#Nikkor 135/2.8
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flickr
Cross town traffic by J Radcliff
Via Flickr:
Nikon F3, Nikkor 135/2.8, Lomography Redscale XR@125
#Nikon F3#Nikkor 135/2.8#lomography redscale xr#35mm#slr#film photography#color film#emulsion#redscale#film grain#midwest#rust belt#industrial#power lines#utility poles#electricity#cross town#traffic#compression#telephone poles#telephoto lens#urban landscape#skyline#horizon#vertical#analog camera#prime lens#street#flickr
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Passing scenery in Cahors, France. 2022.06.29 by r~
Via Flickr:
Nikon FM2n Nikkor 24mm f/2.8 ai Kodak Portra 400 2022086-13a
#Nikkor 24mm f/2.8 ai#Kodak Portra 400#Analog#Film#C41#Color negative#color film#135#35mm film#France#Travel Photography#Europe#Cahors#flickr
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என் பெயர் Ryo
VanDyke Brown print made on an old photographic enlarger directly from an analog film (35mm negative film) without using a conventional contact printer and digital negative processing
Kate Dore (1862)
----
Printed on a plaster plate (matchbox size) / exposed for 3 min (after development, the surface was coated with UV resin)
Sensitizer: VanDyke Brown print solution / The photosensitizer was made into a viscous emulsion (allows the sensitizer to be uniformly dispersed) by adding professional white medium and applied to the plaster plate with a brush.
----
Fixing agent: Citric acid solution & sodium thiosulfate solution
Toning: none
Enlarger: Lucky Attache-35 (EL-Nikkor 1:2.8 f=50mm)
Film carrier: 35mm carrier
Negative film: 35mm (135) film (Fuji Acros 100) transferred from a digital image (taken from an antique collotype postcard) with a film recorder (Polaroid Digital Palette HR 6000)
Light source: High power (50w) UV LED unit (SMD=surface mounted LED modules)
New group was created. If you like, please join.
[www.flickr.com/groups/cyanotype_wenlarger]
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என் பெயர் Ryo
VanDyke Brown (& anthotype) print made on an old photographic enlarger directly from an analog negative film (135 film) without using a conventional contact printer and digital negative processing
flapper girl
----
Printed on Cotman Water Colour Paper postcard size Fine pre-coated with turmeric pigment extract liquid / exposed for 30 min
Sensitizer: VanDyke Brown print solution & turmeric pigment (anthotype)
Fixing agent: Citric acid solution & sodium thiosulfate solution
Toning: Bostick & Sullivan Gold toning kit (Ammonium Thiocyanate / Gold Chloride) for VanDyke and borax for anthotype
Enlarger: Lucky Attache-35 (EL-Nikkor 1:2.8 f=50mm)
Film carrier: 35mm carrier
Negative film: 35mm (135) film (Fuji Acros 100) transferred from a digital image (taken from an antique collotype postcard) with a film recorder (Polaroid Digital Palette HR 6000)
Light source: High power (50w) UV LED unit (SMD=surface mounted LED modules)
New group was created. If you like, please join.
[www.flickr.com/groups/cyanotype_wenlarger]
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Nikon D80 AF Zoom-Nikkor 80-200mm f/2.8 ED ƒ/4.5 116.0 mm 1/500 100 さて、ミゾソバその２でございます。 Nikon D80 AF Zoom-Nikkor 80-200mm f/2.8 ED ƒ/3.2 80.0 mm 1/250 100 これは何？？ Nikon D80 AF Zoom-Nikkor 80-200mm f/2.8 ED ƒ/2.8 135.
