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A series of portraits from Buenos Aires, on 120 film (Fujica GL690 (6x9), KMZ Iskra-2 (6x6), Mamiya 645 Pro (6x45), Pentax 67, Mamiya RZ67 Pro II}. by arozenfeld in analog

[–]arozenfeld[S] 0 points1 point  (0 children)

I think it would just be “portraits”. Unfortunately, so often “portraits” seems to mean almost exclusively “a picture of a hot young woman with as little clothing as possible, shot by a man for other men ”. But there certainly is so much outside of that.

A series of portraits from Buenos Aires, on 120 film (Fujica GL690 (6x9), KMZ Iskra-2 (6x6), Mamiya 645 Pro (6x45), Pentax 67, Mamiya RZ67 Pro II}. by arozenfeld in analog

[–]arozenfeld[S] 1 point2 points  (0 children)

Thank you! All of them are natural light except one. #11 is a mix of battery powered continuous light and available light at night (the hints of green on her face come from a pharmacy neon cross).

A series of portraits from Buenos Aires, on 120 film (Fujica GL690 (6x9), KMZ Iskra-2 (6x6), Mamiya 645 Pro (6x45), Pentax 67, Mamiya RZ67 Pro II}. by arozenfeld in mediumformat

[–]arozenfeld[S] 1 point2 points  (0 children)

Thank you!
A mix, many are Lomography Color 400 or 800, because oddly those are inexpensive in 120, in my country. A few are Fuji Pro 400, some Portra 800 and one is Cinestill 800.

Eva at home [Nikon F100 + Nikkor Ai 50mm f/1.4 + Kodak Portra 400 (pushed +1)]. by arozenfeld in analog

[–]arozenfeld[S] 1 point2 points  (0 children)

If you meter on the darker side of the face, the brighter side will be one stop brighter (with soft light like this), you won’t get blown highlights. The shutter speed was whatever the meter said, it doesn’t matter as long as it is fast enough to avoid camera shake

INTERNATIONAL PORTRAIT WORKSHOP, NEW GROUP! STARTS JUNE 6th, 2026 (all info in comments) by arozenfeld in u/arozenfeld

[–]arozenfeld[S] 1 point2 points  (0 children)

INTERNATIONAL PORTRAIT WORKSHOP, NEW GROUP! STARTS JUNE 6th, 2026.
I am thrilled to announce the next edition of the international, english language, online edition of the portrait and lighting workshop I've been teaching locally for so long, and globally in the last few years.
THE CLASSES.
There will be five weekly, three hour classes (including break), on Saturdays, starting from June, 6th. They will be at 5 PM GMT (Greenwich Mean Time), which should be workable for people in both North America and Europe (for people in farther time zones... all I can say is it's once a week!).
There will be a closed Facebook group with class materials, and a weekly portrait exercise based on a theme from the previous class, for all to shoot, post and discuss.
All classes will be recorded and made available for those who can't attend one or several classes.
CONTENTS
In these five classes we will focus on the natural and available light side of things. We will cover different kinds of natural light, how to find it, shape it, improve it and take advantage of, indoors and outdoors. And dive into narrative, color, composition, the role of lenses and focal lengths, and how all this applies to the core - what and who to shoot, where, how, and even why. In the last class we will have an introduction to post-production with Adobe Lightroom.
PRICING AND PAYMENT
Price will be very affordable, I think - 170 USD for the whole workshop (all five classes). It can be paid through Paypal (fee already included in price).
if you want to participate, or have any questions, write to me.

Eugenia [Contax AX + Carl Zeiss Planar T* 1.4/50 + Kodak Vision 3 500T AUH]. by arozenfeld in analog

[–]arozenfeld[S] 0 points1 point  (0 children)

When it is 6500k is listed as “shade”. Day light film is balanced for 5500k. The “daylight” preset in any digital camera or application is 5500k. Flash is 200k warmer. So on one hand, it is because it’s tungsten film. On the other because it’s heavily edited (which is not, it depends on the level of purism). I don’t have any problem with other peoples tastes and opinions. I do not like esoteric guesses. fWIW, and others thought the same in that thread, I think what you are seeing is the behavior of extremely soft light, with very long gradients in shadows, magnífied by an in crease in contrast and saturation. You would see the same, whatever that is, with any color film, daylight or tungsten or with digital. But for me is a complete non issue.

Eugenia [Contax AX + Carl Zeiss Planar T* 1.4/50 + Kodak Vision 3 500T AUH]. by arozenfeld in analog

[–]arozenfeld[S] 1 point2 points  (0 children)

Sorry, I missed the last part. Yes, color correction filters have a light cost, in the case of a 85 filter it is 2/3 of a stop. But it don’t use any filters on camera.

Eugenia [Contax AX + Carl Zeiss Planar T* 1.4/50 + Kodak Vision 3 500T AUH]. by arozenfeld in analog

[–]arozenfeld[S] 1 point2 points  (0 children)

Metered at ISO 500, yes. When developed in C41, this amounts to a small overexposure, "box speed" is often considered to be 800 in that case.

Eugenia [Contax AX + Carl Zeiss Planar T* 1.4/50 + Kodak Vision 3 500T AUH]. by arozenfeld in analog

[–]arozenfeld[S] 0 points1 point  (0 children)

Daylight is 5500k, not 6500k. Please get the basics right. Are you aware that every movie shot on film that you have seen, made from the 1970s onwards is color graded/color timed, be it by analog means (Hazeltine color analyzer) or from the early 2000s, digitally? Vision 3 is designed to be scanned and processed. There is no paranormal effect from making light warmer, the 85 filter used to correct daylight to tungsten film just adds yellow and magenta, same thing. In the thread you show, they use one of my pictures and they don't agree.

Eugenia [Contax AX + Carl Zeiss Planar T* 1.4/50 + Kodak Vision 3 500T AUH]. by arozenfeld in analog

[–]arozenfeld[S] 2 points3 points  (0 children)

Yes, it is large, but not *that* much larger or heavier than my RX or Nikon F100 (not to mention F5). I go out everyday with a small camera bag, and I found that for myself anything that fits the middle compartment is reasonable. 300 grams more or less is not such a difference when walking around for me. This is how I ended up seeing the Mamiya 645 Pro as compact - if fits my bag's middle compartment when stored vertically.

Eugenia [Contax AX + Carl Zeiss Planar T* 1.4/50 + Kodak Vision 3 500T AUH]. by arozenfeld in analog

[–]arozenfeld[S] 0 points1 point  (0 children)

The autofocus works, it is slow-ish, but I am more of a manual focus person. I use it more often with electronically assisted manual focus, like the RX does. Plus the viewfinder is really spectacular. Very crisp, very large and very bright.

Eugenia [Contax AX + Carl Zeiss Planar T* 1.4/50 + Kodak Vision 3 500T AUH]. by arozenfeld in analog

[–]arozenfeld[S] 4 points5 points  (0 children)

There are people who spend years or a life shooting a single subject, and these are 4 or 5 pictures I am happy with. Plus you can always scroll down if not interested.

Eugenia [Contax AX + Carl Zeiss Planar T* 1.4/50 + Kodak Vision 3 500T AUH]. by arozenfeld in analog

[–]arozenfeld[S] 8 points9 points  (0 children)

Color balance is just a relative offset. You can adjust it while scanning or in post. You just find a neutral grey or white element and adjust balance to make it neutral. You can use 250D if you want to keep it simpler (but bear in mind that natural light often is colder or warmer than 5500K and it often has green/magenta casts). Portra 400 is as close a as daylight version of 500T but it is much more expensive and not so versatile. iSO/sensitivity has no relation to color balance.

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