Twas a beautiful morning along the Fox River Valley today, and I couldn’t resist a few photos of my favorite tree. Here’s an in-the-field version from the camera to my phone. 1/200 F14 ISO100 at 105mm on Oct. 23, 2021 in Carpentersville, Ill.
I’ve revised the name of this series, which previously was “Americana Still Life, No. #.” This image is part of my Americana Series coaster set, which is available for sale at MidnightOwl.Gallery. Eaves, Chris (Aug. 18, 2019). Americana, No. 6 [Photograph]. Gilberts, Ill. Shot on a […]
Thanks for following my “Abandoned Americana” series! Today’s image shows the beautiful rolling prairie and limestone gravel roads outside Dwight, Illinois.2
- Eaves, Chris (March 16, 2020). Abandoned Americana No. 18 [Photograph]. Dwight, Ill. Shot on a Canon 6D at 35mm, 1/160 sec., f8 at ISO200.
The final entry in this 4-part series, we return to Cary, Illinois. The rusted-tin roof of this low-slung outbuilding marked a gathering spot for some kind of local hike. The foundation of a long-gone building sits in the foreground. Eaves, Chris (Oct. 13, 2018). Americana Still […]
Today I kick-off a quick 4-part Americana series. We had a wet year in 2018, and sometimes that extra water makes for extra-interesting opportunities. The good people over at All Seasons Orchard in Woodstock, Illinois, set up a beautiful still-life scene with a wet spot in their field. We’ve gone apple picking there several times in the last few years, and the kids love the applesauce we make from the harvest.
- Eaves, Chris (Sept. 15, 2018). Americana Still Life No. 1 [Photograph]. Woodstock, Illinois. Shot on a Canon 6D at 40mm, 1/160 sec., f4.5 at ISO50
Frozen fields, snow on the roofs, barren trees. I love scenes like this one. A keen eye might say that I’m over-processing the photograph, but the white glow on the trees isn’t from post-processing, it’s from the ice storm the night before. The trees all […]
OK, we’re back at it with another shootout between a full-frame DSLR, the Canon 6D with a pancake 40mm and a Bronica SQ-A medium format film camera with the kit Zenzanon 80mm (40mm full frame equivalent). I’ve square-cropped the DSLR’s image to make it a […]
Last year I acquired a Bronica SQ-A medium format film camera. I wanted to see the difference between it and the full-frame Canon 6D I normally use. After a few YouTube tutorials, I hopped in the car and stopped for a few quick shots, using the 6D as an expensive light meter. Of course, it also takes photos, so I did that, too. In today’s post and in the next one, I’ll compare results. The digital and analog shots were taken at the same settings. I hadn’t started a logbook yet, so I didn’t record the settings or the location (South Barrington, Illinois). According to the sensor data on the digital file, these were at 1/125 sec., f4.0 and ISO 100, which matches the film speed. The medium format was shot through an 80mm (~40mm equivalent) lens while the 6D had a pancake 40mm. OK, enough specs. On to the images!
First up is the full-color version of the Canon 6D shot. Taken late in the day, the sun is starting to cast a warmer tone on the silo and fields. Using the RAW file, I’ve bumped up the contrasts, colors, etc., and brought out the definition of the clouds. This is one of my favorite things about digital, is that the detail captured by the camera can be recovered.
Field Studies No. 1-A
Field Studies No. 1-B
Here’s the B&W conversion of the first image, with a few minor tweaks to the curves. For this particular photo, the DSLR had a slight advantage as I could focus and shoot at eye-level, giving me a tad more height to see over the corn rows.
Field Studies No. 1-C
And above is the 120 film as scanned at the lab. I’ve since added a medium yellow filter to my bag to help with cloud definition. You can see that the perspective is slightly lower, I’m up on my tip-toes and looking into the waist-level finder, but that difference of a few inches creates a different look. The thistle in the foreground is very close to the lens. The f4 apeture is more like f2, and it’s this focus falloff that I like about this image. The DSLR at the same aperture brings out more depth of field, but this one feels slightly more intimate.
Let’s take a look zoomed into the silo.
The first thing that pops out to me is what I assume are copper ribs on the roof. The DSLR does a good of keeping the details, and the dynamic range is impressive.
On to the B&W conversion:
Here’s the B&W crop. The distracting roof colors are gone, and the jaggedness of the silo openings pairs well with the starkness of the corn.
And now the film crop:
I’ve resized it down from the lab scan, and as you can see it’s not as sharp on the details. The pines in the back blend into the other trees, and the feel of the Kodak T-Max 100 is softer, more gradual even if I try to pump up the contrast. You can really see the film grain in the sky. Again, though, the perspective feels more intimate than the DSLR’s angle.
Here are the three crops, side-by-side:
I’m picking the DSLR B&W conversion as my favorite of the three crops. For overall image, though, I’m picking the color digital version as my favorite. I’m loving the sky detail and the flow of the fields and sky. For my first venture into the world with a 120 camera, it was a lot of fun!
Which did you like best? Weigh in over on my social channels.
I drive by this location occasionally, and the tree on the plain sometimes looks like a tall monk, standing in meditation. Here it is early in the morning on a beautiful autumnal day. Eaves, Chris (Sept. 30, 2012). Monk Tree [Photograph]. South Barrington, Illinois. Shot […]