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Nikon f 401 mode d'emploi samsung galaxy trend
NIKON F 401 MODE D'EMPLOI SAMSUNG GALAXY TREND >> DOWNLOAD LINK
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Nikon f2 photomic bedienungsanleitung target
NIKON F2 PHOTOMIC BEDIENUNGSANLEITUNG TARGET >> DOWNLOAD LINK
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-prices/lot/a-b-s-a-22-l-r-martini-action-target-rifle-no-47903-4lc4ePKnxe barnebys.de/realized-prices/lot/nikon-f2-photomic-no-7771919- Cine camera maker, using Revar f2.8/12.7mm lenses about 1951. Rex, France. 55mm This was made for the Singlex SLR with Nikon type bayonet. EX++ OLYMPUS OM-1BLACK BODY/F. · Konica Autoreflex TC 35mm SLR AR mount, Body, guter Zustand · Nikon F2a noir numéro 7834811 avec viseur Photomic + Nikon 50 F2. NIKON F2 SILBER + DP-1 PHOTOMIC SUCHER MIT OVP FILM ANALOG SPIEGELREFLEXKAMERA. EUR 151,00 Bedienungsanleitung Nikon FE10 FE-10 fe10 Instructions. Sigma Super-Wide Macro Super Wide II 24mm 1:2.8 24 mm Multi-Coated - Nikon AF /* BASE */ body { height: auto; width: auto; color: #000; font-family: Wb 388 bedienungsanleitung target · Kenwood kdc 6051u bedienungsanleitung deutsch · Nikon f2 photomic bedienungsanleitung galaxy · Cad draw 9 handbuch zurCamera battery door cover lid cap replacement part for Nikon D5100 enA RCUOU Je target "+" mark and white surfaces of this focus board have their own 6,5x9 Nikkor Idea Hand Camera 6,5x9 Idea Hand Camera 8x10,5 Idea Pocket A-1 Nikon F2 chrom Nikon F2 Data Nikon F2 H Nikon F2 Photomic chrom Nikon F2
https://xilolojuwaf.tumblr.com/post/693212111020621824/aastra-office-135-pro-bedienungsanleitung-samsung, https://nesobuhikena.tumblr.com/post/693212427761909760/singer-symphonie-v-bedienungsanleitung-w724v, https://mujixepapa.tumblr.com/post/693212015455567872/bwt-aqa-smart-c-bedienungsanleitung-target, https://nesobuhikena.tumblr.com/post/693212491708235776/delonghi-vh-300-bedienungsanleitung-panasonic, https://nesobuhikena.tumblr.com/post/693211963413741568/privilege-30520-bedienungsanleitung-brother.
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“crop factor”
I am going to link to a nerdy B&H article that explains this far more thoroughly than it really needs explained, but because of a conversation i just started infodumping into @sonnetsandswingouts‘s mentions (sorry), I was inspired to go look this up.
This is about digital photography. This is about when you’re shopping for lenses. The focal distance on the lens tells you whether it’s a wide-angle or telephoto lens or what, but the numbers are not absolute; lenses are designed for different cameras, and the effective focal distance on your camera is going to depend on some things. So people talk about “the crop factor”, and that article explains it, but to sum up--
A “full-frame” digital camera, or a 35mm film camera, both have imaging areas that are the same size. A “crop-sensor” camera, which for a long time was the default in digital but a few years back they realized they could make big bucks making normies pay extra for full-frame sensors (formerly the provenance exclusively of studio professionals), has a slightly smaller sensor. So your lens, if it is designed for a full-frame camera, will have a slightly different effective focal distance on a crop-sensor camera, and vice versa.
(Every manufacturer has a different way of denoting this, but an easy shorthand, if you’re in the biz, is to recognize that certain numbers only make sense for one or the other. Your 28mm lens is amost certainly full-frame. Your 18? That’s for a crop-sensor.)
(A further confusing factor: mirrorless or compact cameras with interchangeable lens systems, such as the Sony NEX, Nikon Z, uhhh, there are others, but I don’t care about them. Fortunately, usually they have much different mounts, so the lenses aren’t compatible, so it doesn’t cross over or matter, excepting adaptors, which are a whole thing I’m so disinterested in I can’t summon the energy to explain.)
Lenses that are in compatible mounts (Canon EOS, Nikon AF-S) will work on both kinds of cameras. I own a number of full-frame lenses, some of which date from the film era, which I use on my crop-sensor camera body.
A general rule of thumb is that crop-sensor lenses are shite on full-frame cameras. (You can’t use the whole sensor. so why have the whole sensor? don’t bother with this lens.) The converse rule of thumb is that often your full-frame lenses are a waste of money on your crop-sensor cameras, since you’re only using the middle of the lens.
Part of it is that you pay extra for wide-angle in a crop-sensor. So don’t. Your all-in-ones-- (28-75, 24-70, 28-135) are not going to be useful at their wider range, because they won’t look wide-angle with your wee sensor.
