karateisland
Established
I have been shooting Superia for about a month and frankly doesn't always look great with the dim winter light we're seeing in New England at the moment. When the sun comes out, it's glorious, but the sun doesn't come out often these days.
I'm interested in trying out another color film stock, but not sure where to start. I've heard recommendations for Astia, but I'm wondering if there are any other favorites!
I'd post some examples with Superia, but I'm at a conference right now
cool and can't seem to get into my flickr account...
Thanks for the help!
I'm interested in trying out another color film stock, but not sure where to start. I've heard recommendations for Astia, but I'm wondering if there are any other favorites!
I'd post some examples with Superia, but I'm at a conference right now
cool and can't seem to get into my flickr account...Thanks for the help!
valdas
Veteran
what iso Superia you are shooting?
karateisland
Established
Good question! 400.
BLKRCAT
75% Film
I've been told that color in the winter needs heavy polarization. Generally though I avoid color especially on overcast or winter days.
charjohncarter
Veteran
It is not cheap but Porta 160 looks great in wet or dull winter scenes. Also Kodak Gold 200 has a warm pastel cast that is moody for winter. Gold is less expensive and with that it isn't as sharp as Portra. For scanning I find Ektar 100 and Fujifilms easiest to scan.
Above was mentioned Fuji Superia (400), I've used it and it seems fine:
Untitled by John Carter, on Flickr
Above was mentioned Fuji Superia (400), I've used it and it seems fine:
Untitled by John Carter, on Flickr
karateisland
Established
It looks to me like Superia is at its best for shots where there is more color variation. A lot of the outdoors scenes I've been shooting lately are dominated by two or three dim colors, tops.
Portra looks like it might do especially well in the situations I'm facing at the moment.
Portra looks like it might do especially well in the situations I'm facing at the moment.
Ko.Fe.
Lenses 35/21 Gears 46/20
Personally, I never have any luck with any Fuji made film. Only with 250D .
Just yesterday I printed from Kodak 400 UltraMax scan. Indoor taken few days ago.
This will be my color film until M-E is back. One of the last C-41 films priced for use. The only downsize, it gives crazily saturated colors under Sun&Snow.
.Just yesterday I printed from Kodak 400 UltraMax scan. Indoor taken few days ago.
This will be my color film until M-E is back. One of the last C-41 films priced for use. The only downsize, it gives crazily saturated colors under Sun&Snow.
brbo
Well-known
I can't think of a better, sensibly priced negative film than Fuji Superia X-tra 400 (which you are already using). Experiment, but I think you'll find that anything else in the iso400 speed will have even less punch.
If you are not too scared of a bit more grain and Lomo reputation, try Lomo Color 800 film (there's nothing "lomo" about it).
stompyq
Well-known
Umm Ektar 100? Portra 400? What more do you want?
valdas
Veteran
Yes, I am surprised the OP is not happy with Superia 400. I like this film. Maybe some overexposure (rating at iso200) would help. Superia 800 is still available in some places (although discontinued in general). You might try that one as well and experiment with speed rating...
karateisland
Established
I just loaded a roll, so I'll experiment with going to +1 and +2 on the exposure compensation dial and see what happens!
I'll probably order some Portra 160, too, just to experiment. Thanks for all the tips.
nukecoke
⚛Yashica
Kodak ProImage 100 gives a better look than Fujicolor C*/Superia when the sky light is dim.
I don't think overexposing would work, the not-so-great look has something to do with the film's colour theme (colour palettes), rather than exposure.
I don't think overexposing would work, the not-so-great look has something to do with the film's colour theme (colour palettes), rather than exposure.
Swift1
Veteran
Huss
Veteran
Overexposing reduces contrast, so if the issue is with poor/low contrast light, it's not going to help.
The film is not the problem, it's the type of light that is the issue. I don't think there is such a thing as bad light, just different light. And you accommodate for it with subject matter and composition.
The film is not the problem, it's the type of light that is the issue. I don't think there is such a thing as bad light, just different light. And you accommodate for it with subject matter and composition.
karateisland
Established
Well, let me rephrase then: I'm happy with a handful of my compositions, and not upset about the light, I'm just ambivalent about the color palette under late-Winter conditions. Just looking for other favorites to experiment with as I hone my craft.
Brad Bireley
Well-known
Here are 2 examples with Ektar 100...
carbo73
Well-known
Here are 2 examples with Ektar 100...
Those look wonderful. A question about winter exposition. I'm going to use a Kodak Retina in the snow. The sunny 16 rules that in snow aperture should be f22. But what about the sky. Its f22 with cloudy snow lanscape that sunny snow lanscape?
wilsonlaidlaw
Member
I just bought 10 rolls of ProImage 100 to use on a forthcoming trip to India. I am told it is more resistant to hot and humid (which it certainly will be in Mumbai and Kolkata). It has only recently become available in Europe. I normally take colour reversal but as I will be going through a total of 9 airport security checks and have no facilities for cold storage, I thought negative would be a more sensible choice. For India on the basis of past experience there, I have found the wider exposure latitudes of negative better suited to the often harsh lighting than reversal. I had hoped to take my Leica M7 but Leica still have not supplied the replacement drive shaft, which broke and jammed the camera, last November. I am therefore going to take my R9 instead (the hunchback of Solms). This is my broken M7 drive shaft.
Wilson
