腹肌南波灣！用富士拍照吧 富士g617風光攝影 | 柯達炮塔400

Hello everyone and welcome to another video. Today we are in the Dolomites. We are at Passo dell'Erbe or Furzioch if you speak German. It's a very famous place in the Italian Dolomites. And today I'm actually gonna shoot a film. The main reason I'm here today is because I received a very special camera. It's a film camera that shoots only panoramic images. What's cool about this camera is the massive portion of film that it uses when it produces images. And what a better place to test it out than the Italian Dolomites. Long story short, I decided to get this camera for a very specific project which I might talk about in the future. And of course with new cameras and old cameras, like new old cameras, it's always important to try them out, get a feel from them, try to load some film, retrieve some film, and see basically how it works. So I'm gonna be honest, it was very hot and sunny down in the valley. And as soon as I got there, the clouds rolled in. It's pretty miserable right now. It's not raining. It has been raining a little bit. Now it's actually fine. But if you can see here with me, like this is what it looks like right now. And yeah, it's all covered in clouds. There's actually a little bit of room facing west, which is where the sun is gonna be setting right there. So I hope that some light might come through, which will be extremely nice for our photo shoot. Okay, so I'm gonna scout for some composition. I'm gonna prepare this huge camera. Let's see what we find. We've just arrived at the first location I want to check out. It's a very famous spot. I mean, I guess you've seen multiple images from this place with those cool roots and the Paitre Corfo Sass de Putia in the background. Very cool location. I mean, it doesn't look that glorious from here, but with a wide angle, you're gonna get pretty good results. Now, what's tricky about this camera is that it actually shoots 6... Wait a minute. It actually shoots 6 by 17 centimeters panoramic format. Now that's huge. It's almost 1 to 3. So it's even tighter than the cinematic aspect ratio that we are used to with movies. It mounts a 105mm f8 lens, which gives a similar angle of view or, yeah, similar focal length as a 26mm on full frame. So it's pretty wide, not like ultra wide in itself, but because of the aspect ratio, it's gonna be very wide. So I chose this spot because it's really near my house. I don't want to hike a lot with such a huge camera. I mean, it's crazy how much space it takes from this bag. I usually carry, like, two full frame bodies and lenses with this, but look at this. Anyway, I will switch to the GoPro. Put the GoPro on my chest so that you can see what I see and I can focus a little bit more on the process of loading and shooting with this beast. It's the first time I use it and it can be quite complicated. So let's just jump with the GoPro. There you go. This is the Fuji G617. Paramount Professional. I mean, they really want it to be noticed for this camera. So let's mount it on the tripod and start looking at the landscape. So I've loaded this with some Portra 400 120 film and the film roll is stretched so much that you're gonna get four images out of a full roll of film. So as you can see here, you have a little switch to go from 120 film, 4 exposure, that's ridiculous, or 220 film, 8 exposure. The camera is fully manual. It doesn't have any battery, anything. It's just a very solid piece of metal, plastic and glass. Talking about the glass, this is the 105 F8 and the aperture closes all the way to F45. Manual focusing, of course. And there's a built-in lever, bubble, how you want to call it, to be sure that it's nice and level to the ground. So I've been scouting around a little bit. I don't know if you can see through there. It would be cool. Yeah, you can kind of see. The field of view is very wide, but it's also quite compressed. So you're going to need, have to walk a little bit back to get most of it on. I think I'm going to give this a solid try if a little bit of light shows up. Let's have other compositions in mind in this location, like back there. You can hike all the way. There are a few very nice alpine meadows. So maybe I'll move there. Weather is not improving at all. So let's see what we can get out of this. As soon as I finished talking, the rain rolled in and I had to pack everything away quickly. I then decided to move a little bit uphill to check out some different composition, which could look better even in rainy conditions. So I've stopped at this nice bend of the trail where a few of those typical mountain houses are. And as you can see, there's a nice breach in the clouds up there. I'm hoping that I can get some backlighting on this scene. There are a lot of cool yellow and pink flowers in the meadow. And what I'm thinking is to just grab a nice photo from this kind of view to include both the houses, a little bit of this vegetation, all the mountains in the background and the top of that mountain. Now keep in mind this is the first attempt with this camera. I've never used it. I've never seen how the viewfinder correlates with the final image. But I guess it's kind of cool. If I manage to pull off the vegetation from the top of those mountains and manage to crop a little bit of top, it's going to be great. So