I like film...(open thread)

[A miller]

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Adam, OOF brightlights tend to appear a good stop overexposed which shows here imho ! Did you rate it at 800 or lower ?!

Best, JM.

Interesting, Jean Marc.  Thanks for noticing.  I shot the film at its native 500 and processed it at 800.  

Perhaps I popped the luminance values a little to much...

Here is a revised version with the exposure dialed back ...  Any better for you?

I screwed up and added this revised file to my original post by mistake and then I made another revision to my second try so the first post can no longer be used for comparison.  Sorry!!

Thanks again for the fresh eyes

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Edited December 18, 2016 by A miller

[Wayne]

It was only with great difficulty, I convinced these gulls to pose for for December Barnack Challenge, Standing, when I remembered I was using a Zeiss contessa; the photo does not qualify.

 

HP5 pushed to 800.

 

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Edited December 18, 2016 by Wayne

[Wayne]

A few days ago I entered the same scene, taken in monochrome with Zeiss contessa folder. This is from today, using a Zeiss super ikonta 531 6x9. Film is Ektar 100. Lens on camera is Tessar 105mm 3.5. Shot wide open.

 

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[Wayne]

Nuthatch. My favorite visitor. Zeiss super Ikonta 6x9, Ektar 100, Tessar 105mm 3.5

 

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[philipus]

Thank you for the explanation, Adam. I'm sorry the film has turned out to be unreliable.

 

I'm wondering if it's the technique they invented to remove the remjet which isn't perfected and leaves residue that might show up as streaks? Remjet is supposedly difficult to remove.

 

Or perhaps it has to do with the 'antenna dyes'? From the Cinestill website, it seems a challenge in developing the technique was to remove the remjet without removing these dyes which apparently help conduct light more efficiently and results in a finer grain and improved scanning (here's the source of that info).

 

Just my speculation but in any event it's frustrating not to be able to rely on the quality.

 

br

philip

 

 

Thanks, Philip.

 

It is a long story, but the bottom line is that these two color film stock have a shelf life of only 1 year AND they are unusually sensitive to extreme temperatures.  Exposure to either a longer than 1 yr shelf life or extreme temperatures will make the film susceptible to schmootzification.

How do you know if your roll has been produced within the last year?  YOU DONT.

How do you know if your roll has been exposed to extreme temperature, include in connection with transport from the factory to the distributor, and then to the retailer (if any) and then to your doorstep (if relevant)?  YOU DONT

Do you ever wonder why you see so man different renditions of these cinestill color films?  It is b/c of this extremely narrow tolerance and shelf life.

I have shot SO much of this film and treated it like a baby.  And essentially all I have been getting is schmootz.  The two shots I have shared are the only ones that didn't have streaks or schmootz in one form or another running through otherwise beautiful photographs.  Even these needed a fair amount of attention to get them looking like they do.  Grain is good (even king), but streaks and variation in colors across a single plane are not good.

Nearly all of my 10 or so rolls of the Cinestill 50 that I shot this summer in Israel were all schmootzy.  And these were rolls that we sent to me directly from Brandan Wright late last spring when all my CS from my Spring family vacation were schmootzified.  Even these supposedly fresh rolls, which I took great care to keep in the frig until the day of use, came out bad.  My portras didn't; neither ektar nor fuji chromes.  Only the CS.

I have ben in communication with Brandan about this and he has conceded that there is a fault in their film and that it is not reliable.  He essentially told me they were shouting production until they could figure it out.  

[DirkR440]

a circus in Zürich

(Rolleiflex 3.5F and Kodak Ektar 100)

 

Zürich by Dirk Raffel, auf Flickr

[Guest]

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a circus in Zürich

(Rolleiflex 3.5F and Kodak Ektar 100)

 

Zürich by Dirk Raffel, auf Flickr

 

Ahh, Conelli! We're going there on the 28th. Look forward to the Champagne. Hic.

 

Ric

[christoph_d]

Thanks, Philip.

 

It is a long story, but the bottom line is that these two color film stock have a shelf life of only 1 year AND they are unusually sensitive to extreme temperatures.  Exposure to either a longer than 1 yr shelf life or extreme temperatures will make the film susceptible to schmootzification.

How do you know if your roll has been produced within the last year?  YOU DONT.

How do you know if your roll has been exposed to extreme temperature, include in connection with transport from the factory to the distributor, and then to the retailer (if any) and then to your doorstep (if relevant)?  YOU DONT

Do you ever wonder why you see so man different renditions of these cinestill color films?  It is b/c of this extremely narrow tolerance and shelf life.

I have shot SO much of this film and treated it like a baby.  And essentially all I have been getting is schmootz.  The two shots I have shared are the only ones that didn't have streaks or schmootz in one form or another running through otherwise beautiful photographs.  Even these needed a fair amount of attention to get them looking like they do.  Grain is good (even king), but streaks and variation in colors across a single plane are not good.

Nearly all of my 10 or so rolls of the Cinestill 50 that I shot this summer in Israel were all schmootzy.  And these were rolls that we sent to me directly from Brandan Wright late last spring when all my CS from my Spring family vacation were schmootzified.  Even these supposedly fresh rolls, which I took great care to keep in the frig until the day of use, came out bad.  My portras didn't; neither ektar nor fuji chromes.  Only the CS.

