Running a test with my new ORTHOTOPOSCOPE SS camera (6×12) and a non optimized pinhole of around F70 (optimized is around F130 for the 25mm focal length). I am looking at the following films with EI from approx 100-1600 all in developers I have found that works best for maximum compensation and best overall tonality with each specific film. Reciprocity corrections were kept to just a gerous doubling to time— with this type of camera and work I like to keep it simple if possible. Exposures ranged from 1 second to 30 seconds all handheld as that is my standard way of shooting with a pinhole system.
400TX • Diafine
400Tmax • 510 Pyro
Delta 3200 • 510 Pyro
Fuji 400CN • C41
Portra 400 • C41
CineStill 800T • C41
All test results will be converted to B&W as that is my current need with these materials.
UPDATE: So I’ve looked at the film and I am very drawn to the Porta 400 and VERY drawn to the Cinestill 800T when both are converted to B&W. The regular B&W film was amazing but due to the pinhole capture I had a lot more range of possibilities in the conversion process that really helped to bring out crazy tonal separation in the two color negative materials.
So in case you missed the hysteria: Kodak is no longer going to make acetate which is a base material for most roll films… HOWEVER!! this does not mean the end of film for Kodak. Kodak reportedly has several years worth of material on hand, their sheet films are on ESTAR base material- which they still produce- and they are looking for additional vendors to fill their acetate needs when their supply runs does out… again not for several years. This is really not as big a deal as some would suggest. Other sources of acetate exist- there will be a lot more news like this in the coming years from all current film makers, so we as film shooters need to take it in stride and not freak out – yet! For now just go shoot some freaking film!
So I very recently got a Leica MP Black Paint a la carte with a matching black paint Leica 35mm F2 ASPH Summicron… Nice! But what film? I’ve been shooting a lot of 4×5 film recently, mainly Kodak 160 Portra and there is NO way a 35mm negative was going to give me the tonality or depth of color that I had grown acustomed to. So what to do?!
Here are the results of my first tests…. Kodak 400TX processed 1:100 at 68F for 20 minutes with gentle agitation every 3 minutes. The negatives when scanned on my Imacon scanner at 6300 dpi were fantastic- I love grain! I made a test print at 28″ x 40″ on Canson Aquarelle 310 on my Epson 9900 using the BW mode and it was spot on. But…. was it perfect? No. Since this first test I have run many others and now feel that a bit more agitation is needed, perhaps one gentle inversion per minute. I also have ran a test with D76 1:1 using my JOBO and the results were quite nice but the grain was not as crisp as the Rodinal.
So today I am running one last test as I am leaving tomorrow for a week of shooting from FL to VT (will mainly be shooting 4×5 color but want the Leica for my reportage work.
My test today will use PMK developer which I used a lot back in 2006-2007 and I remember how amazing the never ending highlights were…. more as that test concludes.
“Eastman Kodak Company today announced a comprehensive settlement agreement with the U.K. Kodak Pension Plan (KPP), its largest creditor, with respect to its Chapter 11 Plan of Reorganization. Under the agreement, which will be filed with the U.S. Bankruptcy Court, Kodak’s Personalized Imaging and Document Imaging businesses will be spun off under new ownership to KPP.”
But, you ask, what does this mean for the future of Pro films like TX400, Portra and Ektar? The answer- direct from my friends at Kodak is:… nothing! All pro films both still and motion are not affected by this agreement. Furthermore, this agreement should give Kodak a better financial footing (exit chapter 11!!!!!) and help to keep film production in Rochester alive for the forseable future- a very good thing.
Now take a deep breath and go buy and shoot some film!
Just finished a great trip to Cape Cod with my oldest daughter. Many wonderful conversations about film and exposure and getting her comfortable using her “new” Rollei 35S. It was very interesting watching her tune into the light and it’s subtle changes and thinking about how it would look on film- she was much more engaged to the whole process than when I see her shoot with a digital camera. Yes I am very proud!