Monday, December 31, 2012

Scanning scanning

North side waves, Sisters Rocks, Andrew D. Barron©12/24/11 [Hasselblad 500c/m, 80mm ƒ2.8, Ektar 100]
I'm plugging away at sorting out my old negatives and how to scan them. Here are some from a roll of Portra 400 and Ektar 100 from late December 2011. I am getting better results from using ColorPerfect, but there is still room for improvement. I have been leaving on the entire frame boundary. I have accepted the impermanence of all of this. The negatives will last for a hundred years or more, who knows what technology may emerge in the future. The sideways “V V” on the far left side lets the photogeeks know that it is a Hasselblad. Some photographers prefer to show their edges, and I guess I am one of them; I can’t remember the last time I cropped on image on this blog different than how I shot it.

My last photograph in Vancouver:
Leaving Vancouver, Andrew D. Barron©12/22/11 [Hasselblad 500c/m, 80mm ƒ2.8, Portra 400]
After the day photographing waves crash at Sisters Rocks (several of those have appeared already), I was eager to try a trail south of Gold Beach across from 80 Acres Road. That day was really good for photography. I am always excited to go shoot when I get to Gold Beach. Refer to last year’s digital infrared and other digital shots in this entry.
Forest on the 333 trail, Andrew D. Barron©12/26/11 [Hasselblad 500c/m, 80mm ƒ2.8, Portra 400]
Once down on the beach, I remember having this idea that Portra might pull out some subtleties of the rocks.
The beach at the end of the 333 trail, Andrew D. Barron©12/26/11 [Hasselblad 500c/m, 80mm ƒ2.8, Portra 400]
Here is the same shot with an iphone 3G:
Unnamed creek at Section 24 beach, Andrew D. Barron©12/26/11
This beach is definitely a hidden gem. I recall my excitement for both the locale and the Hasselblad, and as such, these next two frames look like a comparison of the 50mm ƒ4 distagon and the 150mm ƒ4 (seen here). So the 50mm:
The beach at the end of the 333 trail, Andrew D. Barron©12/26/11 [Hasselblad 500c/m, 80mm ƒ2.8, Portra 400]
And the 150mm: (maybe)
The beach at the end of the 333 trail, Andrew D. Barron©12/26/11 [Hasselblad 500c/m, 80mm ƒ2.8, Portra 400]
Here are a few Ektar frames:
Beach driftwood, end of the 333 trail, Andrew D. Barron©12/26/11 [Hasselblad 500c/m, 80mm ƒ2.8, Ektar 100]
Beach driftwood, end of the 333 trail, Andrew D. Barron©12/26/11 [Hasselblad 500c/m, 80mm ƒ2.8, Ektar 100]
Back up the trail. I had higher hopes for this image, but there is a lot of fine detail in the negative, but was underexposed, making it grainy, and overall, just pretty average:
Back up the 333 trail, Andrew D. Barron©12/26/11 [Hasselblad 500c/m, 80mm ƒ2.8, Ektar 100]

This roll kept going as I traveled around to places I had shot a lot in Curry county. This last frame look up a flooded Lobster Creek near the bridge up the Rogue. One thing I learn lately is that I let the newness of shooting film get in the way of shooting beautiful scenes. Often I see an accuracy in the film photographs, but not dramatically more. I still carry a bias that has not proven consistent: just because it is on film won’t make it an extraordinary photograph.
Lobster Creek,from North Bank road, Andrew D. Barron©12/30/11 [Hasselblad 500c/m, 80mm ƒ2.8, Portra 400]
This is one of my favorite places: the edge at Otter Point. 50mm distagon ƒ4:
South: the edge at Otter Point, Andrew D. Barron©12/31/11 [Hasselblad 500c/m, 80mm ƒ2.8, Ektar 100]
Happy new year!

Saturday, December 29, 2012

Finding Filters

Hasselblad 500c/m kit, Andrew D. Barron©12/29/12 [645 PRO for 4S]Aftermarket metal lens hood: fits!, Andrew D. Barron©12/29/12 [645 PRO for 4S] I have yet to say clearly that all of this trouble is worth it for me to make the best possible photographs I can. Digital photography has helped me learn what I am after and how to do it. The antiquated techniques and equipment that have made their way to me are part of an older tradition that I choose to learn out of deep respect for the past. In these last two years of film photography, the cost of all of this fun has been a fraction of what a new, but soon to be obsolete camera costs: a decent full frame dSLR or high end dSLR hit $3,000 and $6,000 respectively, without lenses! That being said, I have spent a lot on film, especially instant film since I started with the Instax 210 in January 2011 (blog entry). It appears the Instax 210 was on a lot of Christmas lists because of the spike in Instax-related search traffic here. Right on!

