sblitz Posted January 14, 2015 Share #1 Posted January 14, 2015 Advertisement (gone after registration) using tri-x the red faces come out too bright, losing some tonal detail. about to shoot again and was wondering whether using a less red sensitive film, such as acros (orthocromatic) would make more sense -- assuming it can be pushed 2 or 3 stops? filters are out, since it is already too dark in their for that. any thoughts on this? thanks steve Link to post Share on other sites More sharing options...
Advertisement Posted January 14, 2015 Posted January 14, 2015 Hi sblitz, Take a look here b&w film shooting jazz clubs with red lights -- pan vs ortho films?. I'm sure you'll find what you were looking for!
A miller Posted January 14, 2015 Share #2 Posted January 14, 2015 My 2 cents: Ilford Delta 3200 Cinestill 800, pushed one or two stops (but not underexposed!) converted to B&W and then play with the color channels to get the tonal range in the skin the way you want it. Link to post Share on other sites More sharing options...
Guest ausgeknipst Posted January 14, 2015 Share #3 Posted January 14, 2015 May I add another experience: Delta 400 pushed to 1600 developped in D76 stock for 15 minutes! > gives a softer grain than the 3200 (@1600) > still keeps a wonderful range of grey tones Link to post Share on other sites More sharing options...
dave_d Posted January 18, 2015 Share #4 Posted January 18, 2015 Yes the red lights will lighten skin tones depending on the skin color but if you are losing details in your highlights I suspect the issue isn't so much the film but that you are over developing. I would reduce my processing time about 15 to 20% and see if that helps before I switched to another film. It sounds like your shooting in high contrast lighting and reducing your development will bring down your highlights lowering the contrast of your processed film. If you do switch films I think Tmax 400 or Ilford Delta might be a better option for holding detail in your highlights. Link to post Share on other sites More sharing options...
adan Posted January 19, 2015 Share #5 Posted January 19, 2015 using tri-x the red faces come out too bright, losing some tonal detail....was wondering whether using a less red sensitive film, such as acros (orthocromatic) would make more sense -- assuming it can be pushed 2 or 3 stops? filters are out, since it is already too dark in their for that. Just for the record, there wouldn't be that much difference between using a filter to block red light, and using an ortho film with reduced sensitivity to red light. Either way, you are using a method where some visible red photons are not being recorded, with a net reduction in sensitivity. I'm surpised Tri-X is giving you trouble, since it is more blue-sensitive and less red-sensitive than some other films. Its usual problem is producing "white" blue skies. My experience photographing stage lighting is that you need very tight metering for the faces. Wide-area metering just picks up too much of the shadows and unlit stage, and leads to overexposure of the lit faces, regardless of the color of the lighting, or the specific film. See if there is any way to either get and incident reading from on/near the stage itself - before the performances begin, but under the show lights. Or "zoom in" your meter with a long lens or spot meter, to measure just the lit faces. Link to post Share on other sites More sharing options...
sblitz Posted January 19, 2015 Author Share #6 Posted January 19, 2015 After metering the faces would use that or close the lens 1 stop since they aren't grey? Link to post Share on other sites More sharing options...
adan Posted January 19, 2015 Share #7 Posted January 19, 2015 Advertisement (gone after registration) Actually, open up one stop to move them from zone 5 medium gray to zone 6 lighter gray (for caucasian skin) or down one stop for non-caucasian - but you're right, I did forget that little detail. Ooops! For reflected metering - no correction needed for incident metering (skin or subject reflectance has no effect in incident metering). Link to post Share on other sites More sharing options...
erl Posted January 20, 2015 Share #8 Posted January 20, 2015 This thought may (or may not) help. Your exp reading is heavily influenced by your camera style. eg. M6, M7, use what I call a 'Fat Spot' metering system. NOT a centre weighted system. IMV this is ideally suited to stage photography, provided you are reasonable close to the subject, because it ignores the usual heavy shadow areas surrounding the POI, typical of stage lighting. Over many years (1000's of films), I found this to be the superior technique as it is fast and suits rapidly changing lighting, as can happen. For jazz club shooting, I have never done it but imagine light changes would be slower, therefore an excellent alternative is a spot meter. However this is a very slow technique compared to 'in camera metering', but may work for you if shooting time permits. Link to post Share on other sites More sharing options...
pico Posted January 20, 2015 Share #9 Posted January 20, 2015 using tri-x the red faces come out too bright, losing some tonal detail. about to shoot again and was wondering whether using a less red sensitive film, such as acros (orthocromatic) would make more sense Ortho film is so contrasty I would not use it for anything but copying B&W silver prints, or playing with Air Force resolution charts under very high Kelvin lights. ...and since when was Tri-X so red sensitive? . Link to post Share on other sites More sharing options...
sblitz Posted January 20, 2015 Author Share #10 Posted January 20, 2015 Thanks all! Well Pico when my shots based on a spot meter still overexposed a red lit Caucasian face. So I thought ........... And I also though it would be an interesting thread to start. One thing I coming away with is that it is time I start developing BW film myself so that I can add that one more bit of myself into the process. All in good fun to do and learn, problem solving helps keep those synapses firing. Link to post Share on other sites More sharing options...
pico Posted January 20, 2015 Share #11 Posted January 20, 2015 [...] One thing I coming away with is that it is time I start developing BW film myself so that I can add that one more bit of myself into the process. Oh no. Just don't tell us what part of you is added, and I won't tell you how I lost the tip of a finger in a JOBO. Guess I just did. Link to post Share on other sites More sharing options...
erl Posted January 20, 2015 Share #12 Posted January 20, 2015 Nobody told me JOBO's bite! I must be nicer to mine from now on. sblitz, you must start processing your own films. Otherwise you will lose sooo much control. It's also better, cheaper and faster than labs etc. Just do it! Link to post Share on other sites More sharing options...
sblitz Posted January 21, 2015 Author Share #13 Posted January 21, 2015 two recent shots -- 1. tri x pushed one stop 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! 2. delta 3200 pulled one stop Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! 2. delta 3200 pulled one stop ' data-webShareUrl='https://www.l-camera-forum.com/topic/239843-bw-film-shooting-jazz-clubs-with-red-lights-pan-vs-ortho-films/?do=findComment&comment=2750501'>More sharing options...
erl Posted January 21, 2015 Share #14 Posted January 21, 2015 TriX pushes one stop easily! Your second shot is suffering from the spot/highlight for which there is no cure other than meter for the highlight OR the shadows. The Delta 3200 is better pulled 1stop to 1600 IMO. Link to post Share on other sites More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.