The Search for Grain Continues – Kodak Tri-X. Lots of Shots and Some Photographic History.

Approaching a review of Kodak Tri-X provokes some nervousness. Tri-X has been around since 1954 (though reformulated many times since then) and was the black and white film which defined a photographic era for fashion and journalism in the 1970’s and 1980’s, creating a dark gritty look which is still used today. It’s still the best-selling mono film (according to Kodak).

Kodak Tri-X, 35mm, Olympus OM2N, D76

Salisbury Cathedral again on an overcast day. This needed some PP but the dark ‘look’ I remember is still there. Zuiko 28mm f2 though not as grainy as I’d remembered.

The great Don McCullin used Tri-X for his famous photographs of the Vietnam war. For David Bailey, Irving Penn, Alfred Eisenstaedt, and Cartier Bresson it was a mainstay too. In short it’s one of the few films which has legendary status so I’d best be thorough! For a fuller description see here for an excellent history of this film.

Kodak Tri-X, 35mm, Olympus OM2N, D76

Inside the cathedral and that tonality is lovely – enough to feel optimistic! Vivitar 17mm lens.

When a film has been going for 60 years it’s got to be good – but does the modern version capture that ‘look’ I loved thirty years ago? Best shoot a few rolls.

Kodak Tri-X, 35mm, Olympus OM2N, D76

A further interior – and good too. Vivitar 17mm lens. The textured stone of the interior masks the graininess as always.

All these shots rated at 400 ASA on a Olympus OM2N with a variety of Zuiko/Vivitar lenses and developed in D76 – D76 and Tri-X must be a classic combination. Scanned on the usual Plustek 7500 and subjected to some levels and contrast adjustment.

Kodak Tri-X, 35mm, Olympus OM2N, D76

The last from Salisbury and a bit of a gothic type shot – working as hoped. Vivitar 17mm lens.

The film feels like a quality product in a well made cassette with solid felt light baffles. It’s difficult to break into for loading on a film spiral – always a good sign. It loads easily onto the spiral too.

Kodak Tri-X, 35mm, Olympus OM2N, D76

Hard light suits this film. The humble Zuiko 50mm f1.8.

Drying it doesn’t attract much dust and is quite a ‘hard’ emulsion when dry. When you’ve had 60 years to perfect a film it should be one of the best I suppose!

Kodak Tri-X, 35mm, Olympus OM2N, D76

Zuiko 50mm f1.8.

One of the properties of Tri-X was to capture a subject’s essential details – complete with grain, dirt and darkness in the process. It was famous for it’s deep black tones and is often used to emphasise the grittier side of life – with a bit of PP in the contrast department it does it well.

Kodak Tri-X, 35mm, Olympus OM2N, D76

To portray dark grittyness this is excellent. Zuiko 28mm f2.

Exposure latitude is wide too allowing shooting in a wide variety of situations.

Kodak Tri-X, 35mm, Olympus OM2N, D76

Shooting into the light and a nice result – flare, grain and all.

However – is it grainy enough? That’s what this search is all about!

Kodak Tri-X, 35mm, Olympus OM2N, D76

The whole frame.

And a small enlargement :-

Kodak Tri-X, 35mm, Olympus OM2N, D76

This small section of the negative looks quite detailed with reasonable grain for 400 ASA.

Nope – I’m looking for more grain than this. Let’s try uprating it to 1600 ASA and push processing it for 12 minutes.

Kodak Tri-X, 35mm, Olympus OM2N, D76

This is a little more like it in low light. 50mm f1.8.

Outdoors in soft sunlight :-

Kodak Tri-X, 35mm, Olympus OM2N, D76

Time for a frame enlargement and here’s the full frame. Zuiko 135 f3.5 (a recent acquisition!)

 

Kodak Tri-X, 35mm, Olympus OM2N, D76

And here’s a small section enlarged. Slightly harder grain than a 100 ASA film but not that much.

Well it’s made things a little more grainy but not as much as I’d hoped. Tri-X is made to be pushed to higher speeds so it shouldn’t be too much of a surprise. These were developed in D76 but it’s (annoyingly!) done a good job on the grain structure that I’m thinking for the next roll it will have to be souped in Rodinal which should harden the grain up a bit. It’s amazing how good modern film is by comparison with 30 years ago. All of the high-speed films tested so far have proved highly resistant to heavy grain formation – so much so there’s not a huge difference between them and 100 ASA film. Even Ilford 3200 was tame at 1600 ASA.

