Yeah, certainly start at box speed. Kodak Portra film rated at ISO 800. . Rated ISO 200-2000! Using a high ISO will allow you to use very short shutter speeds (to freeze action) Sports photographers preferred High ISO films for that reason. CineStill 800T in daylight (colour-corrected). purchases using the links above so that this website may get a small percentage of that sale at no extra charge for you thanks. Understanding how to expose in lower-light and how to scan properly can reap much better results in my experience but anyway, thats a rant for another day. Develop it at 400 (+2 Stops) and your photos should come out fine. Film has a "look" to it and that look can be influenced by developers and whether or not you push or pull the film. An example of data being processed may be a unique identifier stored in a cookie. I switched to digital around 2004 and not until the recent years I've been wanting to experiment with film again. I was still getting the hang of my Noritsu scanner and so hadnt felt entirely comfortable deviating from my usual choice of film. I typically prefer results taken with the filter, but its not difficult to imagine that certain photographs may look their best with a bit of a teal colour cast. Its shots like this that make me wonder why some people are so obsessed with pushing film these days. Thanks Aukje! In general, disposable cameras have ISO values of 400 or 800, suitable for daylight and sunset photography. if(typeof ez_ad_units!='undefined'){ez_ad_units.push([[250,250],'35mmc_com-leader-2','ezslot_15',189,'0','0'])};__ez_fad_position('div-gpt-ad-35mmc_com-leader-2-0'); As you can see in this next frame, which Im going to take a stab in the dark (pun) and say was shot at EI1600, there is every bit of potential for very sharp, low grain images from this film provided a high quality lens is used and its scanned and processed well. Im not sure why, but I expected Portra 800 to be lower saturation than Porta 400, but that didnt seem to be the case at all. Raising the exposure a small amount is usually okay, but if you are photographing with a high ISO, you need to be even more diligent than usual about exposing your images correctly in-camera. About 20 years ago, I've often used Kodak Ektachrome 1600 (a diapositive film) as ISO 3200. Tungsten lights glow orange at 3000K, which is similar to the temperature found on the surface of red dwarfs, and LEDs can glow blue at nearly 7000K, which is similar in colour to the ultra-hot blue stars. Woah. - Maybe I should've mentioned that I was looking into B&W films in this case. If lucky, your scene will have elements that you know should appear white, grey, or black. I mostly used shutter-priority with a time of 1/500s or 1/1000s. Photography Stack Exchange is a question and answer site for professional, enthusiast and amateur photographers. . So at 400 ISO, you have 14-stops of DR but 8-stops under and 6-stops over. Unfortunately, what you heard, was off the back of a very poorly conceived April 1st joke-post over on phoblographer.Its not being discontinued, [] other films do you like using? Fast Film Speed - ISO 800 and Above. I'll have a look at ND-filters. When I mentioned this on social media somewhere, someone commented that I shouldnt rule out Portra 800. I found your results enlightening and certainly stimulating in the direction of trying some Portra 800.Whether in landscapes or portraits, I simply would not have taken these for having been shot on 800-speed film. ISO 800/30 Daylight-Balanced Film; Show More. Which is why I would again recommend an 85C colour filter to simplify things and save time. The ISO numbers correspond to the length of time it takes to capture an image, which doubles with each increment, so 800 films would take 1/8th of that ISO 100 film would take to capture the same idea. This has almost turned into a piece, hey. The first will be bigger problem with small format (you enlarge more, but 1/2000 and faster speeds are common) and the second with medium format (many MF cameras are limited to 1/500 sec). "Great for taking photos in water of any sort." These next shots were taken at EI200, and though this seemed to emphasise a yellowish-shift in the scans, it was nothing I couldnt post-process out with relative ease But just like a non-cloudy Summer-ish day during which I could happen to be shooting. Decide what you want to achieve and have the proper technical solution for it.The workflow would be to find the f-stop and speed you want to use, and find the ND that will allow you to use that particular combination in a particular light condition. When you are unable or unwilling to close your aperture