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CHS II 100 issue


@Henning Serger , when pushing Scala 50 one stop, how noticeable is that? E.g. in terms of contrast and grain?
 
Nitroplait said:
Would have been nice to know if "it" deposits on the film pressure plate and maybe to know what "it" is.
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This is most likely the anti static component of the backing layer. It is intentionally there, unproblematic and will disappear during development. It should not sit so much on the outside of the layer. It appears it´s "taking a little walk through the layer" over storage. We agree that it does not look particulary pretty and we will try to "lock" it better the next time. It is especially visible after cold storage. Taking it out or wiping it off would be a bad idea though on a PET base ;-)
Just process as ususal.
 
dmtnkl said:
As the supply of Silvermax and Scala 160 started to dwindle, CHS 100 II picked up my attention
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Similarly here - after my "journey around the globe" in hunt for clear base films, I've come to conclusion that this is a rare beast together with Fomapan R100 - both being classical emulsions on a clear base. Other emulsions on clear PET or Triacetate being of technical nature... So I tried it and was blown away by its ability to record details in deep shadows - this makes it an excellent URBEX/natural light film! Resolving power, however, could be better for a 100 film... imho

dmtnkl said:
It looked like a uniform layer of powder/dust on the film's base. Furthermore, a distinct mark seems to appear at an interval of ~1cm
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As many have said before - I saw it too and was mildly worried if that should belong there. But when I reversed it, I forgot all about this - slides look beautiful! I was also curious how well this film base kept fingerprints (on the leader).

dmtnkl said:
Would you happen to have any slides developed? How do they look during projection where even the smallest artifacts (dust particles etc) tend to show up.
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I have - with Ilford Reversal and permanganate bleach. Slides look clean and I'm blown away by the latitude of this film, and quite enjoy its graininess I get at 50x projection magnification.

dmtnkl said:
I can also now confirm that the deposit/residue i obeserved is gone after development and the film base looks clean.
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Yup.
 
pkr1979 said:
when pushing Scala 50 one stop, how noticeable is that? E.g. in terms of contrast and grain?
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I know the question isn't asked to me, but I have pushed and pulled Scala 50/HR-50, so I thought I'd chime in.
It looks beautiful and contrast rendering responds well in both directions for about a stop. Didn't notice any grain alteration, though.

Was more interested in pulling it to tame the innate contrast, making it more suitable for tripod and natural light based shooting of abandoned indoors - will do again, will pull again
At the end of the day: HR-50/Scala 50 to me is the best film for reversal out there: 1) Not too slow to be ridiculous; 2) Can do IR; 3) Can be pulled gracefully; 4) Nice resolving power that is really noticeable, especially at landscapes and rendering of distant foliage; 5) Affordable; 6) Tough and archival PET base that doesn't deform that much or at all when heated by projection lamp.

Boy, do I miss Silvermax/Scala 160
 
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Thanks @Ivo Stunga When you say that its contrast rendering responds well in both directions, does that mean its contrast is the same pushed one stop?
 
I meant it responds well and definitely reduces to pleasing levels with pulling and becomes even more pronounced with pushing.
 
pkr1979 said:
@Henning Serger , when pushing Scala 50 one stop, how noticeable is that? E.g. in terms of contrast and grain?
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The differences are fortunaely really very small. Contrast is a little bit higher.
Concerning grain: In most cases the difference is negligible, as this film is already extremely fine grained. In projection on a screen of 1m x 1.5m you won't be able to identify a clear difference at normal viewing distances.

Best regards,
Henning
 

I can completely confirm this from my tests and experience under lots of very different shooting conditions.

Best regards,
Henning
 
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