I’ll be collecting my thoughts and research into using filters on the Hassy. Most of what follows is preparatory for a renewed black and white effort.

Hasselbad accessories
I picked up a number of small accessories for my Hasselblad 500c/m kit. I am amazed at the wide availabilty of parts. Most of which seem to come from Chinese manufacturer Fotodiox, but available at significant discount from Amazon, especially with Prime. As much as I wanted this strap, it is no longer available. A good thing really, since it is nearly five times the price as this one. It clipped right on and is surprisingly soft.

So here she is! ->

I will soon be shooting some Fuji Reala, an asa100 c-41 film. This film is apparently discontinued, so I hope I don’t like it too much. Expires 12/2014, so it seems like there will be Reala available for a while. (An aside: I first saw the film at B&H, but my router got a weird bug and would not allow further searches at that site. The dlinksearch browser hijack is discussed here, but explained well at the bottom of this page. Turns out that the dlink DNS lookup wasn’t working at that moment, giving the impression of a hijack. Life can sure be complicated.)

Filter attachments for obsolete systems
I consider filters essential to black and white photography. As much as I love my Leica IIIf, I am challenged by the small negative size and lack of metering. The 1951 Leica takes an unusual filter type which press on. Besides original Wratten filters, the only option is a SummitarSNHOO-to-E39 adapter, which can be further stepped up to accept 52mm filters with this ring. I may jump to 58mm with this adapter. Filters for the Hasslelbad are rare and often pricey. I have practically given up putting filters on the chrome Distagon 50mm, although I did manage to get a lens hood to thread into it. It took some work to get it to go and went only after I ran pencil lead deeply into the thread grooves.

At right, the lens hood on the Distagon 50mm.

The lens hood is important because the lens is wide-angle and uncoated, thus prone to flare. As below:
Woodroof Creek meets the sea, Andrew D. Barron©4/26/12
The above scan was from the lab I sent the film to for processing. Tonight I scanned the negative again and used ColorPerfect to invert and adjust. What do you think?
Woodroof Creek meets the sea, Andrew D. Barron©4/26/12 [Hasselblad 500c/m, 50mm ƒ4, Ektar 100]
The next frame shows more flare of the Distagon 50 ƒ4. I apparently opened up the lens and reduced the exposure time. Splendid!
Woodroof Creek meets the sea, Andrew D. Barron©4/26/12 [Hasselblad 500c/m, 50mm ƒ4, Ektar 100]

The Zeiss Planar 80mm has a Bayonet 50 in the front; newer 80mm lenses have a Bayonet 60. In searching, a Bayonet 50-to-threaded adapter is an economical route for filter attachments on the main lens of the Hassy. I went with a 58mm adapter to steer clear of any possible vignetting, though the 52mm adapter would likely work. Now that a standard filter size is on the front, I can try some filters: red, yellow, ND, graduated ND, circular polarizer, or even some close up filters. That means that I am finally ready to get going with my own black and white film processing.

Here is a Leica lens with a press on adapter for 42mm Kodak series VI slip in filters, and the Zeiss Planar 80mm fitted with a 58mm polarizer and UV filter I got at Walmart last year.
Obsolete filter attachments, Andrew D. Barron©12/29/12 [645 PRO for 4S]

Home Developing
Home developing kit, Andrew D. Barron©12/29/12 [645 PRO for 4S]
Fuji Reala into A12 back, Andrew D. Barron©12/28/12 [645 PRO for 4S]
There are only a handful of labs that do b+w processing and they are out-lab services in the $10/roll range. Ouch! In order to shoot black and white economically, one has to process their own film. My tanks and powdered chemicals are sitting here all together for the first time. I dug back into Ansel Adams: The Negative. I am immediately overwhelmed by the life-long experience packed into those books. He carried with him intimate knowledge of the entire photographic process, from visualization, to camera, to film, to exposure, to film processing, to which kind of paper to print it on. It is truly humbling. Right now, I have only one type of developer, D76 (@ Freestyle). I have heard good things about HC110 and Rodinal-equivalent as well. I must remind myself here that this pursuit takes a good deal more time than grabbing up the latest DSLR and running around.