too much (due to desired depth of field and/or diffraction worries) you have to resort to ND filters to make exposure work. So I wanted to know if Portra 800 was just as flexible. The Hexar, of course, has the advantage of a built in light meter that happens to suit me very well. To be in a forest under the trees you will find high ISOs very useful. He reviews it. My remark of "there's nothing from keeping me" is to deter answers like "There's no wrong answer, get creative. Raising the exposure in post-production will ruin the look of the grain. But generally it's said that 400 or lower is useless indoors, and you should go with 800 or up. How have you found the lomography stuff? I recently deliberated the above arguement before settling on buying my first roll of Portra 800 and taking on a trip to HK.I found Emulsives article below incredibly helpful in helping me make up my mind:https://emulsive.org/reviews/blind-film-review-01-fuji-natura-1600-vs-kodak-portra-800-vs-lomography-color-negative-800-35mm. Shoot that one at 6400 - or even push it to 12,800. Film stock review: Kodak TRI-X 400 black and white negative film in 35mm and 120 formats. Develop and scan on 16K HDR lasergraphic will be cheap per frame. But to a light-sensitive emulsion, these are all different colours. Now I'm just trying to select types of film I like the look of to try in some cameras I have, in this case specifically for a balanced general purpose (let's say a mix of outdoors and sometimes in a shade or well-lit room). Kodak TRI-X 400 - shot at EI 3200. Is Koestler's The Sleepwalkers still well regarded? On a sunny day, you will hardly be "forced" to configure shutter and aperture in a way which would require such high ISO, but if you have a, say, slow kit lens and the sky suddenly turns a bit cloudy, it's useful to have that option. Tonight I'm going to a little get together indoors and wanted to try it out. Never say never eh. But the intent of this camera/film would be mixed scenes. Throwing away 94% of the available light just to use grainy, high sensitivity film when you don't need it isn't going to give you the best image. As a tungsten balanced ISO 800 film, CineStill is designed to be shot under artificial light and also in low light. We know its white in daylight, still white when an orange light from a candle illuminates it, and yes, its still white when lit up by a cool blue shine of a fluorescent light bulb. The issue you may run into is that your camera might not have the aperture/shutter speed combination to properly expose the film. - So I'd have another step left if necessary. An ND (or several) will make your project more manageable. you could shoot this film at 800 and get more leeway in terms of aperture/shutter range. Ive only just started playing with some high speed color film. But I suppose what I can take from this is that it could work, trying to keep the exposure as low as possible, expecting some extra grain. There is a 4-stop difference between the p800 rated at 800, shot at f2.8 @ 1000 vs. p800 rated at 200, shot at f2.8 @ 250! Can you make it work? Thanks. Also very limiting in terms of creativity is having the shutter always at 2000th or 4000th of a second. Gridfiti is supported by its audience when you buy something using the retail links in our posts, we may earn a small commission at no additional cost to you. If your camera's max shutter is limited to (say) 1/1000, and you have a lens with 1/22 minimum aperture, then you can basically only shoot f/22 @ 1/1000, and that's it. PTIJ Should we be afraid of Artificial Intelligence? 2. As the others have noted, the quality of the pictures is not as good as with less sensitive films: more grain and less brilliant colors (for color films). Follow . It definitely says 200 though). Can I use high ISO film in bright light (without problems)? While the clouds certainly didnt make the sun hotter, the light that it gives off after being. It's an old SLR. I might have to shoot some Portra now and see how it compares. But when making that decision, the first concern I had was how I was going to cope without my quite-recently found love for this fast and very versatile colour emulsion.if(typeof ez_ad_units!='undefined'){ez_ad_units.push([[300,250],'35mmc_com-box-3','ezslot_0',179,'0','0'])};__ez_fad_position('div-gpt-ad-35mmc_com-box-3-0'); Now, before I get into this, I think that its important to caveat this review by saying that it is far from exhaustive, or even conclusive. I think I probably expected it to have a much coarser more visible grain structure, and that Id find myself in situations where Id regretted not using a slower film for the sake of less visible grain. Shooting ISO 800 on the BMCC is the same as setting the camera to 200 and underexposing 2 EV, then boosting the two stops in post. (Funnily enough, after reading your comment I read the bit where you quoted me as saying 1200 a couple of times. if(typeof ez_ad_units!