I have ben in communication with Brandan about this and he has conceded that there is a fault in their film and that it is not reliable.  He essentially told me they were shouting production until they could figure it out.  

Adam

 

If you feel so inclined, you could take a roll of cinestill film and use it as a test-roll to get to the bottom of it all. You could conduct a series of experiments along the line of:

If you develop part of it without prior light exposure, do you still have your schmutz on it?

If you artificially age part of a film in the oven, perhaps 6 h at 70 odd degree celsius should do, how do the colours and schmutz change? Etc.

Alternatively you could also use Ektar or Portra film, and take nice pictures of New York to show to us

 

Rgds

 

C.

[A miller]

Adam

If you feel so inclined, you could take a roll of cinestill film and use it as a test-roll to get to the bottom of it all. You could conduct a series of experiments along the line of:

If you develop part of it without prior light exposure, do you still have your schmutz on it?

If you artificially age part of a film in the oven, perhaps 6 h at 70 odd degree celsius should do, how do the colours and schmutz change? Etc.

Alternatively you could also use Ektar or Portra film, and take nice pictures of New York to show to us

Rgds

C.

[Guest JMF]

21 SA 3.4 Leica M3 SS Portra 160

 

The Umbrella Movement by JM__, on Flickr

[RussellJDPhoto]

Just wanted to say Hello.  Thanks Adam for directing me here.  new(ish) Leica user but loving the experience.

Shot on Leica M6, Voitlander 35mm 1.7, Portra 400

Looking From Mam Tor by Russell Jones-Davies, on Flickr

Edited December 19, 2016 by RussellJDPhoto

[gbealnz]

Welcome RJD. Nice shot, nice light.

Gary

[EoinC]

A not-quite homage to Abbey Road, not-quite Brooklyn Bridge, and the Northern train to Chiangmai rolls past (SWC / Ektar 100)...

000005(1) by Eoin Christie, on Flickr

 

000007(2) by Eoin Christie, on Flickr

 

000009(2) by Eoin Christie, on Flickr

Edited December 19, 2016 by EoinC

[EoinC]

Just wanted to say Hello.  Thanks Adam for directing me here.  new(ish) Leica user but loving the experience.

Shot on Leica M6, Voitlander 35mm 1.7, Portra 400

Very nice, Russell, and welcome to the best thread on LUF.

[A miller]

Hi

 

Just wanted to say Hello.  Thanks Adam for directing me here.  new(ish) Leica user but loving the experience.

Shot on Leica M6, Voitlander 35mm 1.7, Portra 400

Looking From Mam Tor by Russell Jones-Davies, on Flickr

Welcome Russell!

So glad you took me up on the plug

Really great natural shadow detail in this one.  And I love the warm colors.  Very pleasing natural film look. 

Impressive results from that lens...

Look forward to seeing more

[EoinC]

Hello All, and a *big* hello to Henry!

 

The colour photos are included to shock Henry who knows I'm a b+w photographer. The honest truth is that I ran out of film during our big family trip to Australia, so had to "make do" with the Fujifilm Xperia that I could find.

 

The last two are with Ilford Delta 100; which I'm rapidly running down, as I've pretty much switched to the lovely, slightly grainy HP5 Plus.

 

Oh, and all taken with my Contax T2... I also took along my Rolleiflex, and I'll be back soon with some of the results.

 

Stunning country, stunning landscapes, wonderful people.

 

Ric Capucho

Looks like the search for the Great Aussie Fog may have been unsuccessful as far as confirmed sightings go, Ric. Nice shots, and I'm pleased to hear that you had a good time.

[EoinC]

 

There was a period of only a few days in late November when the local hedgerows took on the most astonishing colour I have seen for years. The hawthorn in particular shone like gold leaf in the low sunshine, the oaks and sycamores too. Sadly, the frosts came around the same time and stripped the branches of this precious colour – I remember standing under an oak tree on a breezeless morning and the leaves fell like snow, silent and effortless...

Wonderful series!

[RussellJDPhoto]

Hi

 

Welcome Russell!

So glad you took me up on the plug

Really great natural shadow detail in this one.  And I love the warm colors.  Very pleasing natural film look. 

Impressive results from that lens...

Look forward to seeing more

Thanks for the suggestion!  I've been looking for a place like this.  I can already tell I'm going to love it.

 

I'm loving this lens and other than the fact I can only focus from 1m or beyond I'm finding it hard to justify anything else.  A snip at £150!

[EoinC]

Trying out the 120 roll of Cinestill 800T that I got my hands on late last Spring...

503cw, 80mm Planar (wide open )

Mystery location?

bokeh-1.jpg

I like this, Adam. It reminds me of this shot (digital, sorry) I took some years ago. I saw it whilst setting up a T/S shot, and decided to snap it. I ended up preferring it to the 'correct' shot that followed...

b044 by Eoin Christie, on Flickr 

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Hallo,

Look here: Interesting Leica gear

[Guest]

Leica M6 | DR Summicron 50 | Tri-X@400 | Stand Development in Rodinal

 

Chiang Mai

_______________

Alone in Bangkok essay on BURN Magazine