I took the Leica M4-P on a trip to New York a few years ago. The images are from my chaos archive and had a strong red color cast removed. I filled two rolls of Fuji Superia (probably 200 or 400) and thus decided to go for a 10 frames post.

• Where: New York
• Camera:  Leica M4-P
• Lens: Voigtländer 35mm Color-Skopar f/2.5
• Film: Fuji Superia

Edit: I just noticed that I already did the “5 Frames - New York With A Leica M4-P” story. This time it is 10 frames, though.

The second part of a trip to Ibiza.

• Where: Ibiza
• Camera:  Leica M4-P
• Lens: Voigtländer 35mm Color-Skopar f/2.5
• Film: Fuji Superia

Edit: I just noticed that I already did the “5 Frames - Ibiza With A Leica M4-P And Voigtländer Color Skopar 35mm f/2.5 VM II Pancake” before. This time it is 14 frames in total.

The first part of a trip to Ibiza. This was one of my first excursions with the Leica M4-P, packing the Voigtländer 35mm Color-Skopar f/2.5 and some rolls of Fuji Superia 200 and 400. The images are from my chaos archive, which means that I had to do some color corrections. As I was putting the rolls into the checked-in luggage, I assume that the weirdness in the images is from x-ray radiation.

• Where: Ibiza
• Camera:  Leica M4-P
• Lens: Voigtländer 35mm Color-Skopar f/2.5
• Film: Fuji Superia

Edit: I just noticed that I already did the “5 Frames - Ibiza With A Leica M4-P And Voigtländer Color Skopar 35mm f/2.5 VM II Pancake” before. This time it is 14 frames in total.

• Where: Las Vegas, Death Valley, Lake Tahoe
• Camera:  Nikon F5
• Lens: Nikkor 50mm f/1.2
• Film: unknown

I had the pleasure to go to a conference in Las Vegas followed by a road trip with a colleague up to San Francisco through Death Valley, past Lake Tahoe, and through Sacramento. On that trip, I brought along my trusty Nikon F5 with the rock-solid but soft (wide open) Nikkor 50mm f/1.2. It has been a while, and I dug the images up from my messy archives, so I am not sure what film stock was used. Probably something like Fuji Superia, which I liked to use around that time. The images had a strong red color cast, which I tried to correct in post. I filled multiple rolls during that trip, so I thought it would be appropriate to extend the usual 5 frames to double the amount.

Some winter-time images from the archive. This time it is from a trip to Boulder in Colorado. It was warm enough for autumn clothing and no snow in sight anywhere. All vegetation had turned it a homogenous, brown mass that effectively hid all the beauty of Colorado’s flora from my sight. A bit disappointing, but still a nice change from the coldness of home. The colors on these images are a bit wonky, probably because I did not yet know what I know nowadays about scanning (which is: I have no clue what I am doing). I tried to remove the excessive red color cast from them, only to be left with a green color cast. So what you see here now, is what I am capable (and patient enough) of doing in post.

• Where: Boulder, Colorado
• Camera:  Leica M4-P
• Lens: Voigtländer Color-Skopar 35mm f/2.5
• Film: Fuji Superia 200

Edit: I just noticed that I already did the “5 Frames - Boulder With A Leica M4-P” and selected the same 5 images for that one. Well, whaddya know? At least this is a new interpretation. 

• Where: Somewhere in Munich
• Camera:  unknown
• Lens: unknown
• Film: unknown

Some winter-time images from the archive, before the times that I had any kind of order in my film chaos.

• Where: At a lake in Bavaria.
• Camera:  Yashica Mat 124G
• Lens: Yashinon 80mm f/3.5
• Film: Kodak Portra 400 VC

I got myself a box of Kodak Portra 400 VC that expired in 2007. To see what is what, I got out with the Yashica Mat 124G on an overcast day after some snowfall. Sticking with the one stop per decade roll, I added two stops of exposure (it is the end of 2021 and 1.5 stops should have been appropriate) to compensate for the age of the film. After development, the negatives looked okay-ish. I still have a hard time telling if something is correctly exposed or not (especially for color negatives) just by looking at the film strip. After scanning and initial inversion of colors, the film looked like a mess: The colors were all completely off and the grain was excessive. I did my best to get everything lined up in the histogram and to deal with the color cast. I even added some noise reduction. Something I usually avoid. I had mixed feelings about the results: The grain was bothering me. The colors were not what I expected from Portra at all. But if you looked from far enough away, the results weren’t actually bad, either. So I did the only logical thing and ordered four more boxes from the seller.

• Where: A castle garden near a church and a lake.
• Camera:  Mamiya Press Super 23
• Lens: Mamiya Sekor 100mm f/3.5
• Film: Ilford Pan F+

It was an overcast day, right between two rain showers. I was yearning to take the new member of the club, the Mamiya Press Super 23, out into the wild and let her run free. For not very practical, but inherently strategic reasons, I decided to go with a roll of Ilford Pan F+. The 50 ISO film speed made it tricky to get reasonable shutter speeds with the given weather, even with the lens wide open. Thus, I ended up with some camera shake in my shots. And I have no clue as to how sharp the lens actually can be. In addition, I needed to learn how to operate the camera. It is not difficult, but fumbling with the controls while the camera is up to your eye, led to me tripping the shutter accidentally.

• Where: The garden of a castle next to a church.
• Camera: Yashica FX 3 Super 2000
• Lens: Zeiss 45mm Tessar f/2.8
• Film: Fuji Superia 200

I had just scanned two rolls of expired Kodak Portra 400 VC that was best by 2008. The grain on it was more than I had prepared myself for, and I got the impression that two extra stops of light (one stop for every started decade) were not enough. Thus, my expectations for this roll of Fuji Superia 200 that expired in 2003 were not very high. I exposed the roll with two extra stops of light, just as I did for the Kodak Potra 400 VC, and developed it normally (no pushing/pulling). It was the first time that I gave the Zeiss 45mm Tessar f/2.8 a try, too. The lens feels like it is mainly plastic and air. It is tiny and light, and the focus ring is very easy to turn. I was pleasantly surprised when I started converting the scanned negatives to positives. There were only a few small tweaks to do (less than I remember from fresh rolls of film), and the lens turns out to be surprisingly sharp.

• Where: At a lake in Bavaria.
• Camera:  Yashica FX 3 Super 2000
• Lens: Sigma XQ 70-230 Macro f/4.5
• Film: Kodak Double X

Just a few hours before I developed the first roll of Kodak Double X, I read somewhere that this type of Cine-B&W-Film-Stock has next to no latitude. This, the article said, forces you to get the exposure exactly right. Otherwise, you won’t end up with anything satisfactory. The negatives came out very dense. I guess I missed the ideal exposure by a little bit and over-exposed the images. I scan the negatives “raw” and convert them to positive in DxO PhotoLab 3. Normally, I need to correct exposure by something around 2 stops during conversion. That is just how my process is. In this case, the negatives came out so bright, even an exposure compensation of 4 stops (the maximum that DxO PhotoLab 3 allows in one go) was not enough. I had to abuse the tone curves quite a bit. In the end, I do like the resulting images. The grain is acceptable and they are somewhat moody.