Here are the results of my Yashica macro experimentation. Most of these are a little underexposed because I forgot that you need more light when using the diopter. I was also using 100 speed Fuji Velvia, not the best in terms of film speed, but you can’t beat the wacked-out colors.
I took a stroll in my yard to capture these images. I held a +10 diopter in front of the top lens when composing the shot, then moved it to the lower lens to take the picture. Shutter speed was at 125 and the light was bright and beautiful.
The picture of my daughter Zoe is a double. I tried to capture a macro shot of some pink flowers as one of the layers of that shot, but it just ended up overexposed. Oh well. It’s still a great shot of my girl.
I really love the third shot of the pink tulip. The light was really nice and the composition was good, too. It’s a kind of crap-shoot when you use this technique, especially when the wind kicks up and starts blowing everything around. Once the lens is moved from the top to the bottom, there’s no way of knowing what the shot will look like. I just hold my breath, press the button and hope for the best.
While not a particularly inspiring shot, the next picture of little pink flowers on a tree branch is nice for the little pentagons of light that appear in the middle left and bottom right areas of the frame. My favorite is probably the last one, the dandelion. Other than being a little dark, it’s just what I hoped it would be!
Has anyone else used a similar technique? Any recommendations for Yashica filters? I’m going to try some color IR film soon and need to figure out a way to affix a filter to the lenses. I’m thinking that holding the filter in front of the lens may be the easiest way, but any suggestions would be appreciated.
I have been using my Holga without either the 12 or 16 frame mask and getting some really nice results. I love the exaggerated vignetting and light leaks that occurred on every picture. These pictures all come from The Art of Waiting roll from September 2010, shot on Fuji Velvia.
I also got some really nice overlapping pictures. I don’t remember if these were intentional or not, but they’re still really cool. Here’s one example.
The two shots just bleed right into each other. I really like it. Here are the shots separately. I don’t think they are nearly as interesting.
Here are a few more overlapped shots shown together and then singly.
Unlike the first example, I think these two pictures stand well on their own
This was on the end of the roll. The shot on the left is pretty underexposed so it doesn’t stand well on it’s own.
Here is my favorite overlap on the roll…
…and the two pictures separately, which I think stand pretty well on their own.
I love happy little accidents. I’m going to have it printed and see what it looks like ‘for real’.
Tomorrow I’m going to Philadelphia to see the Van Gogh exhibit. I’m taking the Fuji Natura Classica and am hoping for some good photo ops.
Yes, it is possible to get some of that crazy pinkish tinge to your Fuji Velvia shots WITHOUT crossprocessing. Let me explain.
As Fuji Velvia is my favorite color slide film I picked it to use when experimenting with my pinhole Diana F+. I chose to take some pinhole shots on a wickedly bright day at the beach and was pleasantly surprised at the face-of-Jupiter-like results. Long exposures on this 50 iso roll gave my pictures a warm, pinkish glow that I’ve only seen replicated by cross-processing.
I first noticed this phenomenon while taking pinhole Diana shots at the bowling alley. Those exposures were for around 15 minutes in low light so the ‘Velvia Effect’ isn’t as dramatic in those shots as it is in the beach shots, but it’s still evident. Pretty cool, huh?