April 24, 2010
Please, View it Large on Black. Mamiya C330, 80mm lens, f/22, 1/500, Kodak Tri-X 400, no light metering (guess work). Exposure number: 3. Changes to the original: none. I wanted an old-looking picture here that doesn’t look like it’s been taken in 2010. The Mini Cooper is an old model and in such an environment with old buildings I decided to give it a shot. Also, The café on the left is called “Le Progrès” which means “Progress” in French. If I had followed strictly speaking the Sunny f/16 (well “strictly” might not apply for such a rule), I would have exposed for the shades and select f/8 or f/11 instead of f/22 and I am happy with the results as the picture is underexposed the way I wanted it.

Please, View it Large on Black.

Mamiya C330, 80mm lens, f/22, 1/500, Kodak Tri-X 400, no light metering (guess work).

Exposure number: 3.

Changes to the original: none.

I wanted an old-looking picture here that doesn’t look like it’s been taken in 2010. The Mini Cooper is an old model and in such an environment with old buildings I decided to give it a shot. Also, The café on the left is called “Le Progrès” which means “Progress” in French.

If I had followed strictly speaking the Sunny f/16 (well “strictly” might not apply for such a rule), I would have exposed for the shades and select f/8 or f/11 instead of f/22 and I am happy with the results as the picture is underexposed the way I wanted it.

2:29pm  |   URL: http://blog.upbeat.fr/post/545414324/please-view-it-large-on-black-mamiya-c330
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FILED UNDER: photography mamiya c330 mamiya Black and White france Paris kodak Film Kodak Tri-X 400 
April 16, 2010
Most-Industrial Intruders In a Post-Industrial Scene Please, View it on black. Mamiya C330, 80mm lens, f/11, 1/125, Kodak Ektar 100, no light metering (Sunny f/16). Exposure number: 2. Changes to the original: B/W treatment, picture straightening. I fell in love with this old house at first sight but then my vision was disturbed by the shiny Porsche car and the Renault Scenic on the left. They just didn’t fit in the scene. I was about to push the shutter button when my eye caught sight of the bike coming from afar. Remember that the Mamiya’s viewfinder is horizontal and you look at it from above, without your eyes being “stuck” in it like in your typical SLR/DSLR that’s how I could see the bike coming. So I waited for it to be between the two cars and there you go! While the Kodak Ektar 100 is color neg and I liked the way this picture looked with colors on, I think that B/W is better for this kind of scene.

Most-Industrial Intruders In a Post-Industrial Scene

Please, View it on black. Mamiya C330, 80mm lens, f/11, 1/125, Kodak Ektar 100, no light metering (Sunny f/16).

Exposure number: 2.

Changes to the original: B/W treatment, picture straightening.

I fell in love with this old house at first sight but then my vision was disturbed by the shiny Porsche car and the Renault Scenic on the left. They just didn’t fit in the scene. I was about to push the shutter button when my eye caught sight of the bike coming from afar. Remember that the Mamiya’s viewfinder is horizontal and you look at it from above, without your eyes being “stuck” in it like in your typical SLR/DSLR that’s how I could see the bike coming. So I waited for it to be between the two cars and there you go!

While the Kodak Ektar 100 is color neg and I liked the way this picture looked with colors on, I think that B/W is better for this kind of scene.

2:40pm  |   URL: http://blog.upbeat.fr/post/525698938/most-industrial-intruders-in-a-post-industrial
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FILED UNDER: photography mamiya mamiya c330 film kodak EKTAR 100 Sables d'Olonne France 
April 14, 2010
Please, view it on black! The following picture was taken in Chateau d’Olonne, Vendée, France with a Panasonic Lumix DMC-LX3 compact camera. On the day it was taken, there was some pretty heavy wind and the ocean was agitated. This place is called Puits d’enfer (Hell Pit). It is pretty intriguing as the foam from the ocean’s water looks like milk.

Please, view it on black!

The following picture was taken in Chateau d’Olonne, Vendée, France with a Panasonic Lumix DMC-LX3 compact camera.

On the day it was taken, there was some pretty heavy wind and the ocean was agitated.

This place is called Puits d’enfer (Hell Pit). It is pretty intriguing as the foam from the ocean’s water looks like milk.

6:47pm  |   URL: http://blog.upbeat.fr/post/521141408/please-view-it-on-black-the-following-picture
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FILED UNDER: photography panasonic Lumix LX3 Black and White Digital Chateau d'Olonne France Vendée Puits d'enfer 
April 11, 2010
Mamiya C330, 80mm lens, f/4, 1/500, Ilford XP2 400, no light metering (Sunny f/16). Exposure number: 2. Changes to the original: none.

Mamiya C330, 80mm lens, f/4, 1/500, Ilford XP2 400, no light metering (Sunny f/16).

Exposure number: 2.

Changes to the original: none.

8:14am  |   URL: http://blog.upbeat.fr/post/512452470/mamiya-c330-80mm-lens-f-4-1-500-ilford
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(No. OF NOTES: 2)
  
FILED UNDER: rue taylor Paris France photography mamiya mamiya c330 film ilford xp2 
April 8, 2010
Villa du Lavoir. Mamiya C330, 80mm lens, f/2.8, 1/500, Ilford XP2 400, no light metering (guess work). Exposure number: 3. Changes to the original: exposure adjusted by -0.75 to show some details at the far end and the walls surrounding the woman.

Villa du Lavoir.

Mamiya C330, 80mm lens, f/2.8, 1/500, Ilford XP2 400, no light metering (guess work).

Exposure number: 3.

Changes to the original: exposure adjusted by -0.75 to show some details at the far end and the walls surrounding the woman.

3:18pm  |   URL: http://blog.upbeat.fr/post/505669961/villa-du-lavoir-mamiya-c330-80mm-lens-f-2-8
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(No. OF NOTES: 5)
  
FILED UNDER: Villa du Lavoir Paris France photography Film Mamiya Mamiya C330 Ilford XP2 
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