Finally – for those who don’t like slopping chemicals around – can Tri-X be replicated digitally in DXO Filmpack? There’s a preset for it so let’s see.

Here’s a Tri-X ‘original’ :-

Kodak Tri-X, 35mm, Olympus OM2N, D76

And here’s a DXO converted shot from an EPL5 :-

Kodak Tri-X, 35mm, Olympus OM2N, DXO Filmpack

Close enough I’d say, though film development and PP variations (in both cases) mean that DXO can only really do an approximation of the final ‘look’. The stonework on the house is brighter in the later shot due these being taken many weeks apart – the DXO shot has the advantage of some sunlight on the wall face.

Well what to make of it? Tri-X is still an excellent film just past it’s 60th birthday and as good as it’s competitors if you prefer a darker look (think of it crudely as a fast Ilford PAN-F). As a photographer who still shoots lots of film as well as digital, it’s worth a thanks to Kodak for keeping this stuff in production. My recommendation is to give it a try – I’m about to order 10 rolls!

Thanks for looking – hope this is useful!

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

 

A Stormy Day and Some Long Exposures (and some myths debunked!)

We’re having some stormy days in Dorset lately which is a good excuse to get the tripod and neutral density filters out and do some long exposures on the coast. All shots on a Canon 60D using a Sigma 10-20mm f4-5.6 lens.

Canon 60D, Sigma 10-20mm f4-5.6

Kimmeridge Bay and Clavell’s Tower. 10mm focal length, 15 seconds at f16, heavily tweaked in DXO Filmpack using the Rollei Retro 80s film profile – then even more contrast was added! The composition was helped by the very strong wind blowing the clouds and waves straight at the camera.

There isn’t a great amount of light around, but if shutter speeds of up to thirty seconds at ISO 100 are to be used, a x8 (three stop) ND filter isn’t enough by a long way. There were all taken using a stacked pair of x8 and x64 (six stop) Hoya ND filters and even then f16, f22 and f32 were all used to get long enough shutter speeds. The first myth to be debunked here is that old rule ‘never go below f16 – resolution will suffer because of diffraction’ – here the advantage of a slow shutter speed easily outweighs any slight softness created by a small aperture so just use it anyway!

Surprisingly there was no vignetting from the stacked filters.

Canon 60D, Sigma 10-20mm f4-5.6

3.2 seconds @f25. This one at the same location was taken with a view to converting it to a ‘moonlit light’ type shot. The brightness is dropped and a blue tint added to give the illusion of a moonlit bay. I’ve just finished reading ‘Moonfleet’ so that’s probably what made the shot come to mind.

The second golden rule which didn’t seem to apply was that muck on a wide-angle lens at small apertures will spoil a shot as it will be visible. I’ve always meticulously cleaned the front filters of such lenses, but despite the front filter being caked in dried salt and sand by the end of this shoot nothing was visible on the shots – at 10mm focal length using f32 in some shots! Something else not to worry about!

Canon 60D, Sigma 10-20mm f4-5.6

A bit more abstract – f13 10 seconds. Post processing as per the first shot.

It’s best to take lots of shots at different apertures and shutter speeds as the variation between different wave timings and slow shutter effects is remarkable. I couldn’t predict how the waves were going to hit the beach so just took ten or so shots at each tripod location – even then some weren’t too good. This is pot luck in short!

A heavy tripod is recommended and even then don’t extend it but use it at it’s lowest setting with the centre column down. Strong winds were shaking the camera with the legs extended by even one section and if it blows over onto rocks in salt water it’s probably time to wave the camera and lens goodbye….

Canon 60D, Sigma 10-20mm f4-5.6

2 seconds f10 with the wind blowing from left to right. Post processing as he first shot.

I had more difficulty than ever keeping the horizons straight so several of these were straightened in pp. Composition in a gale is more difficult than it looks even using the flip out LCD and grid lines – the viewfinder is very dark due to the ND filters and close to the ground which means it isn’t very comfortable to use.

Canon 60D, Sigma 10-20mm f4-5.6

5 seconds @f5.6.

For these conditions shutter speeds of 2 seconds to 15 seconds produced the best results. At 30 seconds the sea became too ‘blurred’, below 2 seconds and not enough movement was captured.

A very different location – the sheltered marshes behind the dunes at Studland and the pool surface was just being ruffled by the wind.

Canon 60D, Sigma 10-20mm f4-5.6

5 seconds @f10. Generic Ektachrome film profile in DXO filmpack brought out the red hues which contrast with the blue sky reflection.

