I like film...(open thread)

[edwardkaraa]

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Question please.

 

For you people shooting Portra, either 160 or 400, are you using box speed or otherwise, and why?

 

I ask as I've never really shot colour neg and would appreciate a few tips. I read that one should over expose for more contrast if printing and underexposed for scanning to provide a flat base to work from. Agreed? FWIW I'll be using a Pro Lab for development but I'll scan myself. It's this latter part that's a worry inasmuch as which setting will make the scanning part, and colour control, easiest. Hope this makes sense!

 

Thank you.

Color negative film loses details quickly in the shadows, and the colors can become muddy if underexposed. It has an amazing latitude in the highlights. That's why many shooters expose for the shadows to keep the details in there and make the colors more vibrant. I normally follow that way as much as possible. Some shooters go the easy way and shoot the film at half or quarter the box speed but that is a very blunt tool and quite inferior to smart metering.

 

You might find this article interesting:

http://canadianfilmlab.com/2014/04/24/film-stock-and-exposure-comparisons-kodak-portra-and-fuji/

Edited July 24, 2017 by edwardkaraa

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[sixteen pads]

This weekend I shot a fashion editorial with my M6 and some Kentmere 100 pushed to 800, among other stocks and cameras. 

 

M6 with 50cron and kentmere 100 pushed to 800. 

I really like how it turned out.  

 

[philipus]

I guess I fall in the "easy way" category then With the exception of Ektar, regardless of which C41 film I use, I will always shoot it at a lower EI.

 

In other words, I shoot lower-ISO films (100-200) at half their speed. I virtually always shoot ISO 400 films at EI100. And I always have the lab develop these rolls at box speed. It's quite convenient to shoot an ISO400 film this way because one can bump the ISO to box speed should one need it, for instance in the evening.

 

I shoot C41 this way to try to deal with the noise which my Coolscan 9000 produces in the shadows (and which I d.e.t.e.s.t.). I find that this helps some (but, in truth, from the perspective of obtaining a good end result with a scanner, nothing beats an accurately exposed frame). The reason I don't shoot Ektar at a lower EI is that I shoot it in 120 only (so far) and that scanner noise is much less apparent in medium format.

 

br
Philip

 

 

 

Question please.

For you people shooting Portra, either 160 or 400, are you using box speed or otherwise, and why?

I ask as I've never really shot colour neg and would appreciate a few tips. I read that one should over expose for more contrast if printing and underexposed for scanning to provide a flat base to work from. Agreed? FWIW I'll be using a Pro Lab for development but I'll scan myself. It's this latter part that's a worry inasmuch as which setting will make the scanning part, and colour control, easiest. Hope this makes sense!

Thank you.

[edwardkaraa]

I guess I fall in the "easy way" category then With the exception of Ektar, regardless of which C41 film I use, I will always shoot it at a lower EI.

 

In other words, I shoot lower-ISO films (100-200) at half their speed. I virtually always shoot ISO 400 films at EI100. And I always have the lab develop these rolls at box speed. It's quite convenient to shoot an ISO400 film this way because one can bump the ISO to box speed should one need it, for instance in the evening.

 

I shoot C41 this way to try to deal with the noise which my Coolscan 9000 produces in the shadows (and which I d.e.t.e.s.t.). I find that this helps some (but, in truth, from the perspective of obtaining a good end result with a scanner, nothing beats an accurately exposed frame). The reason I don't shoot Ektar at a lower EI is that I shoot it in 120 only (so far) and that scanner noise is much less apparent in medium format.

 

br

Philip

Hi Philip,

 

Ektar is a very peculiar emulsion in that it doesn't like overexposure. There are many color shifts that happen. On the other hand, it behaves like other color negative films in that it doesn't like underexposure neither. It is best shot at box speed or very slightly underexposed.

[Reeray]

I think I'll go Portra 160 at box speed and see what's what. Metering for the shadows is good advice Edward.

[christoph_d]

Christoph it's looks like the Calanques in Provence South of France

Nice and deep black with beautiful reflection on water

 

 

Really nice this second picture in difficult light condition with a superb rendering.

I like the dog in foreground looking the swans

Thank you Christoph

Best

Henry

 

 

Hi Henry, 

 

Not Calanques in the Provence, but the Cataract in Launceston Tasmania. 

