Category Archives: My Inner Monet

Photos from the Kodak Art Deco Jiffy 127 Camera

Yesterday you were introduced to the Camera.  Today you meet the best 5-Frames from the very first roll of Reva 127 B&W film (ISO 100).  I was amazed at the results considering that I knew very little about the Camera, and this is my first roll.

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First a re-intro to the Camera above.  Details about the camera can be found on the Art Deco Camera Site.  Now let’s look at my camera test location: Lake Waneka.  We’ll start with a new view, looking west from the Boat House:

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Below, my usual view looking east towards the Boat House:

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Below, the beginnings of our COVID-19 Rock Monument.  There are more rocks now…….

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My Classic Boat Dock View.  Today featuring a fisherman……

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And my Classic Tree Reflection that you’ve seen in other Camera Tests:

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And certainly consistent with My Inner Monet Theme.

Fresh From the 1930’s: My Art Deco Camera

First the Grand Unboxing of my Kodak Jiffy 127 Art Deco Model, produced between  1935-1942.  I do not know the exact date of my Camera.  But let’s not waste time with that.

It came with the original Box.  Note the Eastman Kodak Camera Logo from the Art Deco Era:

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Made from Bakelite, the First Plastic, synthesized in 1907.

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And in A couple of days, the results from my first Roll using Reva ISO 100 B&W Film.

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Note that the Link at the top (and here) has a fairly comprehensive description of the camera. The condition of this camera suggests that it was a display model and never actually used.

Last Word from the Garden: Velvia 50 vs. E100

As we have seen, there’s not a great difference in the color rendition for the Flowers from my Garden. Here are the final flower examples from the last roll from my Garden.  I didn’t get to work much with the Poppies or Peonies because they were wiped out by a storm.

For all images the E100 is on the left and Velvia 50 is on the right.  In the case of the Peonies above, the E100 is actually more saturated.  And I believe that same could be said of the Iris below.  Go figure……

 

Again, no real difference in the Torch Lilies below (genus Kniphofia).

 

And for the Turkish Poppies…….one can say that the E100 has a richer color.

 

So my Garden didn’t really tell me anything.  I know from earlier Landscape work that the E100 seemed Cold. And Flowers from the Mayo Clinic Cactus Garden were off color also for E100. My last roll of film comparison will be landscapes from the Snowy Range of Wyoming.  I will be using a warming filter, so we’ll see what difference that makes.  And a surprising choice for my color film going forward……

 

 

My Lomo Purple Scanning Adventure

AGH, what a fiasco.  I had this interesting image and wanted to make a print to go over my fire place mantle:

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You’ve seen this one before.  But, over time with the proofs from the drum scan changed my tastes after they showed me a different option, and I wanted to move in a different direction:

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But the Print Specialist didn’t want to work on it anymore.  My husband suggested that my order wasn’t important enough (i.e. not enough income) to make it worth their while.  I worked on the Drum scan myself a bit, but wasn’t making easy progress:

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You can see I have quite a bit to do before it looks like the professionally done image. Then I read this Scanning Article on EMULSIVE and decided to do a little experiment of my own. I mostly learned that drum scanning a 35 mm negative is a waste of time…….So I tried a hi-resolution (6500 dpi) scan with my Epson Perfection V700.

And Mike’s Camera Store in Boulder, Colorado, was willing to work with me.  Then the lockdown happened and although my order had been placed, I had to await the re-opening to get it.  Now placed over my Mantle:

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And a smaller version in my Office, which I may end up giving away……..Both wall portraits were taken with my Mamiya-7 on a tripod using Portra 400 film.

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Mike’s now has me as a permanent customer for color printing……..

What the Irises Tell Us About Velvia 50 and E100 Films

The Irises display more of a difference, being both richer is color and truer to the colors I saw. You’ll have to trust me on that.  I had intended to make Portra 400 images for all the garden shots, but that camera malfunctioned.  However, I do have some Portra 400 35 mm images.  One posted ant the end for comparison.  As before, you’ll have to make your choice based on which color balance you prefer.

We will start with Yellow Irises, since we did see a difference in the Yellow Tulips:

 

As before, the E100 is on the left and the Velvia 50 is on the right.  You can see the richer saturation in the Velvia 50.  Something that we are expecting.

 

Varying the contrast and brightness had no affect on the absolute color, which is what we are interested in here.