the plan is taking the tripod, put it there somewhere and then use this app to meter the light. Now how this works is you're going to put the ISO, which is 400, portrait 400. The f-value is going to be pretty narrow. We're going to go f32 on this. You're going to meter for actually the houses. Like with film, you don't want to meter on the brightest part of the image most of the time because it's a little bit better to overexpose. So I'm going to meter this. It's telling me 1 20th or 1 25th, 1 30th of a second. So I'm going to go with 1 15th and we'll go from there. Now the cool thing is we have a bubble here that can tell us when we're nice and level and right now we are. I'm going to check again the composition. Absolutely great. Now I'm going to focus to 10 meters and for the hyperfocal, you have this scale here and a little hyperfocal from around, I don't know, 4 meters to infinity. So I think it's okay. We need to load the film actually. Holy shit. Now there's a 1. Now double check everything. 1 50th of a second. F 32 focusing 10 meters in. It's nice and level. 1 20th. It says now. Yeah, we won't go 1 30th. Some light has come out. But still we're going to use the cable release. Let's go 1 30th and see how it goes. That's a little bit overexposed. It's not going to be that bad. Okay. Now we'll load the shutter. 3 2 1 That was actually amazing. Wow. So this is the scan I received from my usual 35 millimeter lab where they used a flatbed scan. As you can see here, the image quality is very bad and there are a lot of weird artifacts around. There are also some magenta and green color casts which makes the overall file pretty cheap. Now this is where Yanis from Wiscam Film comes into play. Wiscam Film is a service that provides high quality drum scanning for when resolution and quality really matters. When I got the scans back, the difference between two files was unreal. No weird artifacts and outstanding quality from corner to corner. Wiscam Film tip files can get pretty huge but you'll see more about that later on. As you can see, the sun is going below this huge mass of clouds. It's still raining a little bit. There are a few drops. But now the light will actually be able to access to the mountains. So we'll move back to the location where we started and try to take a photo there Now that the light is coming out. Let's go. Now we have quite a lot of direct sunlight. We have changed the scene a lot. So weird. It's raining, but still we got gorgeous golden light that's coming in. I have my Rolei 35S in my bag. I really want to take a photo of this with all the flowers. You're not going to see this photo in the video. But you can find it on my analog photography Instagram at Analog Mickey. So if you want to see it, this and all the other ones, you can find it there. I promise that will be pretty cool. Wow, this light is amazing. Such good lighting condition. Look at all these flowers, colors. Anyway, leaving the big camera here is making me anxious. So let's keep shooting the Fuji G617 before the light goes away. I shot with this bright light. Bright side light on the houses here. So I think I'm going to go for it. I mean, level this bad boy out. It's nice and level. Nice leading line there. I find it actually pretty cool. Now what I have to do is meter again. Because, of course, way different. Right now it says 140th for that. We'll stick with 130th. 130th of a second. We are metering on 5 this time. We have a nice sharp frame. Now I need to screw this in. And go for another one. Ah, the light is now passed. I'm going to wait a touch more. See if we got the light back. You know when someone up there really loves you. I was about to press the shutter. And look at this. That's not good. That's not good at all. As you can see, it's still raining. There's still very diffused light. Which, I mean, I can actually shoot this anyway. But I would have got a little bit more light. I don't think it's happening by the way. So, yeah. I think we're shooting it. Anyway, now with this last light. On the distant tree hills. And see what we got. Shit, I didn't shut it off. OK, 3, 2, 1. Once again, the local lab file was not quite there. And there were tons of artifacts as well. But the scan I got from Yanis was completely different. And very exciting. While it's still raining. And the light is coming and going. And the conditions are not ideal. We're shooting this amazing landscape. I do want to spend a few words. About why I chose this huge panoramic camera. For my workflow. The fact is that with this camera. Everything is super intentional. Like you can't let fate or hurry ruin your shot. Because, as I said. This beast will eat a 120 roll of film in 4 shots. And like, apart from the actual cost of that. Because one roll is around, I don't know. 10 to 15 euros. Even more when it's a very special film. But apart from that. It's not going to allow you to do multiple shots. And reframe what you framed incorrectly. Like of course with film. That's what's cool about it. Like being very intentional. Choose the composition. Check everything. Check everything again. And then wait for the result. Like the anticipation you get from shooting film. Is absolutely amazing. And I chose this camera for two reasons. First because my incoming project. Is going to be about