Terao
Kiloran
Recommendations please for a B&W film to use at a wedding in two weeks. I'm not the sole photographer but would like to do something different to the endless snapshots.
Requirements are I guess:
1. Must develop well at a local minilab (no way I'm going to risk dev myself, I'm only just starting)
2. Day is likely to be overcast and generally dark (3pm on an English winter day)
3. Ditto for the church
4. Bride is incredibly fair - pale porcelain skin and platinum blonde
5. Traditional white wedding...
I'll be using a Bessa T with the VC 21, 50 Nokton (or maybe the 40), and the 75
Will also have the Epson R-D1 as backup, although I may give that to my father...
Thanks in advance
Requirements are I guess:
1. Must develop well at a local minilab (no way I'm going to risk dev myself, I'm only just starting)
2. Day is likely to be overcast and generally dark (3pm on an English winter day)
3. Ditto for the church
4. Bride is incredibly fair - pale porcelain skin and platinum blonde
5. Traditional white wedding...
I'll be using a Bessa T with the VC 21, 50 Nokton (or maybe the 40), and the 75
Will also have the Epson R-D1 as backup, although I may give that to my father...
Thanks in advance
amateriat
We're all light!
The last two weddings I've reluctantly agreed to shoot (as principal photographer), I've shot Ilford XP2 Super, rated at E.I. 320, both available light (outdoors) and with flash (indoors). Very good results, reasonably tolerant of lab variability, crazy-easy to scan (IMO), yet easily printable in the wet darkroom. Others have used Kodak's BW400CN with good results as well.
- Barrett
- Barrett
Attachments
ClaremontPhoto
Jon Claremont
Well you've got three C41 films: Kodak, Ilford and Fuji. Pick one or two and rehearse now with somebody of similar coloring at about 3pm.
If the 'model' can wear a white shirt that may be a good idea.
See what you think of the results.
Whatever you do don't choose on the recommendation of somebody here, take the photos, and then discover too late that it was the wrong choice for you.
If the 'model' can wear a white shirt that may be a good idea.
See what you think of the results.
Whatever you do don't choose on the recommendation of somebody here, take the photos, and then discover too late that it was the wrong choice for you.
K
Kin Lau
Guest
If you're dependent on the lab, then it's best to ask the lab what they handle the best. Otherwise, there isn't much difference to the end user btwn the c41 b&w's.
venchka
Veteran
If the final product is lab made prints & scans, test the LABS! Make sure they know how to get black & white prints from one of the films mentioned. Too many labs never see this film. The results can be green or magenta. I agree with the advice to shoot either the Ilford or the Kodak at 320. I really like the way the Kodak film renders people. Both films are good, just slightly different.
Toby
On the alert
If I had an RD-1 I wouldn't even consider using film at an event that was at 3pm at this time of year. I've been doing lots of pro work outside at that time in the last week and have often found myself having to go to 800iso. Bear in mind it's going to be virtually dark by 4pm. Also, if by some fluke the light is good you can always drop the iso down and get really great quality shots. I think the RD-1 and the nokton is just about the best possible set up for that subject and conditions and you'd have to be crazy to make life hard for yourself by using film
fgianni
Trainee Amateur
Jon Claremont said:
You forgot the Lucky SHD400CN, I just ordered 10 rolls on eboy for $22, never tried it so don't know if it is any good.
iñaki
Well-known
I would choose the Epson Rd-1, and the Bessa T as backup loaded with Ilford HP5 (ISO 400).
ClaremontPhoto
Jon Claremont
fgianni said:
Thank you. I had never heard of that one.
lubitel
Well-known
I shot a few rolls of 400cn at a wedding. the conditions were really dim, they actually dimmed the lights in the restaurant for a more romantic look. I used J-3 at 1.5 and 1/30th. If I could I'd use the RD1 and then convert to B&W.
Xmas
Veteran
Split the film you shoot over best two mini labs in case one of them is training a wino or virgin.
Only use one camera and one lens, (I'd pick the 40mm myself). If it fails snatch the spare from your Dad, better get your Dad to reload the film camera, swap when you get to 36, check the rewind nob is going round by wasting a frame, every new film when your Dad return the film camera, you will feel like a knob if you dont.
You could ask to replan the wedding for 11:00 as 15:00 is a pig, any bad cloud cover and you will be at f4 and slow, this will stress any ones technique. Pray for high light cloud, hire a big collapsible reflector just in case, - you need a teenager to hold refelctor, a gurl is the best bet. Dont go below f4 it will slow you down too much, the chromogenic will tolerate some underexposure, if you are prepared to shoot at high index I'd stay at 5.6 or smaller, the grab shot at 5.6 is sharper than the one at 4... The grab shot is the one you will regret missing.
Good luck. If you are lucky the bride will kiss you when she sees the proofs.
