ezc203 Posted February 6, 2011 Share #1 Posted February 6, 2011 Advertisement (gone after registration) A friend of mine got me a Press Pass for one of the shows this coming week for the Fashion Extravaganza! And I need some serious advice! I want to shoot the entire ordeal on film. It's romantic, impractical, and I'm stubborn that's the only way I want to do it. My equipment will be the following: MP + 24 Lux CLE + 40 Cron M4-P + 90 Cron Is this excessive? Any opinions here? Also, what film what be ideal? I'm considering Portra 800 for color and Neopan 1600 for B&W and maybe some Tri-X400 (pushed). Opinions? Comments? Suggestions? Link to post Share on other sites More sharing options...
Advertisement Posted February 6, 2011 Posted February 6, 2011 Hi ezc203, Take a look here Shooting Film Backstage at Fashion Week NYC. I'm sure you'll find what you were looking for!
aesop Posted February 6, 2011 Share #2 Posted February 6, 2011 ...<snip> Suggestions? ...seriously? Grab a point and shoot, Eddie. We are talking fashion here, right? Link to post Share on other sites More sharing options...
Stealth3kpl Posted February 6, 2011 Share #3 Posted February 6, 2011 Portra 800 sounds nice. There are some examples here and some good advice. Pete Link to post Share on other sites More sharing options...
Riccis Posted February 7, 2011 Share #4 Posted February 7, 2011 I would keep it simpler... MP + 24 lux M4P + 90 (or a 50mm) Tri-X (push it up to 3200 without any issues) Portra 400 (the new emulsion as you can push it 3200 and looks great) I am advising you to simplify as it will be a zoo backstage but you will have plenty of good stories to document. Cheers, Link to post Share on other sites More sharing options...
ezc203 Posted February 7, 2011 Author Share #5 Posted February 7, 2011 ...seriously? Grab a point and shoot, Eddie. We are talking fashion here, right? Probably should've clarified that I'm shooting this for my school publication. Link to post Share on other sites More sharing options...
ezc203 Posted February 7, 2011 Author Share #6 Posted February 7, 2011 Pete, Riccis - Thanks. I'm looking into the new Portra 400 too. And Tri-X400. Can you refer me to any examples of pushing to 3200?? I think I will most likely simplify to two cameras/two lenses. Link to post Share on other sites More sharing options...
Riccis Posted February 7, 2011 Share #7 Posted February 7, 2011 Advertisement (gone after registration) Pete, Riccis - Thanks. I'm looking into the new Portra 400 too. And Tri-X400. Can you refer me to any examples of pushing to 3200?? I think I will most likely simplify to two cameras/two lenses. I've shot some jobs with it rated at 3200 but due to the client's profile and contractual obligations, I am not allowed to share the work but I will tell you that looks fantastic. Check out some from my buddy Jonathan Canlas here (Jonathan Canlas Photography: KODAK Portra 400 - Miami South Beach FL - Pushed to 3200). Cheers, Link to post Share on other sites More sharing options...
ezc203 Posted February 7, 2011 Author Share #8 Posted February 7, 2011 Wow Riccis, the link you shared had some stunning results. I'll test out some Portra400 tonight at 3200. Looks promising! Link to post Share on other sites More sharing options...
topoxforddoc Posted February 7, 2011 Share #9 Posted February 7, 2011 Eddie, Great coup in getting a press pass. It'll be a bit of hurly burly back there. Portra 800 is great. Neopan 1600 is extinct, so it's existing stocks only. Personally I would take any of the 400 emulsions (HP5, Tri-X, Neopan 400) and push them. I routinely push HP5 and Neopan 400 to 1600, shooting concerts and stuff back stage. I doubt you'll need 3200 to be honest with a RF. Personally i would go with your 24 lux and a 50. You may well find the 90 just a bit too long back stage. For the cat walk though, it'll be fine. Good luck, Link to post Share on other sites More sharing options...
fotolebrocq Posted February 7, 2011 Share #10 Posted February 7, 2011 I've shot some jobs with it rated at 3200 but due to the client's profile and contractual obligations, I am not allowed to share the work but I will tell you that looks fantastic. Check out some from my buddy Jonathan Canlas here (Jonathan Canlas Photography: KODAK Portra 400 - Miami South Beach FL - Pushed to 3200). Interesting link Riccis - it looks superb on MF but are there any examples on 35mm? Cheers, Tony Link to post Share on other sites More sharing options...
