Slide Film, A CALL TO ARMS! : SHOOT IT OR IT WILL DIE

Anyone ever use Fuji 64T? I've never shot a roll of tungsten film before and was curious as to its uses. Most examples I've seen have been for moonlit scenes, and the results are stunning. I'm about to place a big order of slide film (before the price hikes in August) and was thinking of throwing in a couple rolls of 64T.
 
anjoca76 said:
Anyone ever use Fuji 64T? I've never shot a roll of tungsten film before and was curious as to its uses. Most examples I've seen have been for moonlit scenes, and the results are stunning. I'm about to place a big order of slide film (before the price hikes in August) and was thinking of throwing in a couple rolls of 64T.
Click to expand...

I just shot some without knowing what I was getting into, as it was expired and super cheap (love the classifieds here). Those daylight results were no bueno, but that was the shooter's fault and not the film.

As I shared earlier in this thread, apparently tungsten film's color degradation during reciprocity failures in long exposures ends up in the "daylight" film look range. To put it more simply and in Mat Marrash's words on his post here on the FilmPhotographyProject.com's blog:

"For color film shooters a, now harder to find, popular solution was to shoot slower speed tungsten balanced slide film such as Ektachrome 64T for a really long time, as the shifts would lean more towards daylight, no filtering required!"

Check out the link to his post for a great example of this applied usage. As someone who misses the long exposures of digital, I am really looking forward to putting this in action in some nighttime exposures with my RB67.
 
wilonstott said:
The closest I ever got was with Astia (alert: this is my opinion)--which is gone now.

I realize it's a completely different process, but Kodachrome had the ability (to my eye) to maintain proper skin tone (even with caucasians) but saturate other colors in the red spectrum. (hence "red hat photography" that dominated National Geographic in the golden age that was the 1980s)

Again, I may not be articulating myself properly.

Can we even approach the look with current e-6 emulsions and warming/cooling filters?
Click to expand...

I too am curious about this, as someone who completely missed the Kodachrome boat and loves it's look and beautiful saturation and rendering of skin tones.
 
PrecisionCamera said:
I just shot some without knowing what I was getting into, as it was expired and super cheap (love the classifieds here). Those daylight results were no bueno, but that was the shooter's fault and not the film.

As I shared earlier in this thread, apparently tungsten film's color degradation during reciprocity failures in long exposures ends up in the "daylight" film look range. To put it more simply and in Mat Marrash's words on his post here on the FilmPhotographyProject.com's blog:

"For color film shooters a, now harder to find, popular solution was to shoot slower speed tungsten balanced slide film such as Ektachrome 64T for a really long time, as the shifts would lean more towards daylight, no filtering required!"

Check out the link to his post for a great example of this applied usage. As someone who misses the long exposures of digital, I am really looking forward to putting this in action in some nighttime exposures with my RB67.
Click to expand...

Thanks for the info! I'm going to pick up a couple rolls and see how it looks.
 
wilonstott said:
Oh, and another thing, Jan

And guys, I don't want to start a all out war here.

What about a Kodachrome balance with Fujichrome?

The closest I ever got was with Astia (alert: this is my opinion)--which is gone now.

I realize it's a completely different process, but Kodachrome had the ability (to my eye) to maintain proper skin tone (even with caucasians) but saturate other colors in the red spectrum. (hence "red hat photography" that dominated National Geographic in the golden age that was the 1980s)

Again, I may not be articulating myself properly.

Can we even approach the look with current e-6 emulsions and warming/cooling filters?

And again--please, please, please

no wars
Click to expand...
The best replacement for Kodachrome that I've found is the Rollei/Agfa CR200 film.
http://www.freestylephoto.biz/81220...-PRO-E-6-Process-120-size-Single-Roll-Unboxed
Not to dissuade you from trying, but I wouldn't even try messing around with the Fujichromes since they're so different.
Here's some CR200 in 120 that I've posted before:

44580009 by daviz121, on Flickr
It was quite late in the day so it's more yellow than one would expect.
 