Loading the A12 Back
I learned that I didn’t know how to load the A12 back properly. This video straightened me out as well as explain my many 10.5 frame rolls. There is a mark on the film that shows you where to go. Unfortunately, as I went to load the Reala tonight (Friday), I noticed the seals were wacky on the top part of the dark slide insert. So, I added a seal kit to my list of things for this set up. At $13.50 shipped from California, it was a no-brainer. This ebay seller appears to specialize in these kits. Amazingly, it may arrive on Monday. Here are the instructions I will review when the seals arrive.

Macro Work

I am interested in extension tubes for the Hassy, a good way to go for macro work with the Zeiss lenses. They range from 16 to 55mm and are more than $50 each. ebay contents. This flickr image shows an 32mm extension tube in use. Here is his set using them. You can read in the manual for the Hasselblad extention tubes in this scan (pdf).


Some love for the Fuji Instax 210
With the short days, some change in my pocket, and very little time spent out playing music, my core interests have returned to photography. To wit, I am totally lusting over this silver Fuji Instax 210 Wedding edition, at right.

I may just risk it and order one from Holgadget and tell you all how it went. There are also a few bordered Instax Wide film available overseas. Hello Kitty, wedding, and some other cartoon ones. The border does little for me. I would really like some solid colored ones, akin to the the Impossible NIGO varieties. But what everyone needs for their Instax 210 is the clear case. How do you get one in the US?

Darkroom printing/other thoughts
One far off goal is to make black and white 8x10 and larger prints from 120 roll film negatives. Perhaps a large format camera will find it’s way to me, but there is no way I can do that until I figure out all of the processing and scanning aspects. One thing is clear: it is unlikely I will make color enlargements. The learning curve is steep, the knowledge base rare, and the materials rising in price. I will still shoot color film and look for satisfactory printing from scans of them. Just as soon as I figure out how to shoot, process, and scan them :)

This shot was so badly messed up on the negative I could not figure it out. This is a first cut at saving it. Some of the problems with this roll were due to the light leaks in the A12 back that I just now figured out.
Agness poppies, Andrew D. Barron©5/25/12 [Hasselblad 500c/m, 80mm ƒ2.8, Portra 400]
This is another “light leak a-coming” shot from last weekend.
Bikes in the snow, Andrew D. Barron©12/22/12 [Hasselblad 500c/m, 50mm ƒ4, Portra 400]
This is a shot from the mine tour. The hardest part, over and over with these negatives is making the sky look natural.
Miner’s Quarters, Pershing county, Andrew D. Barron©12/21/12 [Hasselblad 500c/m, 50mm ƒ4, Portra 400]

I’m only halfway home, I’ve gotta journey on
To where I’ll find, I’ll find the things I have lost.
I’ve come a long, long road, but still I’ve got some miles to go.
I’ve got a wide, a wide river to cross.


Buddy Miller
Wide River To Cross

Friday, December 28, 2012

ColorPerfect trial

Today I got around to trying a software called ColorPerfect. The trial version produces the embedded grid of noise in the images. I like the idea of what this software does though the program author goes into a lot academic-ease to say simply, “there is something wrong with the way color is dealt with in the computer, and I think I figured it out.”

The first step in using ColorPerfect is to get your scanner to make a pure image of your negative. Then use the plug-in to inverts the negative. An important aspect that I’ve yet to find a definitive answer is: which side of the negative goes down? The emulsion side is where the image is made in the camera; it is more rough. If the negative is held so the text can be read, the emulsion side is on the bottom. One thing I see from all of my film processing is that this side rarely has machine marks, whereas the other side always seems to. I am pushing the limits of my understanding here, but I believe the emulsion side would be the important one if enlargements/prints were made the old fashioned way. It makes sense that film labs would establish handling techniques that may error to the other, non-emulsion side.

In tonight’s experiments, I put the emulsion side down: opposite of what my Epson V500 says to do. I notice there are no Newton’s rings, a problem that was bugging the bejeezus out of me.

Allow me to place these images in some context. I was on a fun architectural research kick in the last few weeks I was in Portland in late 2011. I’ve long been interested in Art Deco and earlier avante garde sensibilities, and went out and about looking for it. Art Deco design elements often incorporate Egyptian motifs and peacocks. There were hints about this in my blogs from that time, particularly this Nikomat FT2 + TriX one. This home at the southern edge of the Hollywood district has a fascinating history. It was built for the Lebanese consulate in the late 1920’s.

