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  1. #21

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    "I still have a few 120 format rolls of Konica 3200. It is seriously out of date and I don't intend to take pictures with it . What it is good for is airport x-ray negotiations. A few rolls mixed in with other film in the clear plastic bag can earn the much desired "hand inspection", .... sometimes."

    This is pointless. The hand baggage x-ray machines will not hurt your film.
    2F/2F

    "Truth and love are my law and worship. Form and conscience are my manifestation and guide. Nature and peace are my shelter and companions. Order is my attitude. Beauty and perfection are my attack."

    - Rob Tyner (1944 - 1991)

  2. #22
    Colin Corneau's Avatar
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    Back when our paper shot colour neg, we routinely shot Fuji Press800 @EI1600. Maybe even a little beyond, as I often played a bit fast and loose with the development times on our old Wing-Lynch.

    The results were good - this film was essentially made to be pushed a stop. Sure it was grainy, but as colour neg film went it was very good.

  3. #23

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    There are examples on rangefinder forum of Provia 400x pushed to 1600. The results looked good to my eye.

  4. #24
    accozzaglia's Avatar
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    I love this topic, because it's totally up my alley.

    I love Fujichrome MS100/1000 (RMS), even when I'm dealing with questionable expired batches I've bought from eBay. I use it (and came to love it) for two reasons: available-light shooting in unanticipated circumstances and low-light grain. When fresh, RMS is astoundingly flexible with both contrast and colour rendition, though in my experience it tends to be a bit cooler in tone than the Provia stocks I've used. When the post-expiry storage is questionable, I've had hit-and-miss results, but probably no more so than with other expired-and-stored-dodgy stocks I've tried in the past. Where originally, I shot RMS in 135, I do most shooting in 120 (and would, if I could find some for sale, 220).

    Tagged RMS images from my flickr should give you an idea as to its latitude in freshness and staleness alike. Pretty much everything dated 1998-2000 was fresh stock and 135. Of the expired stock, all shot this year, those shot January 16th-21st and then July 2nd were stock where colours didn't drift.

    The biggest issue I'm running into, though, is having the rolls developed at the shot ISO speed I select (I tend to push it nearly always). The local pro lab destroyed three rolls from Earth Hour in March and then destroyed three more from June. Since then, they have bent over backwards to assure me this won't happen again, wherein the lab tech under-developed my RMS rolls shot at ISO1000 by three stops. The lab tech, while evidently "experienced", never saw this film before in his life and didn't understand the very clear instructions written by the customer service desk or the shot speed and number of pushed stops I wrote on the sealed roll itself -- causing extreme distress and tongue-lashing at the manager by me, while the manager apparently screamed at the lab tech so loudly the second time this happened that it freaked out customers and staff alike, given his ordinary quiet demeanour. Somewhere in there, I dryly said to the manager that "with recurring problems like this, it's small wonder people want to migrate away from film."

    So if you start liking this stuff, just be sure your favourite lab knows what you're giving them: an ISO100-rated film that can be pushed 3 1/3 stops to ISO1000. Otherwise you'll end up with a disaster area like I have (enough to shake confidence in using RMS if not careful).

    If I could, I'd spend money on a huge batch of RMS which I know for absolute certain hasn't been brought out of deep freeze in the entire time of its post-manufacture lifetime, since it's what I reach for first when going out on a shoot and would love it if a comparable stock were still commercially available new.

    But there is an exception I love as much that's even harder to come by: Konica SR-G 3200 (which was also noted earlier in this thread).

    I was only able to obtain two (new, fresh) 135 rolls of this stuff in early 1998 for that year's batch and chose it precisely because I wanted a strong colour grain texture. A few SR-G examples are also posted in my flickr stuff. Note: while all were shot in 1998, they were kept in the freezer until late 2006 before being processed at my nearby Shoppers.

    Results from shooting a well-preserved roll now with immediate processing may yield different results, of course, as I seem to remember that large-grain emulsion doesn't preserve as well in deep freeze versus finer-grained alternatives. Anyone know why this is?
    Last edited by accozzaglia; 07-30-2008 at 10:20 PM. Click to view previous post history. Reason: link fixes

  5. #25
    Photo Engineer's Avatar
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    Lets look at this another way. Kodak has just finished implementing 2 electron sensitization into its films. What does this mean? It means that a 200 speed film looks like the last generation of a 100 speed film. It means that an 800 speed film looks like an old 400 speed film.

    OTOH, they could take an 800 emulsion (film) and creat a 400 speed film with 2x the sharpness or a 100 speed film with 2x the sharpness. So, it depends on whether you are looking for speed, grain or sharpness. Only tests will tell you what direction Kodak research took, but I do believe that since the motion picture industry is using this film in the form of their Vision film set, then the Kodak sharpness and grain outweigh any other product in negative films.

    PE

  6. #26
    accozzaglia's Avatar
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    I tend to be the exception amongst photogs I know: I like large grain and high speed films. Given what you've said, PE, I'd also be very pleased with a high-speed film yielding finer grain. In other words, I prefer low-light capability, and I don't take umbrage if that means the grain is monstrous or miniscule.

    Then again, I'm not the market, so I'll do whatever I can to let me do the things I love to do with film and lens.

  7. #27

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    accozzaglia,

    I am on board with you re: 100/1000. I have a bunch of 120 and 220 saved up. I think shot normally it has very accurate color, actually. I wish it had been made as a sheet film.

    My only gripe is that it was not available in a tungsten-balanced version. I have to hunt down 320T instead...probably my favorite color film alongside Press 800 and Reala.

    The best bet for processing is to do it yourself. Labs don't know what the hell they are talking about these days. I even gave them the film box, which lits the proper 1st developer times for various EIs. When they still couldn't figure out what to do, I just did it myself. Keep in mind that this is A and I, perhaps the largest and most respected pro lab in these parts, or perhaps the country.
    2F/2F

    "Truth and love are my law and worship. Form and conscience are my manifestation and guide. Nature and peace are my shelter and companions. Order is my attitude. Beauty and perfection are my attack."

    - Rob Tyner (1944 - 1991)

  8. #28
    accozzaglia's Avatar
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    2F/2F, I'll have to confess that I've never before used a tungsten-balanced film of any kind, and I'm wondering aloud how using it in unusual settings might be a benefit. Have you tried to push 320T or any other tungsten-balanced E-6 film before? If so, how'd it turn out?

  9. #29

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    320T was my most-often used film for shooting bands and other low-light shooting when I wanted a transparency instead of a neg. I used it because most low-light situations involve tungsten or other types of warm light, which can get overwhelming when using daylight-balanced transparency film. I have tried to get it to push the highlights to above EI 2000, but it doesn't quite make it, technically. It just gets crazily grainy and mushy in the shadows and midtones, while not doing much else to push the highlights. It could get to EI 2000 (measured with densitometer), but I usually used it at EI 1600. I used it in my 35 and medium format. It really shone in my Mamiya 645 with its f/1.9 lens, and pushed, because the medium format helped with sharpness.

    It is also good for shooting for grain and a heavy blue cast. Great for twilight-time and night-time street shooting in color. I would hunt some down and try it at least once if you like 100/1000 pushed.
    2F/2F

    "Truth and love are my law and worship. Form and conscience are my manifestation and guide. Nature and peace are my shelter and companions. Order is my attitude. Beauty and perfection are my attack."

    - Rob Tyner (1944 - 1991)

  10. #30

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    Anyone have any idea what film Jonas Bendiksen used in Satellites? I love the colours and grain of the images. I'm assuming it's high speed and pushed, as a lot of the shots are at night time.

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