These aren't the best shots in the world but it might give you a decent idea of what the film is like when it isn't being lit by a sunset.

44580005 by daviz121, on Flickr

44580001 by daviz121, on Flickr
I've got a few more rolls of the stuff to send out for development which were taken under more subdued/overcast lighting.
 
Doesn't CR200 have to be loaded in complete darkness.

Seems like I read that if the leader is exposed to light, it will eventually fog the whole roll.

Correct me if I'm wrong.
 
PrecisionCamera said:
As I shared earlier in this thread, apparently tungsten film's color degradation during reciprocity failures in long exposures ends up in the "daylight" film look range. To put it more simply and in Mat Marrash's words on his post here on the FilmPhotographyProject.com's blog:

"For color film shooters a, now harder to find, popular solution was to shoot slower speed tungsten balanced slide film such as Ektachrome 64T for a really long time, as the shifts would lean more towards daylight, no filtering required!"
Click to expand...

That's good to know. I have quite a lot of Ektachrome 64T in my freezer in both 35mm and 8x10, and maybe a box of 4x5.
 
loquax ludens said:
That's good to know. I have quite a lot of Ektachrome 64T in my freezer in both 35mm and 8x10, and maybe a box of 4x5.
Click to expand...

That's what I said. Being the nincompoop I can be at times, I thought I just wasted a bunch of money (albeit not much money) on about 15 rolls of film I'd never use. Now I have a slide film with a specific purpose thanks to the guys at the Film Photography Project!
 
wilonstott said:
Doesn't CR200 have to be loaded in complete darkness.

Seems like I read that if the leader is exposed to light, it will eventually fog the whole roll.

Correct me if I'm wrong.
Click to expand...
I've only used it in 120 so I can't comment on the 35mm version, but I loaded the 120 in normal indoor lighting and didn't have a problem. I'm guessing just turn your back to the sun and load it in shade and see what happens.
-David
 
anjoca76 said:
Anyone ever use Fuji 64T? I've never shot a roll of tungsten film before and was curious as to its uses. Most examples I've seen have been for moonlit scenes, and the results are stunning. I'm about to place a big order of slide film (before the price hikes in August) and was thinking of throwing in a couple rolls of 64T.
Click to expand...

It is by far the best tungsten film ever made: Excellent precise colors under tungsten lightning, extremely fine grain and high resolution. Outstanding stuff.
This film is also still available as Lomography X-Pro Tungsten (that is relabelled Fuji T64).
If you want tungsten film, than shooting Fuji or the Lomography film is the way to go.
New demand can perhaps lead to new production. We've seen that in 2007 when Fuji re-introduced Velvia 50 due to high demand.
The Lomographic Society International (LSI) in Vienna is now one of the most powerful companies in film photography. If they see sufficient demand for the Lomography tungsten film, then perhaps they can give big enough orders to Fuji so that a new production at Fuji is economical.

Therfore if you want to try tungsten film, then using Fuji or Lomography is the best way. As Kodak has given up on slide film in general, buying Kodak slide film makes not much sense anymore. Let's support the remaining companies who care for slide film.

Cheers, Jan

P.S.: For long exposures I can also recommend Provia 100F. Excellent film for that purpose with no need of adjustments up to 2 minutes exposure time.
 
wilonstott said:
Doesn't CR200 have to be loaded in complete darkness.

Seems like I read that if the leader is exposed to light, it will eventually fog the whole roll.

Correct me if I'm wrong.
Click to expand...

Hi,
you are wrong.....;).
It is sufficient to load the film in subdued light. No problems if you load at normal light in your house before you go out shooting.
A bit more problematic if you are in bright sunlight: Then turn your back to the sun and load the film in the shape of your body.
With bad luck the first two or three pictures of the roll show some fogging in the sprocket hole areas.

Can this film be a substitute for Kodachrome? No, not at all. This film is completely different: The CR200 is extremely warm, or better said: it has a strong yellow color cast. That wasn't the case with Kodachrome.
And CR200 has much much coarser grain, much lower resolution and sharpness than Kodachrome.
It's a completely different film with a different look.

