Here's some unpushed TMax 3200 in available light:
http://www.flickr.com/photos/mawz/tags/3200tmz/
-Adam
Markus Maurer wrote:
Hi Herb
Welcome from my side first ;-)
Could you post samples of unpushed ISO 3200 indoor shots with the Ilford
3200 film or other brands from ISO 800-3200 in available light?
Unpushed, because I would have to send it to a "very standard" lab for
developping.
I plan a photo shooting on the 10 of april with celebrities indoor in a
(gladly white) tent and would like not to use flash at all. It's the 75
anniversary of a Swiss artist and my photos will be the birthday present
later.
I'm not sure about the lightning in the tent yet, I fear some nasty
(green)fluorescent light spots, so b/w would be good ;-)
Should I use Fuju Superia 1600 film or Konica 800 or your Ilford 3200, the
last time I took
photographs inside I used Fuji 400 with the Spotmatic F and the SMC Takumar
85mm at F1.8 on the monopod
to get a bare 1/60 to 1/15. I will use the same Spotmatic equipment and a
50mm 1.4 again, paired with the Olympus XA 2.8 35mm and a 17mm Tamron 3.5
for some overview shots.
Of course, I welcome samples or recommendations "from the list" for fast
**film** as well ;-)
greetings
Markus
-----Original Message-----
From: herb greenslade [mailto:[EMAIL PROTECTED]
Sent: Wednesday, March 22, 2006 8:43 PM
To: Pentax User's group
Subject: Re: How do you select your camera for the day? was: OT:
Non-PentaxeBay Auction Question
Hi Tim
I use the Leica for b&w using Ilford 3200 ISO film. I've used
this film from 800 ISO to almost 12800 ISO depending on the lighting.
If I take my LX, I use Fuji Press 800 ISO pushed one stop. I do
this primarily to distinguish the artist from the background.
I use film almost exclusively when I am seriously shooting these events.
I have experimented with the *istDS, most recently I've shot at
ISO 3200 with a 1 stop overexposure and this has given me a
satisfactory result. Note that I prefer to convert all colour into b&w.
My images sometimes tend to be soft because of artist movement,
and difficulty in focusing in low light (the rangefinder of the Leica
is a great help). Of course, the big grain also does its share in
lessening image quality. I'm also foolish enough much of the time to use
my older f4 Pentax lenses on the *istDS handheld. I have no idea
whatsoever why the club(s) I inhabit have such poor lighting, and
then when they do happen to improve on it, the lighting manager
or artist lowers the intensity, or plays in the shadows :-)
but why do you change to the Leica when the lighting is
extremely bad at concerts?
I have much better latitude with film than with digital, also
there is the "noise" issue when shooting at high ISO. Noise doesn't have
the same quality as big clump grain which usually is tolerated in
bad lighting conditions.
I hope this somewhat answers youre question.
herb
Tim Øsleby wrote
Wed, 22 Mar 2006 09:32:11 -0800
This may be a naive question, but why do you change to the Leica when the
lighting is extremely bad at concerts?
What I have noticed is that my DS has problems when the light is very red.
Is this what you refer to when saying this, and does the Leica Fuji press
handle this differently?
