This picture was taken in Tungsten light, and surprisingly, Kodak Ektacolor 160 copes with the color very well. I really expected that the result would turn out greenish. The image was scanned using Canoscan 8800F and was cropped to 1:1 format in editing software.
[Gear: Mamiya RB67, Mamiya Sekor 90mm F/3.8C]
Taken with Mamiya RB67, Sekor 140mm Macro C and Kodak Potra 160. Scanner used was Canon 8800F. Really looking for a dedicated 120 film scanner.
The advantage of macro photography is that you can stay at home and look around to find shooting subjects. I took this shot in my garden.
From my window. The difference in color temperatures in this image is because of the sunlight, which lit only the top part of the tree, leaving the bottom part under its own shade.
[The lens used was Mamiya Sekor 140mm Macro, a very complicated lens to work with as there are just too many rings to turn. Film was Kodak Ektacolor 160. Film was scanned using Canon 8800F flatbed scanner.]
Shot with Mamiya RB67, 150mm Sekor KL and Kodak Potra 160NC. Film was dated when exposed but had been stored in freezer since purchased. The shots were made handheld, thanks to the beach environment for allowing handholdable shutter speed setting.
Mamiya RB67 Pro SD with Mamiya Sekor 250mm C Lens and Fuji Neopan Acros 100
The largest tree in my house. Shot with Mamiya RB67 and 250mm Sekor C lens and Kodak TMax 100 (10 years dated).
Shot made with Mamiya RB67, Sekor 250mm C and Kodak TMAX 100. The film has been expired since 2002 but the result is still great. The saying that low speed film will maintain its characteristic well for over 10 year is not exaggerating.
Pictures taken with Mamiya RB67, Mamiya Sekor 90mm C lens and Fujifilm Neopan Acros 100.
Pictures taken with Mamiya RB67, Sekor 50mm & 90mm lenses and Fujifilm Neopan 400. My confession again, even without a high-end scanner, the advantage in tonality of medium format film is clearly evident, and I just fall in love with it!
Taken with RB67, 127mm and Kodak Ektacolor 160. Converted to B&W in post-processing. I know vignette is supposed to be a blemish in picture, but I have no idea why I love having mild vignette in my pics!
Shot with Mamiya RB67, Sekor 127mm and Kodak Ektacolor 160. Really love the smoothness of 120 film. I wish I had a better scanner!
Another angle from the famous Piazzale Michelangelo. With my Mamiya 645 Super and 80mm Sekor lens. Florence is beautiful by its uniqueness, which is even further enhanced by that Duomo. I bet you agree.
Taken with Yashica Mat-124G. Not sure about my sample but my 124G really produces more flare than my Yashica 12. As far as I know, the two cameras are almost identical, especially the taken lenses which should be the exact same one. My cat is cute by the way.
View from Piazzale Michelangelo. Picture taken with Mamiya 645 Super, 80mm Sekor lens and Ilford FP125. From here, the grandness of the great Duomo can easily be impressed. I really like the rain cloud as it always intensifies the scene.
The great Duomo of Florence, taken with Mamiya 645Super, 45mm Sekor lens and black and white negative film. The actual place is a lot larger than it looks here in the picture, and from this point of view, without anything to help creating sense of scale, it is hard to enjoy the size of this magnificent dome-shaped building.