Architectural shoot in 4x5, Ektar 100 or Portra 160?

[Ai Print]

Hi, I have an architectural magazine piece I am doing in color and want to shoot it in 4x5 for a clean and classic look. I am tempted to use some of the 80 sheets of Ektar 100 4x5 I have in the fridge but feel it will probably be too contrasty and saturated for this piece. I am leaning towards using Portra 160 in 4x5 instead as the look it could give would be good even contrast with mellow color which could be saturated a bit in pre-press workup if needed. I also think it might handle mixed lighting better with less contrast buildup in certain color channels.

The piece will entail a mix of both exterior and interior views of a new school which is fantastic subject matter inside and out that I am already very much familiar with (client). I suppose I could shoot a mix of both films but I really like a more consistent look. I have never used Portra 160 and the examples I have seen of it in non-portrait mode look a little bleak in term of color rendition but I suspect this could be largely attributable to those who are using it.

Thoughts on this?

 

[BrianShaw]

My humble thoughts: I could have made up my mind as soon as I said/wrote, "but feel it will probably be too contrasty and saturated for this piece."

But in reality, I'd shoot both... and B&W too.

 

[Ai Print]

My humble thoughts: I could have made up my mind as soon as I said/wrote, "but feel it will probably be too contrasty and saturated for this piece."

But in reality, I'd shoot both... and B&W too.

Indeed, but I suspect some of the exteriors on flat light days could *possibly* benefit from Ektar 100 if filtered a tad warm to overcome the UV in my region. I agree on the B&W too as I tend to do that now in order to net some side print sales.

I guess the thrust of the question is more about if 160 would be good for this or just way too flat....having holders loaded with both seems like it might be a safe bet.

 

[DREW WILEY]

You pretty much answered your own question. Ektar will be tricky in mixed lighting. Portra 160 will be distinctly softer and less saturated, but more
forgiving.

 

[Ai Print]

Cool, I'll score 20-30 sheets of 160 and have both on hand. If anyone has direct experience or examples with 160 on interiors, I'd love to hear about it or seem them.

 

[BrianShaw]

My experience is that Portra 160 will to be too flat, especially in overcast situations, and Ektar can be too contrasty in sun/shadow situations. Bring both!

For interiors (a church) I've shot both and found Portra to be good if one wants the "pastel" look. this church interior is largely "Navajo white" with a lot of guilded highlights. Not much color except in one of the side chapels. I liked the pastel look but nobody else did. So the Ektar versions were used. I'd scan some for you but I know I can't find them easily (and I hate scanning).

 

[MattKing]

If there will be people in your shots, Portra.

A school environment might benefit from less saturation.

 

[Ai Print]

A school environment might benefit from less saturation.

Especially considering current fashion trends....;-)

There is a guy selling some Fuji Pro 160NS that I might use, any opinions on that stock?

 

[TheFlyingCamera]

Don't make the mistake of thinking Portra does not have saturated color. It does, in spades. Just not quite as punchy as Ektar. Both are less eye-bleedingly intense than Velvia. Honestly, Ektar has more accurate color than Portra - Portra is inherently warm-biased.

 

[removed account4]

i'd use the portra, i never had a problem with it in mixed lighting
( 4th layer tecno-stuff if i remember right ).

 

[Ai Print]

Portra is inherently warm-biased.

Given the high UV of living at 8,000 feet, that can only work in my favor.

 

[DREW WILEY]

Ektar is no problem at high altitude. I've routinely shot it a lot higher than 8,000 ft. But I always carry three warming filters for it: A pale pink 2B for
mild blue correction and general UV control, an 81A for coolish overcast, and an 81C for deep blue shadows under open blue sky. Correcting for mixed lighting is a more involved subject.

 

[Poisson Du Jour]

Ai has more LF cameras (and still other cameras and still more trinkets) that can be laid end to end of Duran Av.!
So the solution is easy: shoot two films in two cameras in parallel. Giving clients a choice of results is always a wise idea.

 

[Ai Print]

I ended up buying some fresh Fuji 160 from a seller on here and it looks nice, the article publishes next month...

 

[vovik]

Stunning shot !

 

[HiHoSilver]

Beautiful, AI. 'Was hoping Sirius would weigh in. His exterior shots would say he's seen the movie some. 'Hope the work is very well received.

 

[fdonadio]

Wow.

 

[frank]

Really well done!

 

[Ai Print]

Thanks, it was really fun and the kids at the school got quite a kick out of seeing "Some guy under a blanket" on campus, LOL.

My only regret was not shooting a couple of sheets of Tmax on the better scenes. I am really well connected with the school though so I bet I can do that in the Fall.