jano
Evil Bokeh
Went out today with my ZI, 25zm and 85/2 nikkor, to try out some slide film, e100vs. As I rewound my second roll, I noticed the ZI was set to iso 200 from when I was shooting foma the other day. DOH!
I'll be sending the stuff probably to AI through samy's in Santa Ana. Should I just tell them to make sure to pull the stuff? Or should I just toss the film? Shots are mostly towards the end of teh day from the San Diego Harbor, with some into-the-sun shots. :/
I'll be sending the stuff probably to AI through samy's in Santa Ana. Should I just tell them to make sure to pull the stuff? Or should I just toss the film? Shots are mostly towards the end of teh day from the San Diego Harbor, with some into-the-sun shots. :/
Chris Lynch
Film Enough.
if by "pull", you mean Push- then yeah just get it pushed a stop. If 100VS is anything like Velvia 100 (as far as pushing goes), it'll be some incredibly saturated images with hiiiiiiigh contrast. I myself like the look from time to time- but you may not.
jano
Evil Bokeh
Whoops, yeah, push. Pull is the other way. See.. I barely know what I'm talking about 
But dang, it was fun shooting with the ZI. I took off the luigi half case, and the camera felt so skinny, light, nimble.. lotsa fun
But dang, it was fun shooting with the ZI. I took off the luigi half case, and the camera felt so skinny, light, nimble.. lotsa fun
T
tedwhite
Guest
Well, I did sorta the same thing last night. Huge billowing clouds in a monsoon sunset (clouds up to 22,000 feet). Grabbed a camera out of my kit, dial set at ISO 200, got a reading of f:5.6 at 125th, and shot off three frames just as the brilliant oranges and crimsons began to fade.
Oops. The camera I grabbed was a Pentax Spotmatic because it had just the right lens for the job: 105/2.8. I didn't use the Bessa R with 35/2.5 because the lens was too wide and would distance the scene too much.
However, I forgot that I had loaded the Pentax with b/w Fomapan ISO 200 yesterday.
Darn.
Ted
Oops. The camera I grabbed was a Pentax Spotmatic because it had just the right lens for the job: 105/2.8. I didn't use the Bessa R with 35/2.5 because the lens was too wide and would distance the scene too much.
However, I forgot that I had loaded the Pentax with b/w Fomapan ISO 200 yesterday.
Darn.
Ted
jano
Evil Bokeh
If you scan it in, then you can always use PS to add the color Or.. if you develop in darkroom, grab yourself some coloring pencils But B&W might come out good for storm clouds. I've done that before. Not quite your setup, as this was digital converted from color to b&w (before I got into film).
Or.. if you develop in darkroom, grab yourself some coloring pencils But B&W might come out good for storm clouds. I've done that before. Not quite your setup, as this was digital converted from color to b&w (before I got into film).
Last edited:
T
tedwhite
Guest
Jano:
That's a powerful, brooding image. Thanks.
I haven't developed the Fomapan yet. Still in the camera and I've got 15 frames left to shoot. Bought a 100 foot roll and use a Watson loader. I like your thoughts on what to do with the images.
Ted
That's a powerful, brooding image. Thanks.
I haven't developed the Fomapan yet. Still in the camera and I've got 15 frames left to shoot. Bought a 100 foot roll and use a Watson loader. I like your thoughts on what to do with the images.
Ted
jmilkins
Digited User
heh - if you really think it's going to be to contrasty or saturated, you could cross process it in c41 and see what comes out ...
Nachkebia
Well-known
Trouble, generaly you might have problems with shadows even shooting at 100 iso, and yea it is bloody contrasty by itself, I once shot provia 100f at iso 400 and did not push it, positives turned out to be very dark but they had some kind of information in it anyhow also depends on subject you were shooting
anyhow also depends on subject you were shooting jano
Evil Bokeh
John, I was thinking about doing that.l I've cross processed before, and had some wild results (see my rff gallery, look at the pink/magenta landscapes). I don't want to do that with these, though.
Vlad, combination of parasailers against the sun, some late afternoon landscapes, and sunset at the harbor (beach, boats, clouds, all direct into the sun). I used two sets of exposures for each picture.. one metered against the sun for the silhouette, and then one where I'd ae lock 45 degrees away from the sun, then point right back at it.
Vlad, combination of parasailers against the sun, some late afternoon landscapes, and sunset at the harbor (beach, boats, clouds, all direct into the sun). I used two sets of exposures for each picture.. one metered against the sun for the silhouette, and then one where I'd ae lock 45 degrees away from the sun, then point right back at it.