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  1. #11

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    Color:

    Velvia (travel, landscapes), great for enhanced color
    Provia 400F (travel) Cibachroming...
    Provia 100F (commercial, product, architectural) good grain, great Ciba's
    Fuji NPC (general, portrait) higher contrast without nuking color
    Fuji NPS (weddings, portrait) neutral'er, better for the "not so perfect" subject
    Fuji NPZ (weddings, travel) great grain!

    B&W:

    Ilford FP-4 (portrait, model) handles skin tones excellently
    Ilford PanF (portrait, architectural, commercial/industrial) smooth palette...
    Ilford HP5 (travel, weddings)...
    Polaroid 665 (based on Pantatomic-X, portrait work, architectural) something about Pan_X that has a great quality...

    All B&W processed in Ilfotec-DD-X or Rodinal. All color processed in appropriate process on a Jobo Autolab (or by wedding lab in case of wedding). Cibachroming on Ilford CAP-40 processor.

    Prints on Ilford Portfolio or FB paper, Ra-4 on Kodak Supra/Portra Endura papers, Ciba on CPS.1K paper.

    Kodak films suck. VC=very crappy, UC is better, but I personally like Cibachromes off of Provia 100F better.

  2. #12

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    Wow, Mr. Holliday.

    That's a lot of different film to stock and pack.

    Do you have a favorite...one that you wish you could use in more situations than you do? If you had to narrow all that to two...one color, one B&W, which would they be?

    dgh
    David G Hall

  3. #13

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    Actually, it's not that much film to stock and pack (assistants ). And, yes, I do use them all, sometimes in the middle of a shoot. (I will sometimes shoot only a few frames, and wind off the rest of the roll.) Keep a pile of A12 backs around for the purpose.

    If it was one color, one BW, it'd be Panatomic-X (665) or FP4 and NPC. But, that'd never happen, so I shoot what is the correct tool for the correct time. If the time changes, so does the tool. But, those are the ones that I can adjust like crazy and somewhat meet the specs of the other films...

    NPC for color, but if slide were more practical, I'd shoot provia 100F more often. However, since I do my own Ciba work, it's not THAT practical...(spend 1 out of 10 hours actually shooting and the other 9 doing darkroom work is definitely NOT practical&#33

    BTW, the UC vs Ciba line is meant to say: NC=nearly crap, VC=very crappy, UC is better, but the colors and quality of Ciba'ing a Provia slide blows away any neg film...

  4. #14

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    Sep 2002
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    243
    Provia 100 & 400: Color is clean although leans slightly towards blue or green depending upon lighting conditions. Needs to be filtered slightly (81 series), in my opinion, to look really good. I shoot both the 100 & 400 in 120/220 & the 100 in ready loads in 4x5. With this film plus the 81 series you get an almost Kodachrome look.

    Ektachrome E200: Longest scale transparency film & easiest to shoot. Color is OK but if you evaluate it carefully you will see a slight magenta bias (especially in the blues) that also kills some of the green color saturation. However, under extreme contrast lighting conditions, this transparency film will render more detail in both shadows and highlights than any transparency film I've shot.

    Portra NC: I really like the Portra films. Neutral in color with moderate contrast making them very long scale films. I shoot the 800 speed quite a bit in 35mm, 400 in 120/220 format & ready loads in 4x5.

    FP4: I use it for masking transparencies for Ilfochromes & shoot it for some B&W portait work. With Photographer's Formulary MCM 100 developer it gives very rich, smooth tones.

    Delta 400: I like the Delta 400 much better than the Kodak T-Max 400 film. The Delta film seems much easier to control contrast through using different developers and changing development times.


  5. #15
    jd callow's Avatar
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    </span><table width="99%" border="0" cellspacing="1" cellpadding="1">
    <tr>
    <td colspan="3" align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">Some
    history </font>



    Part One


    I was at one time a painter. I find myself inadvertently referring to
    my photographs as paintings even though it has been almost twenty years
    since I&#39;ve painted seriously. When I went to college, I went to study
    painting and art history and, through an elective, discovered ceramics.
    I found a second love particularly in low fire white clay bodies and various
    oxidizing and oxygen reduced (Ra ku) glazes. I have always found a severe
    beauty in the balance of the material, and the process when filtered through
    my personal vision. In other words when my vision or idea was good and
    I chose the correct materials and worked the process just right wonderful
    things happened.


