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Found 9 results

  1. Hi friends, I just wanted to put this here for the record, for anyone looking to reversal process Fomapan R100. I'm very happy with the results I'm getting, full ISO with good shadow detail, and nice crisp highlights. I basically follow this guy's process to the letter: (make sure you've got subtitles switched on) I even went out and found those 1.5 liter bottles that he uses (not cheap). My one alteration is to use Ilford's PQ Universal developer instead of Dokumol. It is more readily available here in the US, and relatively inexpensive. I also already use it for other photographic processes, so it just means one less thing I have to buy an keep on hand. Note that using distilled water really helps make these solutions last a long time. My solutions are: Developer 1: 200ml PQ Universal + 1300ml distilled water Bleach: 1200ml distilled water + 70ml 50% Sulfuric Acid + 15g potassium dichromate + water to make 1500ml Clearing Bath: 140g Sodium Sulphite + distilled water to make 1500ml Developer 2: 200ml PQ Universal + 1300ml distilled water Fixer: Ilford Rapid Fix My timings are (all at 68 degrees F) Pre-wash 1 minute Dev 1 8 minutes Rinse 30 seconds Bleach 5 minutes Rinse 1 minute Clearing 3 minutes Rinse 30 seconds Re-Exposure 1 minute Dev 2 8 minutes Rinse 1 minute Fix 3 minutes Wash 3 minutes Hypo clear 1 minute Final wash 3 minutes.
  2. Hi, everyone! Gonna be shooting a film with a look rooted in Jazz photography from the likes of William Claxton, Dennis Stock and others known for the marvelous images they created around that beautiful genre. Obviously, the film's aesthetic's going to borrow a hell of a lot from these great photographers... However, what I'm most interested in is the B&W film stocks that were around the time in which the most iconic artists were photographed: the 1950s. So, on the one hand, what I'm wondering is if there's anyone in the room with an idea about the the rolls of B&W film available at that time and their characteristics. But on the other hand, I'd like to know if anyone knows where can I find information on the way these photograpers worked, which is to say the lenses and equipment they used, the way they developed their film and created they final shot in the darkroom, etc. Also welcome is information on the film stocks used to shoot movies or documentaries around the 50s. My guess is even at that time Double-X was the real deal, but... You know. A guess is a guess.
  3. Hello all! I am currently working on a project with some old 8mm film. It was a roll of Kodachrome II that I found. I got it developed to B&W, as that is the only way most places develop it these days. However, the film is very faded. This is somewhat to be expected, considering it had been sitting undeveloped for upwards of 50 years. However, there is only so much I can do digitally to enhance the image. Is there any sort of chemical process that could be applied to the film after it is developed, to retrieve some of the image? Something that would boost the contrast? I'm assuming the answer is no, but I wanted to ask. Additionally, if anyone had any other suggestions or remedies, I would very much like to increase the clarity of this footage, as I am trying to track down the person who shot it. The footage is below for your convenience. Thank you so much! --------------- Here is the ungraded roll: Here is the graded roll:
  4. "The Captain" - 2017 (German: Der Hauptmann) Directed by Robert Schwentke. Shot by Florian Ballhaus, son of Michael Ballhaus. ... Great (end of) war movie. Tense, ironic, a lot of WTF's... (pardon my language) Even based on a real story! :) ... "SCHNELL-GERICHT HEROLD" = "QUICK-JUSTICE HEROLD" ? - You'll get it when you watch it. And keep watching it while the credits roll :)
  5. Very surprised that there's no thread about the film so far. It's available today on Netflix and is also showing in 600 locations across the world (the film was released two weeks earlier in theaters exclusively), they're actually pushing this very hard in Mexico (there are even mobile cinemas ! that go around to show the film in certain locations), domestically as well, it's already been sweeping many awards, many for best picture, best director and best cinematography. Chivo was supposed to shoot the film, they prepped and he had to drop out. Cuaron then took over and shot the film himself (Galo Olivares rumored to be the co-DP at some point, has a credit as cinematography collaborator (never saw that before) and camera operator). Here's the second trailer: I'd advise of course to watch this on Netflix to get a better quality. Chivo & Cuaron discussed the film at a panel: https://variety.com/2018/artisans/in-contention/alfonso-cuaron-details-roma-cinematography-with-gravity-dp-emmanuel-lubezki-1203085424/ The film has insanely great reviews and it's all deserved honestly. I couldn't get into it at first, it felt like I feel watching Children Of Men or Gravity which is to say, I admire and respect those films more than I like them. I LOVE A Little Princess and Harry Potter & The Prisoner Of Azkaban though, Great Expectations is quite good too and Y Tu Mama Tambien is strong. But then something clicked about halfway through the film and I was in completely. The film is completely immersive, there is no score but the sound design is very strong, I felt like I was witnessing this slice of life in person. Cuaron takes his style one step further by adopting a very minimalistic approach. The camera often pans across the scene, left to right, right to left, observing. At times, it's simply static and lingers. Other times, there are hypnotizing tracking shots (one just following characters walking across a dirt road, with a gorgeous vista and the mountains in the background, the camera is higher up on a hill. Another one on the beach, so simple and yet so powerful). The B&W is also gorgeous, absolutely gorgeous, so pure. Cuaron explained why he shot this on the Alexa 65 and not on film and he wanted it, those memories of his, to be pristine. Anyway, Cuaron has apparently pushed for theaters in the US to show the film either on 70mm or Dolby Atmos, but considering it's playing in many places that have none of those things, I guess he loosened up. Do try to watch it on the BIG screen with quality sound, it is worth it, I didn't think so at first but it is. A funny tidbit: the ending credits state the film was shot entirely on 65mm which is obviously not true as it's not film, but for some reason, Netflix and Cuaron have been pushing that narrative a lot :D
  6. Because the demise of Kodak B&W Plus-X emulsion (31), shooting B&W film outside is challenging. 5222/7222 is the only Kodak B&W camera stock. Outside it is has an exposure index of 250. In the test described below the daylight was metered at 8,000 foot-candles. At 24fps this would require a f stop setting of around f64, or a very dark ND filter. Most lenses are sharpest at about 2 stops from open, this is impossible for 22 outside without using an ND15 or ND18 to get f5.6 or below. The contrast of direct sunlight & shadows is a struggle for any photographic medium. 5234 B&W duplicate negative is an intermediate film and is quite slow. 34 has a gamma less than one making it suitable to shoot and print. It is also panchromatic and available in acetate 16mm or 35mm. For the test it was rated at EI 6 for D96 processing. Test Information Film Information 5222 Kodak B&W 35mm DOUBLE-X Negative $0.444 per foot Exposure Index: EI 200(Tungsten) 250(Daylight) 5234 Kodak Panchromatic B&W Duplicate Negative $0.391 per foot Exposure Index: Rated EI 6 for test. Lighting Direct mid day sunlight - Metered @ 8000 fc Camera Setup Mitchell Super 35mm High Speed 4 perf 75mm prime lens 5222: f11 ND9 @ 24fps 1/48sec 5234: f5.6 @24fps 1/48sec Processing Kodak D96 B&W Negative Process Transfer Spirit 2K HD 1080P 23.98 1.78 extraction da vinci 2K+ DVNR2K Settings constant for both transfers. The results of the test were the following: The grain structure and response of 5234 is clearly finer. It is a very smooth image and out performs the 5222 outside. It is availible from Kodak in both 35mm and 16mm. We will do a test of 16mm soon, I am sure the diffrence will be even more dramatic. While this stock would be hard to shoot indoors, outside it is beautiful. If processed D97 is would have an exposure index of about 18 allowing for less direct sunlight. It is also cheaper 5222 $0.444 vs 5234 $0.391 per foot. Please right click and save as to see the test video. Youtube upload didnt show a good comparison.
  7. ...I've been shooting Tri-X since my student days in 1992. I love it's qualities and nothing quite compares to it. I'm beginning to wonder just how long Kodak will continue to produce this B&W reversal stock. Should I be bulk buying it or am I just a bit paranoid after 'losing' K40, 64T and 100D ???
  8. I know it's traditional to have use colour lenses on the camera for B&W photography, but can you also use filters on the lights in the same way? Perhaps just to make a part of the frame look a certain way, or is it just better to use grads for something like that? Also given this will probably not stay on topic anyway... does anyone have any other tips for shooting B&W?
  9. Hey All, I'm shooting a B&W film soon, 35mm. Does anyone know how different colours look in B&W? Is there a website that compares different colours? Thanks!
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