Next a similar shot at the same location.

Canon 60D, Sigma 10-20mm f4-5.6

5 seconds at f10 – a blue cast seemed to suit this one but it would work well in black and white.

Finally it’s worth mentioning that the most important kit when shooting stormy weather near the coast isn’t camera kit at all – good outdoor clothing is essential otherwise you’re likely to get freezing cold and wet – not good for concentrating on photography (sorry to nag).

DN0A0105

What not to do (as I did) – get caught by a large wave (it’s on it’s way out in this shot) which overtops not particularly waterproof boots, giving you freezing cold, wet feet for the rest of the day. Oh – and almost lose your camera at the same time! Thanks for the picture Jayne even if you were laughing when you took it. The first picture on this post was taken when this happened so it was worth it.

The best part of shooting in bad weather is that you feel that you’ve done something productive rather than sit around indoors and I really must do more of it. With better boots, a towel and a spare set of socks next time though.

Thanks for looking – hope you like them!

Still Quite Fast – Fuji Neopan Professional 400

As part of a series testing films which are faster than I’m used too (100 ASA essentially), the next one up is Fuji Neopan Professional 400. After testing the 100 ASA version of this film (here), the 400 ASA version should hopefully be as good.

Fuji Neopan Professional 400, Olympus OM2N, Vivitar 17mm f3.5

This was taken at a local Iron Age hillfort which floods between the ramparts after heavy rain. The landscape is quite surreal and a good location for some abstract landscapes. This is a very good start! Vivitar 17mm.

Physically the film exudes a high quality feel as the canister feels very robust – it’s quite difficult to prise it open when it comes to development. Efke films canisters used to just fall apart in the darkroom!

Fuji Neopan Professional 400, Olympus OM2N, Vivitar 17mm f3.5

Another abstract shot round the other side of the hillfort. Vivitar 17mm.

The film loads very easily on to a film spiral – always a good thing – and usually a sign that film is well made.

Fuji Neopan Professional 400, Olympus OM2N, Zuiko 50mm f1.4

This is something of a nice oddity from the start of the roll. There’s an area down the left extending over to the upper part of the shot which looks like a strange light leak into the canister. Not that I’m complaining – I like the effect. Zuiko 50mm f1.4 and soft (or mis-focussed!) wide open.

Exposed at its box speed these were taken on an Oly OM2N in aperture priority mode (I’m getting lazy!), adjusting exposure as necessary. Various lenses were used – if I can remember what they were I’ll put it in the caption!

Fuji Neopan Professional 400, Olympus OM2N, Zuiko 28mm f2

This one’s a bit of a test of DR (in digital speak). Shadow detail is lost to preserve most of the highlights with the sun behind the obelisk. The film has coped well here – again very good. Zuiko 28mm f2 closed down to f11 .

Developed in D76 stock for 7 minutes (these were taken in contrasty conditions so 30 seconds were taken off the recommendation) the results look pretty good.

Fuji Neopan Professional 400, Olympus OM2N, Zuiko 50mm f1.4

The Zuiko 50mm f1.4 at f11 – nice and sharp and a good range of tones.

An enlargement of the centre portion :-

Fuji Neopan Professional 400, Olympus OM2N, Zuiko 50mm f1.4

This grain for a 400 ASA film is excellent – if I didn’t know I’d guess this was a 100 ASA film.

There hasn’t been any dust spotting or ‘dust and scratches’ correction on these negatives so it looks like it’s resistant to gathering dust when drying. This makes it’s use worthwhile just on it’s own and is quite remarkable!

Fuji Neopan Professional 400, Olympus OM2N, Zuiko 50mm f1.4

Close up (well ‘ish’), 50mm f1.4 blurring the winter background away. The range of tones captured is excellent again.

Unfortunately if you like the look of this stuff and want to cheat with DXO Filmpack you can only approximate the look with something like Acros 100 as there is no profile for this film – on my installation anyway – so a direct comparison isn’t possible here.

Oddly enough the conclusion of this test isn’t what I was expecting to write at all. This is virtually indistinguishable from 100 ASA film which makes it a useful film for use in the winter when the light is low. Unfortunately I’m currently trying to get more grain in my shots so it didn’t quite do what I wanted! I’ll try pushing a roll a few stops and use Rodinal or Neofin Blue on the next roll to see if I can coax some grain from this excellent film.

So highly recommended – unless you’re after some grain! Thanks for looking – hope you find this useful!