    Part Two


    I&#39;ve always taken pictures. Eventually I started to shoot things that
    exceeded the capabilities of the films I used as well as the format. I
    was driven to replace my 35mm with an MF camera. I could now enlarge my
    images, was forced to think about film choices as well as go to pro labs
    for dev. and enlargements. I&#39;m sure that the 35mm would have lasted longer
    if I had switched to better films and professional processing and enlargements
    sooner. I now own a 4x5 as well as a MF.


    <font face="Verdana, Arial, Helvetica, sans-serif">Reason for
    the history
    </font>


    I see film as a material to achieve an end. I could care less about
    the politics of Fuji v. Kodak (truth be told Japanese companies can more
    often then not teach their US counterparts a thing or two about being
    evil). I look for film with unique character or character that I have
    some empathy for and can find a place for in my toolbox/artbin. Accurate
    skin tones, color fidelity and or finest grain don&#39;t necessarily rank
    high with me. I also like films that will fit my work process or have
    requirements that I can accommodate.


    I don&#39;t have the same requirements as most. I would think I might be
    more of an aberration than anything else. Meanwhile, I do my own film
    processing and enlargements and I can&#39;t imagine having anyone else doing
    it for me. Enlargements for obvious reasons, but even film processing
    is personal. Who besides the photographer can decide if the next batch
    of film requires an extra half or two thirds of a stop? I don&#39;t tray process
    so I could go a step further at least with my B&W. I also prefer larger
    prints so how the film holds together or how gracefully it falls apart
    are important to me.


