膠片攝影 柯達炮塔400+徠卡M6：加州街頭膠片日記

今天我們在加勒佛尼亞 一個叫Pismo Beach的地方 Leica M6 50mm鏡頭 來拍攝這個恐怖的場景 我會拍幾張照片 還有幾張在橋下 然後我們要去吃午餐 因為今天是5個小時的車程 這是我的朋友 今天天氣很好 我會在你的肩膀上拍照 女士在讀書 美國國旗 在這旁邊 Pismo Beach Leica M6 很恐怖 這是我遇到過最多戲劇性的場景 有孩子在水中玩 看起來就像是一部荷里活戲劇 你看到的地方 就像是一個製作團隊 出來把一切都拍下來了 或者你早上很早就要拍攝 景色看起來很棒 早上 一般來說 沒有人在做任何事 沒有東西開 所以你可以拍到水中的美景 但是 我們今天遇到的非常獨特和酷炫的場景 這是一個很棒的相機 我現在很喜歡這個相機的原因 因為它給了我幾個額外的鏡頭 如果我拍攝6-7的相機 我可能只會得到10個鏡頭 36個鏡頭給了我更多的彈性 尤其是有人從數碼到電影 是很好的 有額外的鏡頭 你習慣了 幾乎無限的鏡頭 所以你把自己放在一個小的箱子 但不像是最小的箱子 我覺得這是一個很好的開始 這裡只有一個鏡頭 如果他們駕駛過來 就在這裡 但是在遠處 我覺得這有點成功 80%我正在尋找的 沒有設定方向 所以我會接受 我覺得我需要眼鏡 很明亮的霧 我們正在尋找一些我不知道的東西 叫做Pismo Wrap 我們在進入路上看到 然後我們看了Google 評價看起來不錯 照片看起來不錯 所以我們要吃 然後我們就要看 這是Pismo Wrap 在它所有的榮耀中 裡麪包含了Curly Fries 還有一塊Curly Fries BBQ Avocado 芝士 確實蠻巨大的 我不明白他們 可以做到這麼低成本 10比10 我完全不知道 我們要怎麼吃完 Marshall也吃了 哦 嗨 你好 如果你想學到相機 你正在學到相機 你要拍照嗎 我喜歡這張照片的兩個元素 棵樹在這裡 我最討厭的元素 是海灘足球場 但是 我們無論如何都要試 你知道嗎 足球場在玩 Marshall有些正常的事要做 所以他在手機上 在湖邊 這張照片是他 我走了一圈 拍了一張鳥 無所謂 這張很不錯 這張有變化 我再拍幾個步驟 我比較喜歡 這張我以為會很好 但還好 這張我不知道是什麼 但我給你看了一切 這張照片 這是我最喜歡的照片 整個角落 也許是我最喜歡的照片 從整個加州 所以 對 很高興這張照片合成 我想要擴闊一點 也許我不擴闊 也許我開心 因為兩輛車停在外面 不太好 這輛車很漂亮 我心裡想 不要拍太多 你會拍太多 然後我會拍太多 你知道嗎 很漂亮 在街上 也很漂亮 很享受在 Pismo Beach 我從來沒聽過Pismo Beach 我們在Google地圖 我們選了一個隱藏的城市 我們從來沒去過 在加州和新加坡之間 我們要去的地方 我會說 我很高興我們做到了 我們絕對會回來 不高興那兩張照片 但下一張照片 沒問題 這就結束了 Portrait 400 謝謝你參加 兩分鐘 很合理 很暗 湖很恐怖 很像萬聖節 湖面的感覺 我們在享受 然後看到這個場景 我們覺得不錯 我們該去嗎 然後我們很努力去討論 我們覺得不值得 但是最後 我們認為值得 然後我們到了 我用手機錄影 是否很難 upon. I feel like it's accurate in my experience and in a scene like this. I want to be as accurate as possible and I kind of want to check it at least like if if my phone light meter is saying that I need two seconds and then this is saying that I need two seconds. I feel like we have a an agreement and I'm happy with that. I'm also going to take this filter off the front. Um, it's just a UV filter, but I feel like when you're dealing with situations like this, you want to clean of light as possible. And I forgot my cable release. That's okay. There we go. Great frame. Had to crop it because there are some garbage cans in the foreground. Let's continue on. Here we are parked beside the sanitizer station that just is in the center of the pier and we're gonna wait for a bit of a clearing here. And you know what? I'm gonna have to get a little bit tighter to the lights. So we're gonna walk this way. This is one of those photos that I'm like, ah, maybe I like that. And then I frame it up and 50 was just a little bit too telephoto. And now just like the situation of us trying to convince ourselves not to do it and ending up out here, I'm going to take this photo on the 28. You know you have those, uh, the focal lengths where you just can walk up and you just know exactly where you're at. 28 is not one of them for me. So the way I'm composing this image in the bottom section, I don't know if it's rule of thirds necessarily. It's kind of, it's close enough. Um, in the bottom corner we were doing the picnic table and in the top corner we're doing this. I would love to have three elements. So if there just be a spooky human being in the center facing off, that'd be awesome. We're at one fourth of a second. So I think we're probably pretty good. Hit the shutter. Here we go. Three, two, one. All right. Now can you go stand like in between the two in the center? Okay, we're good. We got it. This is a scene that I have absolutely no idea how it's actually going to turn out. Uh, it is two lights in a parking lot with a car reversing and I'm hoping that the car that is reversing, uh, leaves. Oh, your white balances. You're still daytime. Yeah, I don't know. That was for pure curiosity of led lights coming back at me down this lens, uh, in a smoky environment that looks like I'm just running a mist filter, but it's, it's real life mist filter tonight here in Pismo beach. I'd rather overexpose it than underexpose it. There it is. Uh, a car entered the frame and I figured that that was my last opportunity to, uh, to hit the shutter button. This is fun. I feel like this is just all, I don't really have an idea how any of this is going to turn out. Richard photo lab obviously has a big impact on how these images look. Um, because this is a daylight balanced film and they're going to color correct for that and send it back to me. Um, so I can make obviously adjustments from that, but it is a collaborative process. This, this film shooting with them putting the film and the chemicals and then on the racks. And then I've already forgotten the process and the tour goes through the dryer up to the new racks, to the scanning. There's a lot. I understand why it costs actual money for a proper pro lab to, uh, work on your film photography. Marshall tried to develop some of these roles in his bathtub and wasn't very good. So go to Richard photo lab. Hey, so we are taking a photo of the Pismo sign. Uh, that's really cool. There's a lot of cool signage here. There's honestly too much neon happening in this, uh, frame. I don't know if it's led neon or if it's really on, but it's, uh, it's looking pretty good and I'm trying to kind of get the cleanest composition that I can, but I don't think that, uh, I don't know. There's kind of three elements going on. There's the, the Pismo sign, the Harry's sign and the, what is this? Cool cat sign, cool cat cafe. And it's telling me one 10th of a second at 2.8. So I'm going to do one eighth of a second and, uh, let's see how that goes. This is fun. You guys having fun, having fun now. I might not be having fun when I see the scans and I screwed everything up somehow, but having fun now. That was cool. That was fun. Let's see. Uh, see you next. The video is not done yet. Miss just adds a new level of just fun to take in pictures. All right. That is the role.