landscapes. Is going to be about panoramic images. And I did want the best image quality possible. Now the second reason. Is that I didn't want to faff around. Like scanning multiple film shots together. In digital. To then do a pano. Like I could have done that. With any medium format. Like 6x6 camera. Like the Asablad 500C for example. I could have taken a few square images. And then put them together. Like at the end of the day. If you take three. I'm going to have a 3x1 aspect ratio. The fact is. You do want to overlap. By at least a third of the frame. When you do a pano. So in this case as well. That's a lot of film. That's a lot of faff. If the light changes between the shots. It's going to ruin the whole thing. So the idea of having one clean plate. One clean shot. Was what made me go for this Fuji. The third and last. Very important thing about this Fuji. Is that it's built like a tank. The build quality is fantastic. It even has a roll cage on it. To protect the lens. If it falls down. It's very handy. It's not even that big. And that heavy when compared to. For example a Linhof. It weighs around 2 kilos. So these were the three key points. For this. Now I cannot talk about. The project itself. Now the light is getting good. But you will actually hear. A little bit more about this. In the future. I'm going to shoot. So as you can see right now. We have quite. A lot of good light. On the mountain. That's why we are. Going back to the spot. And we are going to try. To get a clean shot. Of this. First pin. Now the problem as I said. That will take. A lot of room. In the horizontal space. But if I'm down enough. I can actually fit. This bad boy. Now the bad thing is. I want the camera to be there. But this is not the best tripod. For a low angle shot. So we will try. On the last. To get this. Very low. On the ground. Over here and here. Oh my god. Holy shit. It retrieved the film right away. Right? Yeah. Well I guess. We can take the roll film out. Shoot. I'm just hoping. Yeah. At least. It's retrieved. Holy shit. Yeah. As you can see. This is the chamber. Pretty huge. Yeah. Let's take another roll. Let's try that as well. What can we do? There you go. Loading. Another roll of film. Roll of. Portra. 400. They are the. Most expensive. Exposures. Whatever done. Anyway. Let's. Load this. Now. There we go. Nice and closed. Yeah. Both of those are nice and closed. Close this. So what is happening right now. Is that. It does not. Advance. The film. Anymore. I don't know where. The problem is. Maybe didn't. Quite get. Nice into this. But I don't know if I can. Save it now. I have a. 50 euros. Portra film. In there. Yeah. I mean. I guess. I'm gonna try to solve this. And. Anyway. I guess you learn. Your mistakes. And. This is what. This shoot was all about. Like. Doing a. Try. And. Do some errors. Now that I can do them. And avoid them in the future. So. If you've seen some photos. During this video. Perfect. If you haven't seen any. Well. It will be better next time. They are big and. Old and. Pretty complicated cameras. So. It's okay. I will solve it. So. For the moment. I will see you in the next video. Hopefully with this. Panoramic beast again. And we see what we can do. So. A few days later. I went for another hike. In another part of the Dolomites. And this time. I took all the time and care. When loading the film. Looking back at the footage. I realized that the pin. Under the camera. Was not locked in. When I started loading the film. Which is probably why. The camera never took. A single shot. This time. Everything ran smoothly. And I was blown away. By the overall quality. Of the scans. You can see here. The entire negative. Which is actually. Around 6 by 18. Stretching over three. Regular frames. With a massive. 28,000 by 10,000 pixel. Resolution. Which is around. 280 megapixels. The image quality. Is just insane. We then walked along. And found this incredible spot. Where you could look down. On the valley. With some iconic mountains. In the background. The panoramic format. Was a great fit. Big heat clouds. Were rolling in. And moving away all the time. So it was a matter of patience. And endurance. To get the right light. I took the first shot. And definitely included. A little bit too much sky. I decided to go for another shot. And test the circular ND filter. Which comes with the camera. It is supposed to compensate. For the harsh dark vignetting. Typical of this lens. And it stops down the light. In the middle of the lens. By two stops. I also like the composition more. Having lowered the tripod a touch. I did see some differences. In the corner of the image. Particularly. In the bottom left corner. Where this time. The exposure turned out. To be much better. We then walked down. Right in the valley. I photographed before. And found one last shot. To finish the roll. The colorful meadow. And the iconic rock walls. Of the Valllunga. Made for a fantastic shot. Thanks again to Yanis. From Wiscan Film. If you need high quality scanning. Please check it out. You can find it on Instagram. At Wiscan Film. And on its own website. I was finally relieved. When I got all the scans. Back from the lab. The camera is working great. And I'm one step closer. To my very personal photography project. But more about that. In the future. Until next time. Ciao.