But your lovely prime lenses (those are the ones with one number-- a 28mm f/1.8, a 50mm f/1.8 [for many years the default, before they invented zoom lenses; they were called “nifty fifties”], a 105mm f/2.8-- those will still be lovely on your crop-sensor camera.
So don’t buy a 28-135 for your crop-sensor DSLR, because you’re paying for a wide angle you can’t use. Buy an 18-200. (I recommend image stabilization, or VR or IS or VC or whatever the manufacturer calls it.)
If you want example images, ha ha ha, well. Do I have recent ones? No. But my entire Flickr is example images, and a great thing about Flickr is that they include the EXIF data, so it tells you what camera took the photo with what lens and what flash, if applicable, and what the settings were.
Nikkor 10.5mm f/2.8 fisheye-- this is a crop-sensor lens, and it would vignette badly on a full-frame. (Oh this is probably my favorite photo I’ve ever taken with this lens, though.)
Tamron 18-270mm all-in-one-- a crop-sensor lens, which is notably not fantastic at its extreme telephoto end but is pretty fantastic up to about 200mm, and i bring it everywhere. That first photo is at 18, this one’s at about 220, and here, alas, is at 270, where it has kind of fallen down, but it was a big ask. (Honestly though that’s better than no photo!)
My usual low-light or indoor lens is a 17-50mm f/2.8 VC, which I think is a Sigma brand-- the VC is image stabilization, which is super helpful if you’re going to shoot at slow shutter speeds. I have used it to good effect for nighttime shots.
And I have a whole stable of fast glass-- prime lenses with huge apertures-- that were super essential back when I was shooting indoor sports with a slower camera body. But in 2013 or so they hit that point where camera sensors are fast now, and that glass isn’t necessary anymore, not in the same way. I hang onto it because they take beautiful pictures, but they need so much premeditation-- I joke that I always have the wrong lens on my camera, and more often than not that wrong lens is my beloved 85mm f/1.8, because I love that lens because it has gotten me some really beautiful shots in my day and everything looks beautiful through it, but if your subject comes closer well you’re shit out of luck. (It’s the shallow depth of field, it’s how you can pick a thing and isolate your subject, that’s what makes fast glass worth it. nowadays your phone does that with a filter but it fucks it up half the time.)
Anyway if anyone has questions about what the numbers on lenses mean it’s a while since I was on the sales floor but I very much do still work in a camera store, LOL.
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Leo Mol Sculpture Garden (7)
Title: Leo Mol Sculpture Garden
Location: Winnipeg, Manitoba, Canada
Date: 2016-2017
Camera: Nikon D600 / Nikon D750
Lenses: Nikkor 28-300mm f/3.5-5.6 / Micro-Nikkor 105mm f/2.8
Focal Lengths: 105-135 mm
Apertures: f/3.2-f/8
Exposures: 1/500 – 1.3s
ISO: 100
See more of my photography!
“Very moving, especially in the artful way it shows the connection between all life and the world.”…
View On WordPress
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#196 — Saturday, March 14th, 2020 — Ryan Ellis Photography - Detroit Street Photography Session #196 — Nikkor 24mm f/2.8 (ca. 1971) - Nikkor 135 f/3.5 (ca. 1981) - Lindsey B. - Fox Theatre Time-lapse - LED Light Portraits - Chinese Coronavirus
Arrived @ 12:30 PM
Departed @ 10:15 PM
407 photos (and 13 videos) taken over the course of a cold and giddily-goofy 9¾ hours with a whopping 61 “keepers” among them, rendering a expertly 15% “success” rate and a plodding 41.74 shots per hour (I aim for at least a 10% “success” rate and at least 100 shots per hour).
#Lindsey B#LED Light Portraits#Detroit#Coronavirus#COVID#COVID-19#Ghost Town Detroit#Detroit Ghost Town#Chinese Coronavirus#Wuhan#Wuhan Virus#Flower Man#St Patrick's Day#Saint Patrick's Day#Hart Plaza#Renaissance Center#GM Building#Everything Was Canceled
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バイトその2
le vendredi 15 février / 2019年2月15日(金曜日)
きょうは研究協力のために大学へ。今，研究室にいます。朝，現像されたフィルムが届いていたので早速見てみました。後ほど載せますね。
間も無く先生が来て，実験室に案内してくれました。眼筋の測定。以外に集中力が必要でした。単調な実験だからと，先生がYouTubeで洋楽をかけてくれました。Shape of Youとか，Maroon 5のSugarとか，Countn’ starsとか。スタンダードナンバー(?)