 

Rgds

 

Christoph

[philipus]

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Just for the heck of it, shoot a few frames at EI80 (so a stop over) and see how that affects the scanned result. I think you'll find that the overexposure can easily be adjusted in post (by which I mean you can retain the shadow detail while pulling back any blown highlights). For most C41 emulsions a stop over is virtually negligible. 

 

I think I'll go Portra 160 at box speed and see what's what. Metering for the shadows is good advice Edward.

[Sparkassenkunde]

Rolleiflex 6002, Planar 80, Velvia 100F

 

6002_Juli17_003.jpg

 

What a wonderful blue and nice composition with the cloud hanging perfectly above the flowers. Chapeau!

[christoph_d]

Dear all,

 

Some of you at least may be aware of the Ferrania Kickstarter, an attempt to rescue some of the film manufacturing capabilities of the Ferrania factory in northern Italy (if you are interested search on the net for FILMFERRANIA).

 

At the beginning of the year I pre-ordered the Alpha version of their first product, a panchromatic 80 ASA black and white film called P30 in 135 format. They are Alpha versions as Ferrania only sold a limited batch and does not guarantee 100% quality. Once they sort out all the teething problems they will be producing in larger numbers. Months passed without any news but finally I got my hands on 5 of these new films, and wanted to present some results as I think it is quite an interesting film, and also that some of you may be interested.

 

I photographed and developed 4 of my 5 rolls so far. 3 rolls in Rodinal 1 : 50 and one in Perceptol stock.

 

Overall the film differs from all other films that I have tried in that it has particularly deep and rich shadows, imbuing a rather dark atmosphere on the subjects at hand. Perhaps it would be better to use the film at 50 ASA, but then I kept it at the recommended speed for the limited material that I have available. As it will be easiest to judge by pictures rather than by me writing a lot, I will post a few of my results for your perusal.

 

Line of chairs:

 

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M5, 50, Ferrania P30, Rodinal, svn

 

Rgds

 

Christoph

 

[christoph_d]

P30 Landscape II:

 

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M5, 50, Ferrania P30, Rodinal, svn

 

[christoph_d]

P30 Architecture:

 

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M5, 35, Ferrania P30,Rodinal, svn

 

[christoph_d]

P30 Oldtimer:

 

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M5, 50, Ferrania P30, Rodinal, svn

 

[christoph_d]

P30 @ the Dutch Leica Meeting:

 

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M5, 35, Ferrania P30, Perceptol, svn

 

[christoph_d]

P30 @ the Dutch Leica Meeting:

 

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Simply register for free here – We are always happy to welcome new members!

M5, 90, Ferrania P30, Perceptol, svn

 

[christoph_d]

P30 Early Morning Cafe:

 

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M5, 50, Ferrania P30, Rodinal, svn

 

[christoph_d]

P30 This last example is dedicated to Doc Henry - for obvious reasons:

 

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

M5, 50, Ferrania P30, Rodinal, svn

 

[edwardkaraa]

P30 This last example is dedicated to Doc Henry - for obvious reasons:

 

170630_1_M5_0011.jpg

M5, 50, Ferrania P30, Rodinal, svn

Wow, this film is awesome, Christoph! Thank you very much for sharing these wonderful photos! I hope it will be released in commercial quantities.

[Doc Henry]

Question please.

 

For you people shooting Portra, either 160 or 400, are you using box speed or otherwise, and why?

 

I ask as I've never really shot colour neg and would appreciate a few tips. I read that one should over expose for more contrast if printing and underexposed for scanning to provide a flat base to work from. Agreed? FWIW I'll be using a Pro Lab for development but I'll scan myself. It's this latter part that's a worry inasmuch as which setting will make the scanning part, and colour control, easiest. Hope this makes sense!

 

Thank you.

 

Ray I have no rule to counsel  you 

 

Just some remarks , after practice , about these two films KP 160 and 400 I use a lot in color.

 

Firstly , with color you need "light" and "sun" as said Edward .Take your M6 and direct

the camera toward your subject, in taking care of shadows and light. 

Film has a better dynamic in "contre-jour" ("against light") and has more sensibility

than the sensor . In example when you take a subject in contre-jour , all the foreground

is dark , no details in the shadows with digital.

 

I'll post a picture below as example

 

The second point , depending on the weather "sunny or cloudy" , I use b&w (TX400)

and no color because no light (I have 2 cameras one with b&w and one with color) ,

sun gives Portra more vivid color.

