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  1. #21
    mrred's Avatar
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    An old trick I carry around with me, for bright locations, is to carry both linear and a circular polarizer. Used together, gives a variable neutral density filter. You will get colour sifts at the extremes, so get the highest quality ones you can afford.

  2. #22

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    120 films

    Most people do not rate Ektar 100 at 100. In anything but the brightest and most contrasty light, rating it at 100 will produce underexposed negatives and more grain. The other films I don't rate at box speed arre the Fuji 160 color print films. I rate them at 100.

  3. #23

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    Quote Originally Posted by dynachrome View Post
    Most people do not rate Ektar 100 at 100.
    Where did you get this information?

    Quote Originally Posted by dynachrome View Post
    In anything but the brightest and most contrasty light, rating it at 100 will produce underexposed negatives and more grain.
    This is backwards. If there is any time to downrate a negative film across the board, it is in the brightest and most contrasty light.
    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)

  4. #24

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    I have to agree with what Sirius and 2F have to say. I metered Ektar 100 at ISO 100 and shot a stained glass window backlit by diffused sunlight coming off of a courtyard. The result?


  5. #25

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    Quote Originally Posted by Pupfish View Post
    Bulletproof in bright conditions? Fuji Pro 160S.
    Interesting. I have the opposite experience, and find that Reala performs significantly better in bright conditions. But I love the color rendition I get with 160S in low-ish light (low-ish for that speed), shade, etc.

    Quote Originally Posted by BetterSense View Post
    Where do you buy that 800z stuff? Freestyle doesn't seem to have it.
    Of course it does. It's available at any of the big stores--B&H, Adorama, Calumet, and yes, Freestyle. And you can get expired NPZ off Ultrafine.

    http://store.ultrafineonline.com/fupronpz800p.html

    Oops, just realized that's 220. Well then...eBay for NPZ.

  6. #26

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    All great information.... NOW, im taking everyone's advice and buying at least 2 to 5 rolls of suggested films and i will see what i come up with!

    Now for some more suggestions... This topic has brought exploring filters into my life ( which ive not really used in the past! ) Since i started reading, ive ordered some Tiffen UV filters for both my 180 and 65mm lenses for the RZ, and now i want to get a few more starting with polarizer filters. Im stuck firstly on:

    -Do i NEED a circular, or can i get away with a linear ( being as the RZ in still manual focus)
    -And second, should I avoid a non-coated filter such as the 40 dollar Hoya "green series" Circular filter? Or should i go coated ( i am obviously an amateur with big dreams I'll spend the cash, but want to know the details...
    - When shooting B+W film, do i have any use for any other filter that a UV?
    Then, whats next in filters after im covered on UV and Polarizing? ND filters? Blue and Yellows? What am i wasting my time with and or, what do i need to spend my time learning with? Ive got some time before i go to Mexico, and id like to be as prepared as possible, but not weighted down with stuff/ concepts i don't YET understand how to use, feeling like a tool with expensive filters/ lenses ect and no internet to guide my sword. LOL.

  7. #27
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    Check out Tiffen's site to show you what colour filters do with black and white. Generally, a light yellow filter will make film behave more like what your eye sees. Colour filters pass the colour of the filter and tend to block the rest, how much depending on how "deep" they are. For instance a green filter will lighten green trees and darken red flowers and a blue sky. Yellow, orange, green and red are commonly used with black and white. And a polarizer is often handy of course.
    If I had been present at the creation, I would have given some useful hints for the better arrangement of the Universe.
    Alfonso the Wise, 1221-1284

  8. #28
    Mark Fisher's Avatar
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    BW in 120 --- Acros when I am on a tripod, Tri-X on old cameras, and Delta 3200 when going handheld......I have tried everything (it seems) and I like the look of these films best for the type of photography I do

  9. #29

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    Has anyone bought Reala lately? Normally I'm not overly suspicious when both B&H and Adorama are out of stock, but then I checked the data sheet from the Fuji site and it only lists 35mm.

    http://www.fujifilmusa.com/shared/bin/Sup_Reala.pdf

  10. #30

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    Quote Originally Posted by DanielStone View Post
    specular highlights are like the sun shining off of chrome. if you see that in pictures, its usually like "blinding white, nothing there". that's a specular highlight IMO. there are more technical explanations, but this one is mine.

    NPH= the earlier version of Fuji's Pro400H, which is pretty much the same thing IMO. just a name change.

    Overexposure: most people overexpose anywhere from 1/3-1 full stop. some more for their needs/certain look. I've decided that rating the film as the speed on the box states gives me the best results for MY uses, so, rating a 400 speed film AT 400 gives ME the best results that I like. If I'm in doubt, however, I'll overexpose a 1/2 stop or so(open up the lens, or slow down the shutter).

    Overexposing helps to keep shadow detail from disappearing. most modern color negative materials will handle from -2 stops to +2/+3, so, underexposing 2 stops, or overexposing up to 3 stops(say, rating a 400 speed film at 64). This overexposure generally LOWERS CONTRAST overall, but opens up shadow detail, but super bright highlight detail is generally "lost in translation" .

    Even modern E-6 emulsions can't generally handle more than a 3-4 stop latitude range, where as color neg emulsions, some claim, can handle as much as 14, generally on the highlight end.

    ASTIA: warmer toned film, not as saturated as velvia, but warmer overall.

    Polarizer: think polarized sunglasses, and being able to look through the 'haze' that seems to muddy a landscape when you're looking at it. a polarizer cuts through most REFLECTED LIGHT, lessening the effect of lower contrast, generally increasing apparent contrast in your subject matter.

    p.s. here's a shot(not mine, grabbed off of flickr) comparing what a polarizer does with most situations where water is in your shot.
    ^^^ I strongly prefer the non-polarized version. Even though it has more saturation and contrast, the polarized version has less depth.

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