JamesT

Lovely to see. I don't think I have seen one since the '70s. There is a population at the nearest BBOWT reserve to me, but I've never actually seen them.

I like the idea, but I think you may have overdone the graininess a little. I wonder how many H&S violations could be spotted in that scene?

I guess a radio telescope counts as architecture. A few shots of the old Dwingeloo radio telescope, at the time of "first light" in 1956 it was at 25m the largest single dish telescope in the world, but within a year it was surpassed by the 250-foot (76m) telescope at Jodrell Bank.

A windmill snapped from a Dutch inter-city train window, near Almere. Taken with the Olympus Pen-D, so fully manual.

Is that reflections in a window or a multi-exposure? I think most "Prinz" stuff was made in Japan, even the cheaper stuff. I have a PRINZ 60mm telescope from the early '70s that was (IIRC) a 12th birthday present.

Superb set, Roger. Looks like you were a bit close to the cliff edge for some of them. I've only seen puffins right at the limit of identification range.

No, you're not.

Thanks Clicker & Fuji. I don't think there's much room for more contrast, there are already absolute blacks & whites in the images so I think that the shadows in the foliage and the ripples on the bright water would be lost with any increase. This film has something of a reputation for being contrasty and hard to control (especially when compared with the soft grey tones of my usual go-to film FP4+), but when exposed and processed right the results are superb. It was originally a black and white movie stock favoured by (inter alia) Federico Fellini.

Also it has short unbranched antlers.

A few shots from my last roll of Ferrania P30 pulled 2/3 stop. All done with minimal post processing beyond what the scanner puts into its raw files -- basically a tone curve adjustment to darken the mid tones a bit and resizing. Bridge 92 on the Kennet & Avon canal: A mill stream near Benson Lock on the Thames And a rather unstable-looking way to travel on the river: I think I'm getting the hang of P30 now -- so I really hope they do get production going properly this autumn, including 120 (and maybe even large format). I definitely prefer the results shot at 50 rather than the box speed of 80 where it's almost impossible to control the contrast, even at 50 I have to use multi-exposure in the scanner to cover the density range on the film.

From another film photography site that I read regularly: https://emulsive.org/interviews/interview-187-i-am-tony-vaccaro-and-this-is-why-i-shoot-film

Speaking through a physicist's hat (rather than a photographer's) here. Heat haze is caused by small-scale variations in refractive index in the air driven by the hot surface (the runway) leading to turbulent convection -- i.e there's a mixture of hot rising air and cooler falling air replacing it and the cooler air is denser and has a higher refractive index. I don't think exposure time will make much difference as the timescale of the variations is likely to be of the order of 1/10 s rather than 1/1000. I don't understand the physics behind using a polarizing filter or shooting planes taking off. I think the best option would be early morning before the tarmac has heated up.

As it was How many of today's power sources will still work in 200 years time? BTW the foreground cylinders are just the valves.

IR Oak

A rangefinder shouldn't take that long to focus -- even with Leica's very short baseline (at least compared with Contax/Kiev). It looks nice, but I think that in the (very unlikely) event that I was to be in the market for a Leica, a late screw-mount or the M4 would be my choice.