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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
    Sirius Glass's Avatar
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    120 Black & White: Kodak Plus-X 125, Kodak Tri-X 400 - I shoot mostly Tri-X; I am starting to use Plus-X with short focal length lenses.

    120 Color Print: Kodak Ectar 100, Kodak Porta 160 NC, Kodak Porta 160 VC, Kodak Porta 400 NC, Kodak Porta 4000 VC, and my secret stash of Kodak Ultracolor 400 which was discontinued a while back. I have used Fuji, but not enough to comment on their print films.

    I shoot all films, 35mm and 120, at the box speed. I have done testing and I have not found problems with box speeds and little or no advantage to shooting at slower speeds.

    Steve
    Warning!! Handling a Hasselblad can be harmful to your financial well being!

    Nothing beats a great piece of glass!

    I leave the digital work for the urologists and proctologists.

  3. #23

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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.

  4. #24
    Sirius Glass's Avatar
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    Quote Originally Posted by dynachrome View Post
    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.
    YMMV, but I would suspect your light meters or your camera. I use several, some built into the cameras [two Nikon, one Hasselblad], some external [Sekonic]. I have checked mine at several stores with different light meters including Gossen, Minolta, Sekonic, ... and I have never had a camera light meter or my external light readers disagree. And I have never had the problem you described with Ektar. I will open or close the lens aperture a stop or two for specific lighting situations - mostly white scene, mostly black scene, back lit, ... or for a slightly denser black & white negative, but again nothing as extreme as you describe.

    My slide exposures are always correct and we know that the latitude of exposure for slides is narrow compared to print film. What are your results with slides?

    Have you had your camera shutters and lenses calibrated?

    I can understand small variations, but you are describing the World, synchronized, being out of step with you.

    Steve
    Warning!! Handling a Hasselblad can be harmful to your financial well being!

    Nothing beats a great piece of glass!

    I leave the digital work for the urologists and proctologists.

  5. #25
    2F/2F's Avatar
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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)

  6. #26

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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?


  7. #27

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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.

  8. #28

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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.

  9. #29
    johnnywalker's Avatar
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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

  10. #30
    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

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