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

Some More Ilford Delta 3200 (through a red R25A filter)

Being rather taken with this fast monochrome film (having used lower ISO rated films for years) here are a few more to whet the appetite.

i3259

Just about right – though I cheated a bit and added a vignette here for dramatic effect. 17mm.

All taken on a trip in winter round Poole Harbour (Dorset UK) on a drizzly, dull day using an OM2N, a Vivitar 17mm, a Zuiko 50mm f1.8 and R25A red filters to bring some drama to the patches of blue skies. Exposed at 1600 ASA the dev time was 9 1/2 minutes in D76 stock which does a good job with this film.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

That looks suspiciously like a fingerprint on the right. Hmm. I’ll pretend it’s a Photoshop layer. 17mm.

The viewfinder is darkened using the filter (and everything is red obviously) but using smaller apertures and the depth of field markings is sufficient. It’s best to use these on the 17mm lens anyway as the viewfinder focus aids aren’t that useful on such a wide-angle lens where most things are in focus.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

Hardly ‘gritty urban’ but it has something. The red filter has done a nice job on darkening the blue skies here. 17mm.

The ‘exposure factor’ for an R25A red filter is 3x so this is the equivalent of shooting at 200 ASA which is more than enough even on an overcast day using wide-angle lenses to use f11 or f16 and keep the shutter speed fast enough for hand holding.

Ilford Delta 3200, Olympus OM2N, Zuiko 50mm f1.8

The light was just right here for a few seconds as the sun came out from between heavy clouds brightening the wet pavement and putting some highlights in the river ripples. 50mm.

The low contrast conditions meant that the whole roll was fairly flat, so some levels adjustments plus the inevitable dust spotting were needed.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

Not that happy with the tone of the grass in this one. I suppose it’s the low diffuse light and the red filter. It’s OK though.

Though it’s difficult to be certain the red filter has brought out some nice detail in those clouds, improved (I think anyway) by the grain of the film.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

My favourite from the day with the sun getting quite low and the path and trees looking ominous. The 17mm lens goes a bit soft at wider apertures (below f8) and f3.5 was needed for this but the trees hide it luckily.

In case you’re wondering if you can achieve the ‘look’ of this film in software, the answer is that you can – almost! The following two images are firstly the last of a roll of Adox Silvermax and secondly the first off the roll of Ilford Delta 3200. I know it’s converting from one film to another but Silvermax is a fine-grained well-behaved film and the image characteristics are similar to a monochrome converted digital shot. OK – not 100% convincing, I know for a proper comparison I should use a digital shot but I didn’t have a digital camera on me at the time.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

‘Proper’ Ilford Delta 3200 image

The Ilford image is quite low in contrast, the grain is quite soft and in the clouds the transitions between light and dark are nice and gentle. The DXO version comes very close, but this is with the contrast turned right down to a minimum. There is more detail visible in the buildings and the grain is sharp. I don’t personally think the clouds look as good but that’s purely personal.

Ilford Delta 3200 simulation, DXO film pack, , Olympus OM2N, Vivitar 17mm f3.5

Simulated in DXO Film Pack from a Silvermax image (no filter present on the lens).

So it’s very close indeed and possibly good enough, but I still prefer the original. Whether the difference is worth messing around loading, processing and scanning proper film is up to you! It would be possible to process the Ilford image to look more like the DXO default output but the grain would still be too sharp on the DXO image and that process seems to be the wrong way round (Ilford isn’t simulating DXO!).

I’m so impressed by this film there’s a load on order and if you hadn’t already guessed it’s heartily recommended! Hope you find this useful, thanks for looking.

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

 

Speeding Things Up a Bit (with Ilford Delta 3200)

Time for playing with some faster film. For agency shots 100 ASA grain is about as extreme as I like to shoot as too much grain can be distracting. Recently I started wondering if it might be worth challenging that assumption and as a consequence there’s now a healthy stock of fast grainy goodness in the fridge waiting to be used.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

This looks like a brilliant start – though the grain is very well disguised by the textured nature of the subject. Don’t worry – there is some grain!

Starting with the fastest film in the tupperware box, Ilford’s Delta 3200, here are some of the results from the first roll, all shot in or around Salisbury Cathedral (Wiltshire UK) on an overcast winter’s day. A bit of research indicates that this film is best shot fresh and developed quickly after – something done here and I’ve no complaints.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

Smidge of camera shake here even at f3.5 – oops.