数十分後，
「どんな曲が好きなの？洋楽？邦楽？声入ってるやつ？」
「ん～，リクエストしても良いですか。」
「良いよ。」
というわけで早速。
ベートーヴェン 交響曲第9番(カラヤン指揮，ベルリンフィル)を。
「カラヤンのってありますか？」
「ああ，丁度カラヤンのが出たよ。ベルリンフィル...去年解禁されたんだね。1968年の録音...50年前か..」
全楽章を鑑賞しました。圧巻です。いつもは通学のBGMとして聞いてはいますが，鑑賞したのはOEKによる生演奏以来。
続いて，
シューマン ピアノ協奏曲イ短調(アバド指揮，P:ポリーニ)
先生「色々あるよ。ツィマーマン，マルタ・アルゲリッチ，アンドリュー・フォン・オーエン，クラウディオ・アバド / マウリツィオ・ポリーニ...ポリーニ有名だよねえ。」
わざわざスピーカーを接続して再生してくれていました。
音楽もそうですけれど，良い体験が出来ました。眼の周りに電極を貼り付けたりして，楽しかったです。写真撮ってもらえば良かった...。
あと，時々広告が入ってくるのが楽しかったです。ローソンの「ちょい乗り自動車保険」。動画がYouTubeの公式チャンネルに上がっていました。しかも，今日アップロードされたばかり。
BGMの合間に何度も聴いたので耳に残っちゃいました。楽しいCMではありませんか。最初はラジオか何かかな？と思ったのですが，広告だったのですね。古めかしい意匠で制作されていて，音だけ聞いているとラジオ感があります。
帰りは学内の郵便局へ行って，フィルムの現像料の振り込みを済ませました。
大学会館で，オケがパート練習をしているのを目撃。大きな弦楽器やフルートなどきらびやかでした。
カモを一羽だけ観測できました。貯水池みたいな所に群れで泳いでいるのです。以前撮影した写真がこちら。
ｶｼｬｯ!
今朝届いたばかりの銀塩写真です。
バスで帰ります。
カフェには行けず。また来週にでも行きましょう。
段々とライトが目立つようになってきます。
駅から家まで，ガクッと落ち込みましたがそれ以外はとっても健康でした。
明日もこの調子でレポートを頑張りましょう。
ではお約束どおり，フィルム写真をご覧に入れます。待たせたわりには全然大したこと無いのですけれど。
フィルムもカメラもレンズもいつも通り。
ASA100の業務用フィルム(135-24) / ニコンFM / AI NIKKOR 50mm F1.8 S
綺麗でしょ！弟をバス停まで迎えにいった時に撮ったのです。三脚を持ってこなかったので車の屋根にカメラを固定して，50mmのレンズでF値を1.8⇒2.8にし，シャッターを30秒間 開けっぱなしにしました。
気軽に撮った天体写真ですけど，今までで一番うまく撮れたし撮っているときも楽しかったです。やはり気軽に撮れるのが性に合っているようです。三脚を立ててフードを付けてレリーズを付けて...と重装備だと失敗が許されない気がして..。
冬は空が澄んでいるのでまたチャレンジしたいです。
ゼロ枚目。フィルムの最初の一コマには不思議な愛着を覚えます。感光していて写っていない範囲があるのが他の24枚とは違うので。いつか0枚目だけ集めて写真展に飾ってあげたいです。
雪が積もった日，嬉しくて何枚も撮っていました。晴れていると雪が輝いて見えて美しいです。
デパートの屋上に昇った時のものですね。色々なアングルを試していたのでした。
いつもとは別の道を通ってカウンセリングに行った時。
夏には青々とした並木になって，壮観です。いつか��達をポートレートしようと思います。
香林坊で夜景を撮るときの定番スポット。
兼六園で撮ったものですね。
余談ですが，兼六園の近くに小立野という街があって，散歩したいなあと思っています。
冒頭でも触れたように，今回は格安現像サービス「超プリ！」を提供してくれるサンキューフォトさんにフィルムの現像&データ化をお願いしました。火曜日に送ったら水曜日に着いて仕上がり，金曜日(；今日)に受け取れるという快速。画像は茶色を基調としたトーンで，コダックの同プリを思い出させます。
早いし郵便振替も現金で出来るので，気軽に頼めるお店です。
それに，何と云っても安いです。カメラ屋さんで現像+データ化を頼むと1,100～1,300円はかかるのに対し，2本まとめて送ると
超プリ：726円 気軽，早い
プリネットワン：625円 綺麗!!