    &nbsp;</td>
    </tr>
    <tr bgcolor="#CCCCCC">
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">Film</font></td>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">Description</font></td>
    <td align="center" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">Example</font></td>
    </tr>
    <tr>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">Kodak
    160T
    </font></td>
    <td align="left" valign="top">This is an older emulsion with relatively large
    grain. I cross process it and use it for high contrast situations where
    there is strong colours or when I want a touch of punch to a low contrast
    situation. The grain has an almost velveteen texture when enlarged. I rate
    it at 100 with no filtration. It is a great film for night shots with strong
    manmade light sources (such as neon and sodium vapor). It has very, very
    good reciprocity characteristics. This film has the longest latitude of
    all the films I&#39;ve crossprocessed whilst still providing some punch. It
    suffers from very little colour cross over as a crossprocessed material.</td>
    <td align="center" valign="top"></td>
    </tr>
    <tr>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">100SW</font></td>
    <td align="left" valign="top">I cross process this film, rate it at 80 to
    100 and filter it with a 30 cc Magenta filter. This film (along with its
    brethren S, and SV) produces a neg with a strong green cast, has wonderful
    punch, good reciprocity characteristics and I would guess about 6 stops
    of latitude. The palette is very plastic in appearance, but can be unmanageable
    if not filtered when shooting. The filtration also subdues the contrast.
    Color crossover occurs with the shadows going magenta and mid tones going
    green.</td>
    <td align="center" valign="top"></td>
    </tr>
    <tr>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">EPP</font></td>
    <td align="left" valign="top">I cross process and on occasion strait processes
    this stuff. Cross processed the shadows go blue and the highlights yellow.
    It has a very narrow latitude and some of the greatest punch of any of the
    crossprocessed E6 materials I&#39;ve tried. It is great for broad daylight/mid
    day light street photography. When I need a little less contrast but desire
    similar punch and crossover I use EPN. I shoot it unfiltered and generally
    don&#39;t use it were reciprocity failure will be an issue. I rate this film
    60 -80 and on occasion shoot it with a tung filter to tame the yellows</td>
    <td align="center" valign="top"></td>
    </tr>
    <tr>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">Portra
    160nc
    </font></td>
    <td align="left" valign="top">The palette of this film is like an oil painting.
    It can take an urban setting and really enhance the browns and greys it
    also has excellent reciprocity characteristics. Nothing I&#39;ve used can truly
    capture the dinginess of an overcast Detroit night sky like this film. Oddly,
    I find it&#39;s palette too muted for people</td>
    <td align="center" valign="top"></td>
    </tr>
    <tr>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">Portra
    100T
    </font></td>
    <td align="left" valign="top">This is my favorite tung balanced film. It has
    great latitude, is reasonably punchy, excellent reciprocity characteristics.
    It is the film I use when I wish to manage mixed lighting. I shoot it unfiltered
    and rate it just under 100.</td>
    <td align="center" valign="top"></td>
    </tr>
    <tr>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">Agfa
    Ultra 50
    </font></td>
    <td align="left" valign="top">I realize this film is no longer made, but I
    have 20 or so rolls left. It needs to be shot right on the money much like
    a tranie, has so so reciprocity characteristics and will block-up (everywhere)
    if over exposed. The palette just screams and what it does for midday sky&#39;s
    is unequaled. I rate it from 50 to 100.</td>
    <td align="center" valign="top"></td>
    </tr>
    <tr>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">Fuji
    Velvia
    </font></td>
    <td align="left" valign="top">This is, in my opinion, the best of the Fuji
    materials for cross processing. All fuji reversal materials when crossprocessed
    have a nearly uncorrectable (either when shooting or at the enlarger) limegreen
    cast - purple on the neg. Velvia is the most manageable of the three. I
    like to use this film for shooting flesh/people. By the time you&#39;ve tamed
    the cast the midtones (read: flesh) really warms up. Oddly the latitude
    of the film, when crossed, is wider than provia or astia. The reciprocity
    characteristics suck making it suitable for studio or sunny days only. I
    rate the film at 40 and will sometimes use either a magenta or a blue cc
    filter.</td>
    <td align="center" valign="top">&nbsp;</td>
    </tr>
    <tr>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">64T</font></td>
    <td align="left" valign="top">This film, along with its 160T variant, can
    be fun to use. They have good reciprocity characteristics, great punch and
    contrast. The downside is they both suffer from a very strong cyan cast
    (when crossed). I shoot it with a red cc filter at 64 (and ~120 for the
    160). I have found this film to be the perfect match for metal objects (as
    in cars). The palette complements the metal and the contrast enhances the
    metal and chrome&#39;s reflective nature.</td>
    <td align="center" valign="top"></td>
    </tr>
    <tr>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">Reala</font></td>
    <td align="left" valign="top">This is the leading candidate for replacing
    Agfa Ultra. It has a strong palette very fine grain and extremely wide latitude.
    It is a bit flat and I believe benefits from overexposure. I use it for
    night shots under mixed lighting and rate it at no more than 50.</td>
    <td align="center" valign="top"></td>
    </tr>
    <tr>
    <td align="left" valign="top"><font face="Verdana, Arial, Helvetica, sans-serif">NPC</font></td>
    <td align="left" valign="top">I have come late to this film. I have been so
    theroughly unimpressed with NPL and NPS, that I figured this film was no
    different. I was very wrong. I haven&#39;t shot enough of it to give a good
    report, but it appears to be everything PortraVC claimed to be. Great contrast,
    very good punch and very easy to use. My early assessment is that the reciprocity
    characteristics seem to be good and that it should be rated about 100. </td>
    <td align="center" valign="top"></td>
    </tr>
    </table>

    *

  6. #16

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    Good to see that I&#39;m not the only person who only uses one or two films to "do all"&#33; Now, Mr. Callow, what about the B&W&#39;s?

  7. #17
    jd callow's Avatar
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    </span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (docholliday @ Mar 16 2003, 10:11 AM)</td></tr><tr><td id='QUOTE'>Good to see that I&#39;m not the only person who only uses one or two films to "do all"&#33; Now, Mr. Callow, what about the B&W&#39;s?</td></tr></table><span class='postcolor'>
    This was to be a colour thread, but since you asked. I like tri-x probably the best followed by Plus-x and fp4+. these latter two I have grown to like simply because I was given a large quantity of it. I have also enjoyed techpan and HIE, but haven&#39;t shot enough of it . Many of my photography friends think Tmax is top dog and I really like the look of a TMax neg, but don&#39;t generally like the prints. I have some 50 speed illford Pan F in the freezer I&#39;m looking forward to trying and I have some SXX which I&#39;m in the midst of testing. The SXX may wind up replacing tri-x as my personal top dog -- Probably about the time I shoot my last sheet.

    *

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