The first problem is that the OM2N used for this only runs up to 1600 ASA. However, when you look up dev times you realise it’s not that much of a problem as this film can be exposed at all sorts of high speeds with appropriate development.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

Can’t complain at this at all. The figure is Sir Richard Colt Hoare – a pioneer of archaeology and owner of Stourhead in Wiltshire in the 1700’s by the way.

All shots on the OM2N, a Vivitar 17mm f3.5 lens or a Zuiko 35-70 f.4, scanned on a Plustek 7500.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

With the contrast tweaked up this is starting to look nicely gritty.

Developed in stock D76 at 20 degrees centigrade for 9 1/2 minutes as recommended by the ever useful Massive Dev Chart. These were all then cropped and had dust and scratches removed in Photoshop – not that there were that many as  this film doesn’t seem to attract too much muck when drying.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

The central font – a 3 metre wide modern engineered masterpiece which is quite hypnotic.

Outdoors against clouds the grain shows up much more clearly. I like it but others may not. If you’re in the former camp it opens up some creative opportunities for some atmospheric shots.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

The spire from fields nearby. The height doesn’t really come across in a photograph – it’s huge!

In most cases the contrast needed a boost in Photoshop as expected – faster film is usually less contrasty than slower film. What did come as a pleasant surprise was the range of tones captured using just basic development. Depending on taste you can go for a darker look bringing out the grain or keep it subtle – though the grain is always going to be heavier than slower film.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

Crop from the centre and a look at that grain structure.

 

http://www.salisburycathedral.org.uk/visit-what-see/cathedral-font

The Cathedral towering over the houses of Salisbury. The grain here I think adds to the shot looking quite atmospheric.

All in all a bit of an eye-opener. The range of tones captured is very good, and for subjects with some texture the grain isn’t that much of a problem at all. Where the grain becomes more obvious – outdoors against a cloudy sky in these examples – it can be use to create either a soft romantic effect at low contrast or a gritty dark look with the contrast turned up. However, if you’re planning to make 20 inch prints it may be worth considering something slower!

Based on this I’ll try some winter landscapes for which it should be well suited.

Hope you find his useful – thanks for looking!

 

A Plastic Lensbaby Lens on a Canon 5D Mk2 using a ‘Clear’ Picture Style

The Plastic Lensbaby mounted in a Composer did well on a 60D, but as an 80mm equivalent lens it was restrictive for general purpose photography. On a ‘full frame’ 5D it should be a more useful 50mm lens (I really like 50mm lenses!) but a larger sensor should show more ‘Lensbaby softness’.

Canon 5d MK2, Lensbaby Plastic, clear picture style

‘Clear’ picture style, f5.6. There isn’t the soft misty look I’d expected which is odd, probably caused by the picture style which creates highly saturated and contrasty images.

A day’s experimentation is called for….All shot in RAW + JPG (the final picture style is ‘baked into’ the JPG but not the RAW – just in case).

If you’ve never seen or used a Lensbaby a brief explanation is called for. They’re manual focus lenses with a very basic construction, in several designs most with ‘Waterhouse’ removable aperture disks (see below). Their uncorrected optical flaws are there to be exploited and the main reason for using them. Fitting smaller apertures (they’re held in place by magnets) reduces the optical flaws, but even at f16 they’re still there!

The Plastic lens is a 50mm f2 with aperture disks running from f2.8 to f16 (you could make your own if you liked!). Note that the Sweet 35 lens has a conventional internal aperture so no need for the ‘box of apertures’.

Canon 5d MK2, Lensbaby Plastic, clear picture style

The blue ringed plastic lens (not ‘L’ series then!) with the aperture disks to the right (see f16 and f5.6?). The disk holder is on the right, the lid looks suspiciously like a 35mm canister lid, and the end of the ‘stick’ is a magnet to remove the disks from the lens. Simple but ingenious. It is a temptation just to leave one aperture disk in all day!

They’re very small and light, almost transforming the 5D into a lightweight camera (I’m used to the weight of 1 24-105mm lens). As you can see from the next shot, the lens can be pivoted around to move the central sharp part of the image around in the frame, though I must admit I hardly ever do this, preferring to keep the ‘sweet spot’ of sharpness in the middle.

Canon 5d MK2, Lensbaby Plastic, clear picture style

The ‘lens’ as seen here is really a secondary mount called a ‘Composer’ – there are several types. Different lenses (glass, plastic, pinhole etc) are then slotted into this to achieve different results.