と，爆安。
ネットのラボは安くて良いですね！ハマりました。
そういえば今日は，
小さな女の子を連れたご夫婦とすれ違いました。お二人とも一眼を提げていて，女の子の手にも何と，「写ルンです」が ! 良いなあと思いました。無事に大きくなってくださいね。
バスに乗るとき。すぐ近くの教会から鐘が聞こえてきて，時計を見ると正午でした。良い音色！
ほんの些細なハッピーなことを大切にしまっておきます。何より，生きるための灯し火になります。
来週は木曜以外はずっと家に籠もります...。再び空虚感に襲われるのでしょうか。でも，お散歩したり映画観たり，楽しいと思うことをやって上手に気分転換したいです。絵も良いですね。
とにかく明日はレポート頑張りますね。
M Bはこれからお風呂に入って眠ります。
おやすみなさい。
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flickr
Dissipate by J Radcliff
Via Flickr:
Nikon F3, Nikkor 135/2.8, Lomography Redscale XR@125
#Nikon F3#nikkor 135/2.8 ai#lomography redscale xr#35mm#slr#film photography#redscale#reverse#emulsion#base#analog camera#prime lens#telephone poles#telephoto lens#utility poles#electricity#grid#infrastructure#midwest#rust belt#industrial#urban#wires#metal#wood#copper#vertical#stand#power#lines
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Nikon Z 70-200 F/2,8 Vr S
Tieniti sempre pronto. Grazie alla gamma di lunghezze focali di 70-200 mm, alle ottiche avanzate e a una protezione completa delle condizioni atmosferiche, questo luminoso obiettivo mirrorless a pieno formato copre tutti gli utilizzi di base. A prescindere che lo utilizzi per riprese sportive, di eventi reportage, la struttura eccezionalmente compatta ti consente di andare lontano.
PROFESSIONALE
70–200 MM
DIAFRAMMA FISSO
F/2.8
TRATTAMENTO
ARNEO
QUALITÀ
S-LINE
DISPLAY
OLED
Pronto per qualsiasi missione
Indipendentemente dal fatto che tu stia acquisendo l'azione con immagini fisse o con un video, l'obiettivo NIKKOR Z 70-200mm f/2.8 VR S sarà sempre all'altezza. La messa a fuoco è fluida, veloce e silenziosa e tutti i componenti della scena vengono resi con una nitidezza eccezionale. Puoi controllare i parametri di ripresa direttamente dall'obiettivo. Inoltre, la struttura è sufficientemente robusta da resistere all'usura dell'uso professionale quotidiano.
Bellissimo effetto bokeh
L'ampia baionetta Z-Mount e l'apertura costante a 9 lamelle circolare f/2.8 consentono prestazioni entusiasmanti in qualsiasi condizione di luce. Questo teleobiettivo zoom ti garantisce anche un effetto bokeh dall'aspetto naturale, uniformemente sfumato ai bordi del fotogramma.
Oltre la nitidezza
La nitidezza è eccezionale in tutto il fotogramma, anche durante le riprese alla massima apertura o a distanza ravvicinata. La distanza minima di messa a fuoco è di soli 0,5 m all'estremità più ampia della portata dello zoom e di 1 m all'estremità del teleobiettivo.
Addio alla luce parassita dell'obiettivo
Il rivestimento Nano Crystal Coat e quello ARNEO contrastano gli effetti dell'immagine fantasma e della luce parassita. Le lenti ED e SR di Nikon contrastano l'aberrazione cromatica. Inoltre, la lente SR compensa la luce blu, più difficile da controllare. Di conseguenza, avrai immagini più nitide e con un contrasto migliore.
Pronto per il video
Se la tua storia necessita di un video per comunicare al meglio, sarai certo di ottenere un controllo preciso sulle riprese. Il pannello informativo dell'obiettivo presenta una scala della profondità di campo, per consentirti di determinare con facilità la distanza minima e quella massima in corrispondenza di qualsiasi valore f/. La variazione della lunghezza focale è sempre presente e il controllo uniforme e stabile dell'apertura segue le modifiche naturali dell'esposizione in tutta la scena.
