Film selection for a product shoot?

[stradibarrius]

I just received some EFKE R25 yesterday and am anxious to try it out. I was thinking about shooting some detail shot of a violin against a black background with directional lighting where everything except the detail would be pretty much in dark shadow.
My question is would a slow film like the EFKE R25 or ADOX CMS 20 work well in these conditions?
With the EFKE I will use my RB67. The Adox is 35mm.

 

[brian d]

If this is a paid shoot you might be wise to stick with something you are familiar with. I like Efke 25 but have not used it in that type of lighting though.

 

[CBG]

brian d brings up the essential questions...

Paid job? Is there a deadline? How large is the intended reproduction and in what sort of media? How many images will get used?What sort of quality requirements are there? If paid, is there money in the budget for the effort of testing and reshooting till you nail it with film(s) you are unsure of?

If it's a paying job rather than something you are doing just for fun, why not use a film you know like the back of your hand?

For product shots, I'd go with 120 or LF 99% of the time unless I was looking for a grainy 35mm reportorial look. And a slow film just doesn't fit that profile.

 

[stradibarrius]

I am just asking if using slow B&W film works in a low key lighting set up?

 

[bdial]

I've not used a film that slow for table-top type work. I'd say it depends on how much shadow detail you want, and how much depth of field you need. That is, you may have problems getting enough light to get the f/stop you need for enough depth of field without resorting to very long exposures. Simularly, you may not be able to get enough light in the shadows to record much detail with so little film speed to work with. If you don't care about the shadows, then that might not be an issue, and it might boil down to how much you want in focus.

But, that's all an educated guess. The best way to find out would be to set it up and try it.

 

[Thomas Bertilsson]

I would recommend using the film you are used to, where you know what to expect.
This way you learn to alter your technique to suit the situation rather than having a lot of unknown consequences. Technique is much more important.
The fewer things that are unknown, the more freedom you have to think creatively when you work.

- Thomas

 

[CBG]

Any film works but which depends upon what you are trying to accomplish. Assuming that your non-response to the questions means that your shoot is non commercial and that you are looking for some sort of basic standard results, then sure, yes a slow film will work. I'd still go with medium format in preference to 35, for a plain vanilla product shot.

 

[CBG]

... I'd say it depends on how much shadow detail you want, and how much depth of field you need. That is, you may have problems getting enough light to get the f/stop you need for enough depth of field without resorting to very long exposures. Simularly, you may not be able to get enough light in the shadows to record much detail with so little film speed to work with. If you don't care about the shadows, then that might not be an issue, and it might boil down to how much you want in focus. ...

With a tripod and reflectors or fill lighting, none of the potential issues you mention should be a problem. With a tripod there's no intrinsic issue arising from very long exposures and one need not sacrifice the depth of field one wants.

... The best way to find out would be to set it up and try it.

I couldn't agree more. Shooting and re-shooting product and interior shots is a wonderful education.

 

[stradibarrius]

This was not a paid shoot so I am wanting to try a new film. I was so impressed with Adox CMS20...I onlt wish it was available in 120. So I am trying efke R25 to see how it compares...
I am about to develop the roll and see how it looks.

 

[2F/2F]

A contrasty film like the Efke 25 and 50 would help you to black out your shadows, but lighting and the way you set up your scene are key to doing this far more than the film is. If you want your background to be pitch black, you should move it far away from the light. If you want your shadows to be pitch black, you should eliminate any fill that is entering the shadows.

Ilford Pan F would do the same, and give you better quality control and a less demanding processing routine.

 

[stradibarrius]

I have virtually no experience with "slow" films so other than the Adox CMS20 this is the first time to use this film and if I am not happy with it I will try something else like Pan F.

 

[brian d]

Let us know how it works out