To counter the inherent low contrast of these lenses you can either correct in post-processing, or cheat and use Canon’s ‘Clear’ picture style which pushes contrast and saturation to extremes. Installing extra colour profiles on your DSLR  is easy, some are already installed (‘Neutral’,’Standard’ etc) but there are three spare ‘slots’ for extra profiles – look here. Alternatively they can just be applied in Canon’s RAW DPP software – the result is the same but using software is a lot more fuss.

Focussing is best done on the LCD screen as these are low contrast and low sharpness lenses and the ‘Clear’ picture profile is simulated on the screen. It’s quite easy if you’re used to using MF lenses.

Canon 5d MK2, Lensbaby Plastic, clear picture style

The first image with no ‘Clear’ style applied, just an ‘auto levels’ – not quite so dramatic. Still no soft mistiness which was so prominent on the 60D – interesting!

Enough about what it is – how well does it do?

Canon 5d MK2, Lensbaby Plastic, clear picture style

Keep it simple and abstract!

Firstly, the softness at the edge of the frame is stronger on full frame than APS-C – as expected (I didn’t expect quite this much though) so smaller apertures will be required unless you really want to go wild. As on the 60D, simple, bold compositions work best allowing the blur at the edge of the frame to emphasise the main subject.

Canon 5d MK2, Lensbaby Plastic, clear picture style

At f8 – the centre is surprisingly sharp, the edges smearing into some nice blur.

To add to your creative ‘arsenal’ the lens will flare like crazy if sunlight shines over the front element :-

Canon 5d MK2, Lensbaby Plastic, clear picture style

Sun out of frame to the upper left.

This shot was taken moving the camera very slightly to the right. Note that spectacular chromatic aberration on the roof!

Canon 5d MK2, Lensbaby Plastic, clear picture style

Better!

Though oddly it’s not bad if you shoot straight into the sun!

Canon 5d MK2, Lensbaby Plastic, clear picture style

The proper 50mm focal length is much more useful for landscapes, though again, smaller apertures work best.

Canon 5d MK2, Lensbaby Plastic, clear picture style

f5.6 disk – a bit too much blur maybe.

The ‘Clear’picture style really drags some good colour out of a scene on a cold winter’s day – a bit of de-saturation in Photoshop would tone it down nicely though if that’s more your taste.

Canon 5d MK2, Lensbaby Plastic, clear picture style

At closer distances the blur looks more like that of a really fast lens – well, almost but not quite! The soft pastel colours in the stone and leaves look good here I think.

Canon 5d MK2, Lensbaby Plastic, clear picture style

What to make of all this?

On a full frame camera you’ll need to use smaller apertures than on a 60D to tame the Plastic Lensbaby’s extreme edges (assuming you want to of course). Smaller apertures unfortunately seem to remove the soft, dreamy look that the lens produces on APS-C – these look more like the results from the glass lenses. On the other hand a 50mm field of view is more useful for general photography. I’ll test the glass lenses next, but so far I’d say it’s better on a 60D.

Using the ‘Clear’ picture style certainly adds a bit of zip to these low contrast images – it’s invaluable to help focussing and visualising the image before it’s taken, and can be changed in DPP if you prefer a more subtle result.

Lensbabys are a bit pricey new, but have been around long enough to buy cheaply second-hand. Unless it’s been run over by a truck there’s virtually nothing that can go wrong with this kit (no IS, no AF and not very sharp to begin with!) so it’s a pretty safe thing to do.

Hope you find this useful – it quite surprised me – thanks for looking!

Does Film Not Work All of a Sudden?

Of course it does! These recent shots were taken on an OM2N with a Vivitar 17mm f3.5 or a humble 50mm f1.8 using Adox Silvermax. More importantly they were accepted by the agency for commercial use (hopefully book covers).

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

Developed in ID11 stock for 9 minutes at 20 degrees centigrade. Just shot at box speed of 100 ASA and with straightforward development – nothing fancy.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

Scanned on a Plustek 7500 then downsized to around 18 MP these were a rather nice set of negs.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

To add a bit of drama a light texture layer was added before the final save.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

The location was Poole in Dorset on a cool but bright autumn day, just enough cloud in the sky to add some interesting clouds.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

The shot above was also vignetted to give it a ‘closed in’ look.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

All of the above using the 17mm, the one below using the 50mm lens.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

All in all a productive hour or so with lightweight, minimal equipment (no zoom lenses) as is so often the case. I must do this more often, and would humbly suggest you should too!

Thanks for looking, hope you like them.

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.