And it has one further disadvantage: It is not produced anymore.
Due to a recent official statement of the former CEO of Maco, which is distributing this film, this film was made at the former Agfa Leverkusen factory for Agfa-Gevaert in Belgium. It has never been coated in Belgium. All what is sold now is leftover stock.

I am convinced that we all here agree that transparency film is a major part of the film photography culture and history.
And that it absolutely deserves to be alive!
To keep it alive the only way is now to support Fujifilm and buy their slide films (and films which are made by them like AgfaPhoto CT Precisa 100 and Lomo Tungsten). The more, the better.

Cheers, Jan
 
HHPhoto said:
P.S.: For long exposures I can also recommend Provia 100F. Excellent film for that purpose with no need of adjustments up to 2 minutes exposure time.
Click to expand...

Thanks for that! I'll keep that in my pocket, but my long exposures run upwards of 8 minutes quite often, so the tungsten slide film color shift "fault" is going to really be more favorable for most of my shots.

I do shoot some <2 minute exposures though, so I'll be using that film from time to time now. Thank you for the heads up!
 
PrecisionCamera said:
Thanks for that! I'll keep that in my pocket, but my long exposures run upwards of 8 minutes quite often, so the tungsten slide film color shift "fault" is going to really be more favorable for most of my shots.

I do shoot some <2 minute exposures though, so I'll be using that film from time to time now. Thank you for the heads up!
Click to expand...

Hi Christian,

you're welcome.
For exposure times of up to 4 minutes with Provia 100F Fuji recommends a 2,5G filter (CC values) and a + 1/3 stop longer exposure time for best colors.

Night and dusk / dawn shots are a subject where transparancy film is unsurpassed in its unique look. The light sources play a major role in these shots. And on a lighttable and especially in projection these lights on slide film are really shining and show their full beauty.
It is impossible to get this brillant look with prints or pictures on a computer monitor. Transparency film, 'shining through' by the light, and 'illuminating' the light sources and brillant colors on it, is by far the best photographic medium for such photo motifs.

Have fun and enjoy it!

Cheers, Jan
 
Keith said:
In Australia it's like asking me to eat caviar more regularly. Slide film is horrendously expensive here and processing is much the same!

The last roll of E-6 I had processed at a pro lab cost me over twenty dollars for developing only!
Click to expand...

Damn. That's like a pack of smokes in Oz.
 
dallard said:
Just an FYI:
I sent out some Fuji mailers yesterday and they cost $1.95 each to send.
Click to expand...

Thanks, that is indeed very cheap.
Developing costs in Germany for E6 are only 1,85€ - 2,55€ at the drugstore chains. That is extremely cheap.
Professional labs are charging in 4€ - 6,50€ range here, which is also very reasonable and attractive priced.
The price difference between C41 and E6 development is very small and negligible.

Seen yesterday in another forum:
Fuji Provia 400X pushed two (!) stops to ISO 1600/33°.
Looks very good:

http://www.flickr.com/photos/lcy/4131188644/in/photostream/

http://www.flickr.com/photos/lcy/4131150316/in/photostream/

Cheers, Jan
 
HHPhoto said:
Thanks, that is indeed very cheap.
Developing costs in Germany for E6 are only 1,85€ - 2,55€ at the drugstore chains. That is extremely cheap.
Professional labs are charging in 4€ - 6,50€ range here, which is also very reasonable and attractive priced.
The price difference between C41 and E6 development is very small and negligible.

Seen yesterday in another forum:
Fuji Provia 400X pushed two (!) stops to ISO 1600/33°.
Looks very good:

http://www.flickr.com/photos/lcy/4131188644/in/photostream/

http://www.flickr.com/photos/lcy/4131150316/in/photostream/

Cheers, Jan
Click to expand...
$1.95 is just the postage, the mailers cost $8.49 each. $10.44/roll for developing, mounting and shipping from anywhere in the US is pretty convenient. Processing and mounting alone usually runs about $10 here not counting the shipping. All in all, I don't think it's that bad.
 
You must log in or register to reply here.
Back
Top Bottom