='undefined'){ez_ad_units.push([[300,250],'35mmc_com-large-mobile-banner-2','ezslot_14',190,'0','0'])};__ez_fad_position('div-gpt-ad-35mmc_com-large-mobile-banner-2-0'); if(typeof ez_ad_units!='undefined'){ez_ad_units.push([[300,250],'35mmc_com-mobile-leaderboard-1','ezslot_19',191,'0','0'])};__ez_fad_position('div-gpt-ad-35mmc_com-mobile-leaderboard-1-0'); As a final test, specifically for the sake of this review, I recently shot a roll slightly overexposed to see how well I could correct it. So I suppose I could try it and see how it responds for the scenes I like to use it in, as long as it's not overly bright. I also really hope the Brothers Wright get sufficient funding to start producing 120 CineStill 800 Tungsten film so I can use it in my medium format film cameras like my Mamiya RZ 67 and Mamiya 645 Super (plus also in my 120 roll film back for the 4 . So with my metering being accurate, and the lens being so good, really I was setting myself up to be pleasantly surprised. By the time I picked up a roll in January this year, it was again because I was shooting a slower-lens in the winter months. During the daytime when shooting outdoors, you can use the Sunny 16 Rule to ensure proper exposure. Another is to shoot the film at 400-500 ISO. I participated in an exposition last month, and all my entries were Portra 800 (in an all digital expo). Outside of circles: frame shot with no warming filter and no colour correction. Reddit and its partners use cookies and similar technologies to provide you with a better experience. I mentioned in a recent review of my now treasured Konica Hexar RF that Id had a bit of an epiphany when I loaded a roll of Portra 800 into that camera and mounted my Voigtlander 50mm f/1.2 onto it. It single-handedly converts your emulsion to daylight-balanced stock. Are there conventions to indicate a new item in a list? (You might have seen that why shoot film? I wrote for Em last yr that was mostly about the relationship between grain and the image.) Want more tips on Cinestill and film photography? (Eg. If you shoot 200 ISO film at 400 ISO, then photos will be overexposed by . Id still like to read your piece about shooting Portra 800 under water. Plus your overall signal is cleaner. What film should I use for black and white outdoor 'formal' shots? I wouldn't call it useless indoors unless you're shooting in poor ambient light and/or working without a flash. I also found the results out of the Noritsu to be quite impacted by the slight yellowish-orange cast this scanner is quite well known for. Kodak Professional Ektar 100 is a daylight-balanced color negative film characterized by an ultra-vivid color palette, high saturation, and an extremely fine grain structure. Typically, CineStill 800T shot in daylight without a filter would scan and print with its colours shifted towards light blue or teal. It is my opinion that the tools should not determine the way you want to shoot, but the other way around. Interestingly, an overcast days sunlight measures nearly 7000K, just like an LED or a blue star. We and our partners use data for Personalised ads and content, ad and content measurement, audience insights and product development. Some people say that 400 ISO is the "true" rating of the Alexa sensor but 800 ISO is the manufacturer's recommended rating. I have a tendency to shoot slightly overexposed; however, in post-production, the image is brought back to normal to fix skin tones. This remarkable emulsion is always in high demand, and its not just the hype: this film delivers for both perfectionists and experimental photographers. As an 800 ISO film, I suppose I had pigeon-holed it as a low-light film. Also, 400 is a good general purpose film. Based on Kodak Vision 3 500T movie stock, which CineStill cuts and repackages for still cameras, 800T offers an extended dynamic range along with very fine granularity. Connect and share knowledge within a single location that is structured and easy to search. As it turns out it is at least fairly happy with overexposure. Proimage 100 is another film thats given me the more saturated colours I like, but as a 100 speed film, I just didnt find it to be as versatile as Id have liked. In open shade you will be fine. What caused excessively high grain in Delta ISO 400 film developed by a shop? May 17, 2012. //
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