Noel
P.S. Ive got a cork in the air 18" from the bottle, so nothing is impossible, burn film like there is no tormorrow say +10 cassettes, buy new batteries form a high turnover shop, there is no tomorrow.
Only use one camera and one lens, (I'd pick the 40mm myself). If it fails snatch the spare from your Dad, better get your Dad to reload the film camera, swap when you get to 36, check the rewind nob is going round by wasting a frame, every new film when your Dad return the film camera, you will feel like a knob if you dont.
You could ask to replan the wedding for 11:00 as 15:00 is a pig, any bad cloud cover and you will be at f4 and slow, this will stress any ones technique. Pray for high light cloud, hire a big collapsible reflector just in case, - you need a teenager to hold refelctor, a gurl is the best bet. Dont go below f4 it will slow you down too much, the chromogenic will tolerate some underexposure, if you are prepared to shoot at high index I'd stay at 5.6 or smaller, the grab shot at 5.6 is sharper than the one at 4... The grab shot is the one you will regret missing.
Good luck. If you are lucky the bride will kiss you when she sees the proofs.
Noel
P.S. Ive got a cork in the air 18" from the bottle, so nothing is impossible, burn film like there is no tormorrow say +10 cassettes, buy new batteries form a high turnover shop, there is no tomorrow.
w3rk5
Well-known
mwooten
light user
Terao,
I've used the Ilford c-41 before and it is nice. However, since you have the RD1 I would use it. You would save a lot of money vs. film/processing. Grab a handfull of batteries -- a fistfull of memory cards, and shoot away.
Take care,
Michael
I've used the Ilford c-41 before and it is nice. However, since you have the RD1 I would use it. You would save a lot of money vs. film/processing. Grab a handfull of batteries -- a fistfull of memory cards, and shoot away.
Take care,
Michael
mr roberts
Just R
When I need a little more speed I've been very happy with HP5 @ 800 processed by the kind and reliable folks at DR5. The process favors the bump up on HP5 and the transparencies are beautiful to project and nice to scan. And a flash or 2 just in case there's a delay and they go off later than expected.
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Pherdinand
the snow must go on
Don't know about England but here, condition No. 1 excludes everything else except C-41 BW films.
Toby
On the alert
Yesterday, I was out in London at 3pm and the light reading was 1/60 @ f2 at 800iso (!). Seriously, I'm not sure 400 iso film is a viable option.
Terao
Kiloran
w3rk5 said:
Wow, fantastic wedding shots. That's exactly the sort of look I'd like to achieve. Glossy shots in a Round Midnight style
Terao
Kiloran
Thanks all, excellent advice...
Well, the rules have changed...
Dad has been given the groom's mother's digital compact (a funky little 5mp Minolta with spot metering and what looks like a 28mm equivalent wide end to the zoom) so he'll be using that. I guess that means the T becomes my backup body now and I'll mostly be using the R-D1. A shame, as I wanted him to get to use the R-D1 with a view to buying him one as his first digital (he was a film rangefinder nut for years...)
Will have an experiment over the weekend with some C-41 and try and work out which lens goes on which body. Reckon the 21mm f/4 on the R-D1 is going to be too wide for group shots? (I know it would be on the T)
Well, the rules have changed...
Dad has been given the groom's mother's digital compact (a funky little 5mp Minolta with spot metering and what looks like a 28mm equivalent wide end to the zoom) so he'll be using that. I guess that means the T becomes my backup body now and I'll mostly be using the R-D1. A shame, as I wanted him to get to use the R-D1 with a view to buying him one as his first digital (he was a film rangefinder nut for years...)
Will have an experiment over the weekend with some C-41 and try and work out which lens goes on which body. Reckon the 21mm f/4 on the R-D1 is going to be too wide for group shots? (I know it would be on the T)
popstar
Well-known
I also recommend finding a lab that can handle the film if you are forced to go that route. Not everyone can work with the C-41 B&W film very well. Best to find a good shop before the big day!
As for film, I've had good experience with the Kodak BW400CN. While it's not the best photo in the world, here's a photo as an example of what the 400CN can do:
I personally love how the silver platter is rendered in the picture. Just an example...
Bessa R, 50mm/1.5 Nokton, Kodak BW400CN
As for film, I've had good experience with the Kodak BW400CN. While it's not the best photo in the world, here's a photo as an example of what the 400CN can do:
I personally love how the silver platter is rendered in the picture. Just an example...
Bessa R, 50mm/1.5 Nokton, Kodak BW400CN
mr roberts
Just R
Toby said:
OP "Will have an experiment over the weekend with some C-41 and try and work out which lens goes on which body. Reckon the 21mm f/4 on the R-D1 is going to be too wide for group shots? (I know it would be on the T)"
Sounds like some differing opinions on the light levels at this time of day. How is a 21/4 with 400 film going to balance against 1/60 @ f2 at 800iso? How does the RD-1 perform at 1600 equiv?
A 21mm on an RD-1 will be ~32mm equiv?