find this film much more interesting than Superia 200 and 400, presumably because its sensitivity allows the effects of depth of field talking. In any case, for me, the film was perfect.

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Fuji Pro 800Z

One type of film that I discovered last year and is not without interest: Pro800Z of Fuji. I had purchased on the occasion of the birth of my son, with whom I wanted, at least initially, avoid using the flash.

• Type: color reversal film
• Manufacturer: Fujifilm
• Type: Pro 800Z
• nominal Sensitivity: ISO 800/30 °
• Format: 135 (24 × 36)

is a film twice as fast as the Pro400H , as its name indicates, but it's also a film much more saturated colors. If this is not what we seek, is probably best to push the diaphragm Pro400H. I found that the usage: have not read the packaging carefully, I naively expected to find neighboring hues. That said, there is no saturation in the sometimes excessive Superia 200 ... A film very convenient to use in low light, when you do not wish to flash, but we want to keep the colors of life!

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Fuji Neopan 100 Acros

I mentioned films Ilford FP4 + , a film with subtle tones, but fairly low contrast, Fuji Acros 100 (100 or Neopan Acros) is almost the opposite of the spectrum: a film very dynamic, giving contrasting images, where the line tends to outweigh the volumes, but without losing the nuances of gray.

• Type: black and white film reversal panchromatic
• Manufacturer: Fujifilm
• Type: Neopan 100 Acros
• nominal Sensitivity: ISO 100/21 °
• Format: 135 (24 × 36)
• Dates of production: from 2001.

One thing is clear: the fine grain of this film is exceptional. Add that, looking through a magnifying glass or swell significantly, the grain does not feel "fat" a little unpleasant for some modern emulsions (type Kodak TMAX or Ilford Delta).

According to some forums, the next high-contrast film is due more to its own characteristics, a slight exaggeration of its nominal sensitivity, which would be more towards 64 than 100. But the search for the contrast is probably also present taste ...

Anyway, I made this film with photographs of not lacking in wealth hues: in Otherwise, it's probably the photographer more than the film it must acknowledge!

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Ilford FP4+ (format 120)

The Ilford range (or Ilford Harman, since the subsidiary producing films separated from the rest of Ilford in 2006 for failing to cease production of film, actually) of black and white movies splits, since 1935, in two &nbs; branches: FP (Fine Grain for panchromatic) and HP ( Hypersensitive panchromatic) - what should be added, more recently, the Delta range, using a somewhat different type of emulsion.

Each of these two lines had different generations, sensibilities increasing with the progress of chemistry. The HP, now represented by the HP5 +, As the name tends to indicate a greater sensitivity to the risk of having a larger grain, the FP range (and hence the FP4 +, its current incarnation) is contrary to the finest grain possible.

• type film reversal panchromatic black and white
• Manufacturer: Harman Ilford
• Type: FP4 +
• nominal Sensitivity: ISO 125/22 ° Format
• : Roller type 120 ( also available in 135 films and sheets of different formats)
• Dates of production: since 1990 (Replaces PF4, produced since 1968).

The classic film emulsion (cubic grains) Ilford share the wealth of gray scales and can possibly blame them for a lack of contrast: it is not the film for photo punch . I noted that at the time of my first roller PF4 in the 1980s, the transition to FP4 + is probably slightly corrected this.

added that the concept of contrast of a black and white film is something relative: for a given film can increase the contrast by pushing (ie in the sub-exhibitors and over-development) and reverse the decline in the holding . I would not be surprised that some unscrupulous labs dealing systematically FP4 + at 100ISO, ie by holding it slightly (it is equivalent to an under-exposure of 1 / 3 aperture).

Anyway: a film to recommend if you are looking for the subtle colors and rendering of volume rather than the power lines.

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SMC Pentax-M 50mm f:1.7

A nice side effect of the purchase of housing Pentax MX was sold with a 50mm lens (probably the one which was originally bought with the camera, there are about thirty years of it), I would probably never bought separately, which had been filled in this area: the SMC Pentax-M 50mm f: 1.7

• Type: Fixed focal lens manual
• Manufacturer: Pentax
• Model: SMC Pentax-M 50mm f: 1.7
• Purchase Date: November 28, 2007 (ebay UK)
• Filter Holder: 49mm
• Diaphragm: f/1.7 to 22, six blades
• Focus: 45cm to infinity

So obviously this is not the splendid SMC Pentax-M 50mm f: 1.4 , I bought A few weeks earlier: 1 / 2 diaphragm more, this is not huge in absolute terms, but there is still a difference in terms of image quality. Besides the eight diaphragm blades f: 1.4 produces blurred background much milder than the six blades of the f: 1.7.