Oh yeah, here I wrote:
The roaring twenties can be interpreted in lots of ways, and I will explore that in the future. The buildings and the art from that time strike a chord for me. I stumbled upon a mansion from 1927 on Ankeny and 33rd as the moon rose above Laurelhurst, made some new friends and took some pictures.
(PortlandMaps listing)
Peacock House, Portland, Andrew D. Barron©12/10/11 [Hasselblad 500c/m, Portra 400, Distagon 50mm]
It appears that I used the 50mm Zeiss Distagon lens (this one). Back to ColorPerfect. The interface is as complicated as I have ever seen. I expected this, given his writing style on numerous related subjects on his website. I found most of it tedious and frankly, annoying. If complicated things can’t be explained simply, to my thinking, you’re not doing your job. That being said, the results are much improved.

In these early rolls I was also getting prints made. I was disappointed in what I was seeing in them and chalked it up to my inexperience with the Hasselblad. But that is not actually the case. I was glad to see (tonight for the first time) that I captured the moon on the negative in the upper left. ColorPerfect allowed some of the highlights in the tiny speck of the disc to be preserved in the “Highlight: Stop-Range-Clip” portion of the interface.

I met a couple walking around as I set up the tripod. She asked if I knew anything about the ‘Peacock House.’ The peacock design elements are not easy to spot. There is one in the metal work framing the door on the right, visible just above the hedge. Check out a detail crop:
Peacock House, Portland, Andrew D. Barron©12/10/11 [Hasselblad 500c/m, Portra 400, Distagon 50mm]

Intrigued, I learned that evening the building was featured in a publication when built. So I headed to the Portland State campus to get it out of the archives. My idea was to photograph and research Art Deco in Portland and I may some day I return to that. A friend mentioned the Egyptian motif of the Blackstone dormitory, so before I got to the library next door, I stopped for these:
Blackstone Dormitory, Portland, Andrew D. Barron©12/11/11 [Hasselblad 500c/m, Portra 400, Planar 80mm]
Blackstone Dormitory, Portland, Andrew D. Barron©12/11/11 [Hasselblad 500c/m, Portra 400, Planar 80mm]
At that time I was having quite a run of remarkable photographs from the lowly Instax 210. The colors from the Instax Wide film are quite a lot different. See?
Blackstone, PSU, Andrew D. Barron©12/8/11
Blackstone, PSU, Andrew D. Barron©12/8/11
I like the pastel vibe I am getting on the Hasselblad scans tonight on my first use of ColorPerfect. I also like the rich saturation with the Instax 210. Which is more real? Looking back, I would say the Hasselblad shots produce a feeling more accurate to how I felt shooting on that day. Yet even in black and white, something is communicated from me to you. Or from the architects to us.
Blackstone Dorm, Portland State University, Andrew D. Barron©12/8/11
Following more leads, I found the Charles F. Berg building at 615 SW Broadway. It was built in 1902 and the art deco facade was done in 1930. Here we see peacocks, pyramids and paisleys.
Charles F. Berg building, downtown Portland, Andrew D. Barron©12/8/11
I will most likely purchase the software because the cost/frustration ratio has well been exceeded since I started to deal with my 120 negatives myself. I wish there was a dedicated 120 film scanner on the market. The hole is so apparent that news that isn’t news makes it. Consider the irony of a headline that reads ‘available for pre-order.’ That means to me that the Plustek OpticFilm 120 is ‘unavailable.’ But at a whopping $2,000, something’s gotta give. In the meantime, the $67 for ColorPerfect to improve the color cast from my $100 Epson V500 seems reasonable.

Oh yeah, this started out talking about ColorPerfect. Here are a few more scans I tried out. Only four days ago I took this with the Hassy:
South Reno snow day, Andrew D. Barron©12/22/12 [Hasselblad 500c/m, Portra 400, Distagon 50mm]
Compare the above to an attempt I made a few days ago, complete with Newton’s Rings and that dreadful green cast:
South Reno snow day, Andrew D. Barron©12/22/12 [Hasselblad 500c/m, Portra 400, Distagon 50mm]
From twelve months ago, some Ektar 100 at Sister’s Rocks.Above Frankport, Andrew D. Barron©12/24/11 [Hasselblad 500c/m, Portra 400, Distagon 50mm]
Still room for improvement with color, but it is getting there.