 

The third important point IMO, a good combo camera-lens  with a good ext lightmeter

(I use my ext Gossen lighmeter for landscape , for the exact exposition) or use the int.

lightmeter like in your M6...

 

A good measurement and all I said above , will give you a "nice" image well balanced in color tone.

 

Just notice that development of Portra 400 (as I develop myself) will use more chemical 

products and need to change new developer more often , not the case if you use KP 160

or Ektar100 (I said that if you dev yourself later) and useful to save your money

 

Hope it's useful for you Ray

Best

Henry

 

Here one example of image in "contre-jour"

The lighmeter and the camera M7 are directed > half in the sun and half in the cows . So I have all

details in the shadows (brown spots and white skin on cows). In digital , all is dark in the shadows , not enough dynamic with the sensor.

 

Leica M7-Kodak Portra 160-Summilux 35 Asph

 

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Edited July 24, 2017 by Doc Henry

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Hallo,

Look here: Interesting Leica gear

[Doc Henry]

P30 This last example is dedicated to Doc Henry - for obvious reasons:

 

170630_1_M5_0011.jpg

M5, 50, Ferrania P30, Rodinal, svn

 

P30 @ the Dutch Leica Meeting:

 

170701_1_M5_0032.jpg

M5, 35, Ferrania P30, Perceptol, svn

 

Dear all,

 

Some of you at least may be aware of the Ferrania Kickstarter, an attempt to rescue some of the film manufacturing capabilities of the Ferrania factory in northern Italy (if you are interested search on the net for FILMFERRANIA).

 

At the beginning of the year I pre-ordered the Alpha version of their first product, a panchromatic 80 ASA black and white film called P30 in 135 format. They are Alpha versions as Ferrania only sold a limited batch and does not guarantee 100% quality. Once they sort out all the teething problems they will be producing in larger numbers. Months passed without any news but finally I got my hands on 5 of these new films, and wanted to present some results as I think it is quite an interesting film, and also that some of you may be interested.

 

I photographed and developed 4 of my 5 rolls so far. 3 rolls in Rodinal 1 : 50 and one in Perceptol stock.

 

Overall the film differs from all other films that I have tried in that it has particularly deep and rich shadows, imbuing a rather dark atmosphere on the subjects at hand. Perhaps it would be better to use the film at 50 ASA, but then I kept it at the recommended speed for the limited material that I have available. As it will be easiest to judge by pictures rather than by me writing a lot, I will post a few of my results for your perusal.

 

Line of chairs:

 

170630_1_M5_0002.jpg

M5, 50, Ferrania P30, Rodinal, svn

 

Rgds

 

Christoph

 

Christoph I notice that black has deeper tone in comparison with Kodak

Wow what nice , deep and homogeneous black with finally a good relief

like in your first chair picture.

You tell us it's better you choose 50 Isos,you think it's enough not 100 isos ?

to have a clearer  black

Thanks for these series very useful for us. I know Ferrania who sent me

advertising from Italia , one year ago

 

Best

Henry

Edited July 24, 2017 by Doc Henry

[Keith (M)]

Dear all,

 

Some of you at least may be aware of the Ferrania Kickstarter, an attempt to rescue some of the film manufacturing capabilities of the Ferrania factory in northern Italy (if you are interested search on the net for FILMFERRANIA).

 

At the beginning of the year I pre-ordered the Alpha version of their first product, a panchromatic 80 ASA black and white film called P30 in 135 format. They are Alpha versions as Ferrania only sold a limited batch and does not guarantee 100% quality. Once they sort out all the teething problems they will be producing in larger numbers. Months passed without any news but finally I got my hands on 5 of these new films, and wanted to present some results as I think it is quite an interesting film, and also that some of you may be interested.

 

I photographed and developed 4 of my 5 rolls so far. 3 rolls in Rodinal 1 : 50 and one in Perceptol stock.

 

Overall the film differs from all other films that I have tried in that it has particularly deep and rich shadows, imbuing a rather dark atmosphere on the subjects at hand. Perhaps it would be better to use the film at 50 ASA, but then I kept it at the recommended speed for the limited material that I have available. As it will be easiest to judge by pictures rather than by me writing a lot, I will post a few of my results for your perusal.

 

Line of chairs:

 

170630_1_M5_0002.jpg

M5, 50, Ferrania P30, Rodinal, svn

 

Rgds

 

Christoph

Interesting!  Lovely deep, rich tones indeed.