For cons, the 50mm f: 1.7 has an advantage: it is much smaller and lighter. It fits well without concerns in cases faster, while the f: 1.4 is a bit limited, and besides, it is cheap enough in hand to be able to carry around in a bit harsh conditions without endangering their heritage ...

short: a good little soldier, always ready for action!

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Pentax MX

If I could only keep one of my boxes Pentax, this would be it: compact and lightweight, yet rugged, fully mechanical, but full of tips to simplify the life of the photographer. .. An excellent issue!

• Type: 35mm SLR
• Manufacturer: Pentax
• Model: MX
• Year of manufacture: 1976 to 1895
• Purchase Date: November 28, 2007
• Mount: bayonet Pentax K

From the outside, the MX looks like two drops of water to his successor, ME . The carcass is almost the same, the weight very close and the drive mechanism of the film is identical. But beyond that, the differences begin ...

The shutter, first. The ME, it is a metal blade shutter, moving from top to bottom, as on all subsequent devices, the MX still has the shutter curtain silk scroll horizontally, as on devices K series or Spotmatic. This is probably the only weak point of the MX in terms of aging: over time, dust can accumulate in the slides. The slide curtain becomes irregular, which results in vertical stripes lighter or darker in the pictures - a small revision, and there seems more. And the vertical shutter Super MOE tends him, to bind completely ...

Everything else goes on the side of reliability: unlike the ME, but as the K series cameras, the MX is entirely mechanical, the only response of the electronics is the existence of a photodetector to measure light. This means that the device draws very little battery, and can continue to work perfectly normally (the measurement) if it comes to faint.

Moreover, the X in the name of the device is for expert : like its big brother the KX, it offers a number of specific tricks to delight the professional or advanced amateur. The lever-timer, for example, front: it is similar to the ME Super, except that, operated in reverse, it allows control of depth of field, ie it the diaphragm disengages the lock in the open position to give him the opening for shooting. About

diaphragm also: there on the front of the glass prism a small hole just above the lens mount. This is actually a very clever optical device that can read through the viewfinder, the value of the diaphragm directly on the lens ring. As the speed is also displayed through a transparent disc secured to the wheel speeds, which also reads the verdict of the cell, all items are clearly displayed in the viewfinder, without need e for that.

Note also that the MX offers frosted sighting interchangeably, which is a vital utility in everyday life, but can be nice in some cases. A gadget

offered the KX and defaulted on the MX mirror lockup, which limits the ripple through the device when the shooting. We nevertheless managed to do the equivalent by a trick: a small flick the shutter button, which switches the mirror properly dosed without triggering the shutter ... Not necessarily intended for, but useful for photography on a tripod in low light.

short: I do not regret the 51 books that cost me the camera on ebay.co.uk, nor the cost of a complete overhaul (costing more than the camera of course). Although the Pentax LX, newer and more expensive on the market the opportunity, even better news, I recommend without reservation as soon as the MX compromise value for anyone who wants to get into the "all manual"

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SMC Pentax-M 35mm f:2.8

After testing my SMC Pentax-A 28mm f: 2.8 , I could see that if a focal widest allowed interesting effects, it also had a significantly deformed default vertical and horizontal, especially for photographs cons-diving. So I am finally digging up an interim target: 35mm.

• Type: manual lens focal length Fixed
• Manufacturer: Pentax
• Model: SMC Pentax-M 35mm f: 2.8
• Purchase Date: November 14, 2007 (ebay France)
• Filter Holder: 49mm
• Aperture: f / 2.8 to 22, five blades
• Focus: 30cm to infinity

I had some concerns at the handling of the goal: the return spring of the small bracket that holds the open aperture when the focus seemed a little soft. And indeed, during first pictures taken with it, I observed a slight shutter delay. However, no effect on image quality, as you can see by following the link.

Verdict: A nice little goal, rather bright, with a focus ideal for both open outlook for architectural shots. Useful to have on hand, consider using it more often!