Wednesday, December 26, 2012

Holly Jolly

I watched the Hobbit again on Christmas, this time in 3D. I guess I am just not a fan of 3D. I definitely prefer the old way when it comes to watching moves in the theater, so would like to see it on projected 35mm film print, but all of the theaters here were digital projection. In the previews they mentioned screening a restored version of 2001:A Space Oddyssey pretty soon. I will try to remember to go.

I never got around to getting chains for my car; try finding them on Christmas day! So I was lucky that I could borrow a big dodge truck for our show at the Crystal Bay club last night. Yes, I spent the holiday night playing in a bar during a snow storm.
Christmas at the Crystal Bay, Andrew D. Barron©12/25/12 [PRO 645 for iphone]
I am flowing along, trying to find some photographic goals for the new year. The Hasselblad 500c/m will likely be my go-to camera this year. I am really satisfied with my cameras after this long search that a few of you have kept up with. If I want instant film, I got it. If I want 35mm, I got it. If I wanted to shoot some 110 film, it would be so much easier in 2013 than 2010, with all kinds of film and a new film holder from lomography. But I probably won’t. See the selection of 110 film from the good folks at the Film Photography Project store. They are also my favorite place to get Impossible project film for my Polaroids. Their shipping rates and speeds are very very good.

I am not really into the latest and greatest in the dslr world and with smaller cameras, but try to keep up and see what is going on. The phone camera will continue to supplant the small, dedicated camera. I seriously doubted that would happen for me, but it seems to with the 4S. Some days I miss my Lumix LX5, a great camera without a successor to date. Occasionally I muse that a Sony NEX would be cool to use, especially when fitted with my Leica screw mount lenses. Maybe NEX5r + 16mm ƒ2.8 + uwa adapter = $1,050. Maybe not.

I look forward to trying new films in the new year, though the selection is thinning. A quick search at B&H gives some idea. I would love to shoot more chrome film in 120 format, but probably won’t because of the cost of processing.

So as of right now, the list of active use cameras is pretty long: 1) Hasselblad 500c/m, 2) Leica IIIf, 3) Nikomat FT2, Polaroids: 4)Spectra, 5) Sun 660, and 6) Land Camera 100. My go-to instant film camera is the 7) Fuji Instax 210 still. There is a form fit case to protect it, but can’t find a reliable place to order it. 8) My iphone 4S will continue to get a lot of use, especially the 645 PRO app. Lastly, my infrared 9) D5000. I got real excited tonight as I ordered an adapter for the D5000 that will mount Leica M39 lenses I have (a 50mm and an 80mm). One can only test out the infrared response of a given lens by shooting through it. Yup, nine freaking cameras. More than any normal person needs. And there’s the joke. . .

2013 may be the year of processing my own black and white film. However, the trouble for me with b+w film is that I have so much fun shooting my infrared converted D5000 (pretty much limited to black and white). First off, from a few weeks ago in Coloma:
The onliest leaf, Andrew D. Barron©12/5/12 [Infrared converted D5000]
Snow day in South Reno, Andrew D. Barron©12/23/12 [Infrared converted D5000]
Five shot mosaic from when the first wave of the snow storm came on the 23rd:
Snow day in South Reno, Andrew D. Barron©12/23/12 [Infrared converted D5000]
The above shot would look awesome printed in true black and white from Digital Silver Imagining, I’m quite sure. Those were the guys that got me inspired to try out the IR conversion.

We got back down from the Lake and drove through an eerily lit, eerily awake 4a.m. Reno. I got up after noon today, made some coffee and then shot some infrared in the yard.
Day after, snow on sage, Andrew D. Barron©12/26/12 [Infrared converted D5000]
Day after, snow on pine, Andrew D. Barron©12/26/12 [Infrared converted D5000]
Day after, snowy fence, Andrew D. Barron©12/26/12 [Infrared converted D5000]
The driveway, Andrew D. Barron©12/26/12 [Infrared converted D5000]

Sunday, December 23, 2012

Mine Visit

Tonight I discovered one of my blogs had a bunch of dead links. I am sure there are many, but that one was a pretty good one. I had aspirations for photography a few years back that are so much different than now. I am a self-taught photographer with a completely random trajectory. When I had more time, I found that filling up the days with photography followed by an evening on the computer making these blogs carried a sense of worth for my time. Feel free to review the 2010 black and white blog here.

Hellbound Glory has been playing less often, but there is a tour opening for Kid Rock’s stadium tour beginning in February. We are also playing on the 25th and New Year’s Eve at the Crystal Bay club.