aesop Posted February 7, 2011 Share #11 Posted February 7, 2011 I've shot some jobs with it rated at 3200 but due to the client's profile and contractual obligations, I am not allowed to share the work but I will tell you that looks fantastic. Check out some from my buddy Jonathan Canlas here (Jonathan Canlas Photography: KODAK Portra 400 - Miami South Beach FL - Pushed to 3200). Cheers, ...killer link, Riccis. Thanks. Link to post Share on other sites More sharing options...
aesop Posted February 7, 2011 Share #12 Posted February 7, 2011 Interesting link Riccis - it looks superb on MF but are there any examples on 35mm? Cheers, Tony ...good shout, Tony. Link to post Share on other sites More sharing options...
ezc203 Posted February 7, 2011 Author Share #13 Posted February 7, 2011 Charlie - I'd go with a 24/50 as well, BUT my 50 lens is rather slow (a Summarit f/2.5) I don't know if that'll be enough speed in the given situation. However, I do have a 40 Cron which should work nicely with the CLE to provide quite snaps. Link to post Share on other sites More sharing options...
Allen in Montreal Posted February 7, 2011 Share #14 Posted February 7, 2011 Backstage is a zoo, but it can be great for pictures depending on the show. Take 2 bodies with the 24 and the 90. Stick the 40 in your pocket. Use the smallest bag you have if you are going to carry a camera bag, an F-5XB at most. Something like an F-901 or 902 just for film is great. Don't get in the way, the groupies will do enough of that for 10 of you. There will be a million people trying to boss you around and telling you to get lost. Know who has the final say on where and what you can do and ignore the rest. Normally, once the runway call is about to start, most people clear out to watch the show. Some of the best stuff is had during the panic during the show, but you can't go back and forth and do both well. Have fun! I hope you will post a few frames here for us to see how it went. A friend of mine got me a Press Pass for one of the shows this coming week for the Fashion Extravaganza! And I need some serious advice! I want to shoot the entire ordeal on film. It's romantic, impractical, and I'm stubborn that's the only way I want to do it. My equipment will be the following: MP + 24 Lux CLE + 40 Cron M4-P + 90 Cron Is this excessive? Any opinions here? Also, what film what be ideal? I'm considering Portra 800 for color and Neopan 1600 for B&W and maybe some Tri-X400 (pushed). Opinions? Comments? Suggestions? Link to post Share on other sites More sharing options...
roguewave Posted February 7, 2011 Share #15 Posted February 7, 2011 Score some good phone numbers. Link to post Share on other sites More sharing options...
Riccis Posted February 8, 2011 Share #16 Posted February 8, 2011 I've shot some jobs with it rated at 3200 but due to the client's profile and contractual obligations, I am not allowed to share the work but I will tell you that looks fantastic. Check out some from my buddy Jonathan Canlas here (Jonathan Canlas Photography: KODAK Portra 400 - Miami South Beach FL - Pushed to 3200). Interesting link Riccis - it looks superb on MF but are there any examples on 35mm? Cheers, Tony Tony: I will post some fast 35mm and 8x10 after I come back from my next trip (although I will be gone for 3 weeks). Stay tuned! Link to post Share on other sites More sharing options...
Guest WPalank Posted February 8, 2011 Share #17 Posted February 8, 2011 Eddie, Great chance to experiment since there is no client involved. Have fun, shoot like Jim Marshall. Link to post Share on other sites More sharing options...
MPerson Posted February 9, 2011 Share #18 Posted February 9, 2011 Riccis & Eddie - I am following this with interest. I like the MF stuff at Johnathan's site but 35mm images at higher iso are thin on the ground. Incidentally found these, MF shot indoors at 3200. Link to post Share on other sites More sharing options...
ezc203 Posted February 9, 2011 Author Share #19 Posted February 9, 2011 Thanks for all the input thus far. Really appreciate it. I just shot a roll of TX400 and Portra400 both at 3200 and will be getting the results back from the lab today. Will post some images as soon as possible. Ben - Probably the best advice yet William - Excuse my ignorance, but had to google Jim Marshall real quick. I do vaguely recall read his name in this thread. But didn't know too much about him. He seems like an interesting fellow, and I'd be thrilled if my pictures turn out to be anything remotely resembling his. Link to post Share on other sites More sharing options...
tgray Posted February 9, 2011 Share #20 Posted February 9, 2011 I just got back some scans of Portra 400 shot from five stops under exposed to 6 stops over. I did NOT get the film pushed, and I also didn't adjust the resulting scans any more than what the lab did. I'm sure the underexposed shots would look a bit better if you got a proper push at the lab. Collection: Portra comparison The new stuff might handle push developing better than 400NC/400VC, I don't know. But it seems to handle under exposure about the same, which is usually related to how it handles underexposure and extended development. Link to post Share on other sites More sharing options...
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