Now we move on to Purple, which was a color that Velvia 50 favored in previous examples:

 

As before, E100 on the left and Velvia 50 on the right…….

 

For me, the Velvia yields a more attractive color and is closer to what I saw.  Now let me tell you a little secret.  Once in a Physics experiment in college, it showed that I tend to see a little bit into the UV spectrum.  That is probably why the richer purples appeal more to me.

However, if you want truer color I think we have to get out the Portra 400 (below).  Again, I think it is an aesthetic choice…….

 

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Inner Monet and the #CameraChallenge

I am a frequent participant in the #CameraChallenge.  The April offering included a motion challenge which fits My Inner Monet.  My strategy for ‘Motion’ was slow shutter speeds and simple motion.  I used the Diana F+ camera and Lomo 800 film, as I was photographing for the April Frugal Film Project.

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Above:  a walk in the wind, and Below: mountain drive by.

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Prelim Discussion of IR-Sensitive B&W Films Part II: Washi-Z ISO 400

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Washi-Z 400, above with a dark red filter.  I start with that statement because for some reason I didn’t shoot the first few images with dark red.  Instead I had used an orange filter for some reason:

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Washi-Films were never intended for use in still cameras.  They were specialty films and most were developed for recording some type of motion, including a sound version.But nowadays these specialty films are creeping into the revitalized 35 mm film market.

And finally, two images from the Tonto Natural Bridge in Arizona.  Representing some of the early orange filter exposures.

So now what?  I’ve ordered more Washi-Z 400, and because the IR effect did not seem that strong, even with the red filter.  I’m going to try it with the IR-695 filter.  Watch for new results coming soon……

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Retrospective: Mission Santa Ines

And of course a Door because it is Thursday……The side entry photographed better than the Main Entrance.  You may have noticed that this is Infrared.Mission_Side_Door1Mission_Side_Door2

Mission Santa Ines is located next to Solvang, California.  It was founded in 1804. I was visiting a friend in Santa Barbara back in 2017 when I made this visit.  I decided to use my Nikon-1, which was converted to full spectrum by KolariVision.  I then used an IR filter to limit the exposure to Infrared.

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Church was in session, so I wandered around outside and focussed my photography there.  Obviously a full house with people standing in the doorway.

Views around the Courtyard,  Above Left to Right: St Francis, Shrine to Santa Ines, Jesus.

Finally, below, the Cemetery:

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I had the Nikon-1 converted after much frustration with IR-films.  I do use IR-Sensitive Films and you’ll see some film tests coming soon.

Retrospectives are repostings of significant works from my old Photo Diary……….

And, some thought from yesterday’s Photo Diary on Windows and Walls……

Prelim Discussion of IR-Sensitive B&W Films Part I: SFX-200 and Retro 80S

I typically use Ilford SFX-200 as my IR-Sensitive film.  When I started, I used it with my darkest red filter:

But now I use my IR-695 filter:

 

Recently I’ve had two IR-sensitive film come my way: Rollei Retro 80S and Washi-Z.  Let’s start with the Rollei film. Because of my positive experience using the 695 filter, I tried this with the Retro 80S.  It resulted in interesting but very high contrast images:

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Compare this to T-MAX 400 with a Dark Red filter (sorry that’s the film I had in the other Mamiya-7 at the time):

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Here a direct comparison of the same scene, SFX-200 and Retro 80S, both with the IR-695 filter:

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Can you tell which is which? The Retro 80S is the upper image, the SFX-200 is the lower image.  The SFX image preserves the fine high altitude clouds better…..

I have recently read an article on the Retro 80S, where the author only used the dark red filter.    @EMULSIVEfilm also has another recent article comparing Retro 80S and Retro 400S, again both using the dark red filter.  So now I’m going to embark on a set of side by side Retro and SFX images making, using only the dark red filter.  Can’t wait to see what happens……

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Washi-Z discussion coming in Part II.

From My 100 Year Old Camera

I recently purchased a Kodak No. 1 Autographic Junior 13340 from Etsy (Patent dates 1910-1913). What could have gone wrong with that!  But low and behold , I am learning to make it work.  And Conveniently this is a version that can accommodate 120 film. I was inspired by old family cameras to buy this one, but that’s another story:

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And the Photos:

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Still learning to focus….but I’m getting there…….next photos should be better.

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And remember to check out the ‘Grand Unboxing‘.