I think my point is that being off that very random existence with the band has helped straighten out my random existence as a photographer. Also, things at work have been good. I put together a new computer going with the highest-end Mac Mini and loading it with a bunch of ram and another hard drive. I was more into the form factor than the horsepower. There was a lot to learn, and I have a ludicrous legacy of computer files to deal with. But now I have a dedicated work computer (actually replaces the Vaio FE590 that died in May; see entry). Of course I immediately plugged in my scanner and set to work dealing with the Hasselblad negatives you have been seeing on this blog lately. Well, now that I’ve said it, here are two from 12/24/2011 at one of my favorite places yet found in the universe, Sisters Rocks, a few miles north of Ophir in Curry County, Oregon.
Frankport, on the south side of Sisters Rocks, Andrew D. Barron©12/15/12 [Hasselblad 500c/m, Zeiss 80mm ƒ2.8, TriX]
Frankport, on the south side of Sisters Rocks, Andrew D. Barron©12/15/12 [Hasselblad 500c/m, distagon 50mm ƒ4, Ektar 100]
When I broke out the Hasselblad a couple of weeks ago I could not remember what film was in there, and I had this idea for a night shot. Because it seems like if I am awake and not in a chair it is dark. Turned out the film was asa100 not asa400. Still, I think this ‘corporate goodnight’ came out as planned:
Frozen night outside a Gateway complex, Andrew D. Barron©12/15/12 [Hasselblad 500c/m, distagon 50mm ƒ4, Ektar 100]

Joseph invited me out for a quick mine tour on Friday, my first chance to be on site where I have been making maps since April. I went with a geologist/beekeeper who had spent enough time in that part of Nevada to take us to some interesting historic sites, too. The unstated goal was to capture some 120 film negatives of the mine site that were suitable for enlargements and framing in our corporate office. I don’t know if I have ever found my groove with the Hasselblad, but I accepted the challenge.

It was also great to drop of and pick up the film on the same day reviewing scans from my photoshoot only 24 hours after exposing the film. I will say that I should not have cheaped out with my scanner, because I have trouble getting colors right with the Epson V500. It could also be my distrust of any kind of automatic settings. They do however, tend to look better, but I just want to learn why that is before I accept it.

I find the 4S a very capable camera and all of my time with the 3G camera has helped me a lot. So though it may be better to stage this blog in a more coherent single entry, I almost never do that, so why would I now?
Crossroads, Pershing county, Andrew D. Barron©12/21/12 [iphone 4S, PRO 645]
On site, Hycroft Mine, Andrew D. Barron©12/21/12 [iphone 4S, PRO 645]
On site, Hycroft Mine, Andrew D. Barron©12/21/12 [iphone 4S, PRO 645]
On site, Hycroft Mine, Andrew D. Barron©12/21/12 [iphone 4S, PRO 645]
Now on with the few Hasselblad shots so far. I am having a real tough time with the colors when scanning. It isn’t always clear what is real, if you catch my drift. I wish things were easier, but I really wonder how optical printing color balancing worked. And further, how difficult would be to actually make my own photographic prints? Too hard I am sure.
Sulphur Nevada rooftop, Andrew D. Barron©12/21/12 [Hasselblad 500c/m, Zeiss 80mm ƒ2.8, Portra 400]
We went to another locale. This place had been lived in as recently as the 1980’s they said.
Miner’s quarters, Andrew D. Barron©12/21/12 [Hasselblad 500c/m, Zeiss 80mm ƒ2.8, Portra 400]
We went to a locale called the Spires and I hope those negatives turned out. Only after all of this time can I say: the 50mm Zeiss Distagon ƒ4 is (much?) less sharp than the 80mm Zeiss Planar. So I will keep that in mind for the future. We stopped at an old stamp mill, but the temperature was dropping fast. I broke a bunch fingernails getting into the Pelican case (a new hazard for me now that the irreplaceable camera is adequately protected). Anyway, I shot without a meter because I couldn’t find it. It was in the truck all along, but I got another look at the neat Spires, since I lamely made us go back for a look for the not-lost, but similarly irreplaceable Luna ProF. Here is an iphone shot of the stamp mill:
Crossroads, Pershing county, Andrew D. Barron©12/21/12 [iphone 4S, PRO 645]

Joseph kept saying to let him know if there was any shot he needed to stop for. At the end of the day, this was the only time I said STOP!
On the way home, Andrew D. Barron©12/21/12 [Hasselblad 500c/m, distagon 50mm ƒ4, Ektar 100]

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