Caratteristiche tecniche
Tipo
Baionetta Z-Mount di Nikon
Formato
FX/35 mm
Lunghezza focale
70-200 mm
Apertura massima
f/2.8
Apertura minima
f/22
Schema ottico
21 elementi in 18 gruppi (inclusi 6 elementi obiettivo ED, 2 elementi asferici, 1 elemento in fluorite, 1 elemento obiettivo SR, elementi con trattamenti Nano Crystal Coat e ARNEO e un elemento obiettivo anteriore con trattamento al fluoro)
Angolo di campo
Formato FX: 34° 20'–12° 20', formato DX: 22° 50'–8°
Scala delle lunghezze focali
Graduata in millimetri (70, 85, 105, 135, 200)
Sistema di messa a fuoco
Sistema di messa a fuoco interna
Distanza minima di messa a fuoco
Posizione dello zoom da 70 mm: 0,5 m, posizione dello zoom da 85 mm: 0,63 m, posizione dello zoom da 105 mm: 0,68 m, posizione dello zoom da 135 mm: 0,8 m, posizione dello zoom da 200 mm: 1,0 m (misurata dal piano focale)
Massimo rapporto di riproduzione
0,2x
Riduzione vibrazioni
Sì. Decentramento ottico con motori voice coil (VCM)
Numero di lamelle del diaframma
9 (apertura circolare del diaframma)
Dimensione attacco filtro
77 mm (P = 0,75 mm)
Diametro x lunghezza (estensione dall'innesto dell'obiettivo)
Circa 89 mm di diametro massimo x 220 mm (distanza dalla flangia di innesto obiettivo della fotocamera)
Peso
Circa 1440 g (con il collare del treppiedi), circa 1360 g (senza il collare del treppiedi)
Autofocus
Sì
Messa a fuoco interna
Sì
Messa a fuoco
Auto, Manuale
Accessori in dotazione
Tappo dell'obiettivo LC-77B (tappo anteriore), tappo dell'obiettivo LF-N1 (tappo posteriore), paraluce HB-92, custodia per obiettivo CL-C3
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Photo
என் பெயர் Ryo
Cyanotype print made on an old photographic enlarger directly from an analog film (35mm negative film) without using a conventional contact printer and digital negative processing
Gladys Cooper (18 December 1888 – 17 November 1971) , an English actress
----
embossed with "gemini" by Crafter's Companion
Printed on Cotman Water Colour Paper name card size Fine / exposed for 1hr
Sensitizer: Jacquard cyanotype kit (Potassium Ferricyanide & Ferric Ammonium Citrate)
Toning: none
Enlarger: Lucky Attache-35 (EL-Nikkor 1:2.8 f=50mm)
Film carrier: 35mm carrier
Negative film: 35mm (135) film (Fuji Acros 100) transferred from a digital image (taken from an antique photo postcard) with a film recorder (Polaroid Digital Palette HR 6000)
Light source: High power (50w) UV LED unit (SMD=surface mounted LED modules)
New group was created. If you like, please join.
[www.flickr.com/groups/cyanotype_wenlarger]
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Photo
என் பெயர் Ryo
Cyanotype print made on an old photographic enlarger directly from an analog film (35mm negative film) without using a conventional contact printer and digital negative processing
Gladys Cooper (18 December 1888 – 17 November 1971) , an English actress
----
framed with "gemini" by Crafter's Companion
Printed on Cotman Water Colour Paper name card size Fine / exposed for 1hr
Sensitizer: Jacquard cyanotype kit (Potassium Ferricyanide & Ferric Ammonium Citrate)
Toning: none
Enlarger: Lucky Attache-35 (EL-Nikkor 1:2.8 f=50mm)
Film carrier: 35mm carrier
Negative film: 35mm (135) film (Fuji Acros 100) transferred from a digital image (taken from an antique photo postcard) with a film recorder (Polaroid Digital Palette HR 6000)
Light source: High power (50w) UV LED unit (SMD=surface mounted LED modules)
New group was created. If you like, please join.
[www.flickr.com/groups/cyanotype_wenlarger]
0 notes
Video
flickr
FM2N Daisies, film
Nikon FM2N, Nikkor 135/2.8, Rollei RPX 25, Perceptol.
70 notes
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