Detailed ISO Test For New Ektar 100

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DeeCee3

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My son is a working photographer who eagerly tries out new emulsions. Although most of his work is with digital capture, he still shoots enough film to make testing the speed ratings of newly-introduced films worth his while. He has just completed a rather exhaustive trial of Ektar 100. You can go with him down this slippery slope by clicking here:

http://darktopography.blogspot.com/2009/02/ektar-100-darktopo-film-test.html

dc3
 
That is well done, and a good read. I just finished a roll at 64 and really couldn't tell the difference from the two rolls I took at 100 (same camera on auto). I will say that I had to increase contrast on a couple of the 64 roll. It seems that it is right on 100 or in my case just a little lower. I find that lack of shadow detail doesn't bother me as much with color as it does with B&W. The lack of grain on Ektar 100 is amazing though. One friend asked if they were digital captures.
 
This is how most film tests should be done. No black magic involved, and lots of sarcasm ;)

Do you care to elaborate how he uses this extra step which I've never done:

"Shoot a blank frame for scanner calibration. 1/8000@f22, with lens cap, in a changing bag."

What does he calibrate on his scanner by doing this?
 
Hey guys, thanks for checking out the post!

luketrash said:
This is how most film tests should be done. No black magic involved, and lots of sarcasm ;)

Do you care to elaborate how he uses this extra step which I've never done:

"Shoot a blank frame for scanner calibration. 1/8000@f22, with lens cap, in a changing bag."

What does he calibrate on his scanner by doing this?
Click to expand...

Perhaps "scanner calibration" was a misleading way to say it. I use the blank frame to figure out the proper exposure for film base + fog. Same process as finding minimum (or maximum) black in the darkroom. The Flickr tutorial I linked to in the post tells all about it.

Ektar 100 is good stuff!
 
Thanks Max!

Honestly, I'd never thought about doing this. I don't have problems scanning my film, but in the darkroom, running a test strip through a blank frame to find times for absolute black is a great idea.

You can obviously tell I learned everything piecemeal rather than in a classroom ;)
 
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luketrash said:
Honestly, I'd never thought about doing this. I don't have problems scanning my film, but in the darkroom, running a test strip through a blank frame to find times for absolute black is a great idea.

You can obviously tell I learned everything piecemeal rather than in a classroom ;)
Click to expand...

Sometimes piecemeal is the best way. I know I learned more in my first four weddings than in four years of photo school.

Ever do double filtration in the darkroom? You get a max black with a #5 and then bring down the highlights with a #00. That's when the blank frame really comes in handy.
 
Max Cooper said:
Sometimes piecemeal is the best way. I know I learned more in my first four weddings than in four years of photo school.

Ever do double filtration in the darkroom? You get a max black with a #5 and then bring down the highlights with a #00. That's when the blank frame really comes in handy.
Click to expand...


I tried it once with a shot where I had way too dark of shadows and too bright of highlights.

Normal print with 4.5 filter:
2086117184_30b75dd1aa.jpg


Trying to split filter with a +5 and a -1 filter
2086117968_d3d7c1baa2.jpg


There wasn't much science involved. I just eyeball stuff in the darkroom. I'm using Ilford filters, and that was Agfa multigrade paper.

Not that this has anything to do with Ektar 100 ;)

The result? Not all that dramatic. I have to be really careful I don't bump the head on my enlarger because it's easy to knock things outta whack if you change filters and all that, between prints.
 
Max Cooper said:
Ever do double filtration in the darkroom? You get a max black with a #5 and then bring down the highlights with a #00. That's when the blank frame really comes in handy.
Click to expand...

Yes - nice technique. I usually use a 00 to get my highlights and mids where I want them, then do a very quick hit of #5 to knock the shadows down to where they need to be. Gives a very nice overall effect, and when done well, can nearly mimic the feel and tonal scale of a Platinum/Palladium print.
 
A great read. I always enjoy a pinch of sarcasm when taking in information. It makes it easier to digest.

btw- I almost forgot to mention that I still have a roll of the original Ektar 110 35mm sitting in my freezer. It'll get used for something..
 
luketrash said:
The result? Not all that dramatic.
Click to expand...

Dramatic enough to make a difference. I'm just returning to the darkroom after a 30 year hiatus, so I'm excited to try this technique. I first read about it in Creative Black-and-White Photography: Advanced Camera and Darkroom Techniques by Bernard J. Suess. But I'm glad to see it done here.
 
Dramatic enough to make a difference. I'm just returning to the darkroom after a 30 year hiatus, so I'm excited to try this technique. I first read about it in Creative Black-and-White Photography: Advanced Camera and Darkroom Techniques by Bernard J. Suess. But I'm glad to see it done here.
Click to expand...

That's a good book. Just gave my copy to Goodwill.

The technique isn't for everything, and it's best if you have an enlarger with built-in filters (although that makes you a sissy--real men hold the gate open with their foreheads and switch filters with their teeth).

When I was doing my Dark Topography work, which is all night photography, it came in really handy. Also good for low light stuff in a bar/dark street/under your bed/whatever.
 
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