Fomapan (in my experience) isn't that film.
Xpan as well.I'm familiar with the system
If the film has an effective antihalation layer, a chrome plated pressure plate won't cause problems.
If you actually want halation as opposed to flare (overall loss of contrast due to light scattering within the lens or inside the camera), you need a film with little or no antihalation layer. Fomapan (in my experience) isn't that film. If you don't mind spending the money for color and its processing, Cinestill's rebranded Vision3 stocks have *no* antihalation (though that will change soon as Kodak switches from remjet, which Cinestill removes or pays Kodak to leave off, to a more modern antihalation layer).
If it needs to be black and white, you'll probably be best off with a duplicating stock (very slow films, but not intended for high contrast subjects since they're contact printed from a cine negative strip), though you might try a roll of Cinestill developed in B&W chemistry (it'll have a strong orange mask that makes it hard to print in the darkroom, but it still scans okay). Film Photography Project has a number of these slow duplicating stocks, and if you give them a call or email, they can probably tell you which ones have the "worst" halation.
I wouldn't recommend this; the results are generally lackluster and exposure times for the prints are long due to the orange mask. The exception would be (partially) maskless films like Phoenix, but here you'd still have to deal with the issue of the spectral response of the paper, which just isn't very suitable for color negatives. If you decide to go this route, you could overdevelop the color film (so you'd need to develop it at home, which isn't very difficult) to get more contrast in the negative.If I were to enlarge a colour negative (like the vision3) onto black and white paper would you recommend using a red/green/yellow filter to increase my contrast?
I can assure you that in 35mm, Fomapan films halate very strongly.
So it does come in an al metal case, I thought that might be a problem because other cassettes I use appear to be plastic with metal components that allow to camera to tell the iso. though I figure I am wrong on this thought. Thanks for letting me know about your niece's camera hat actually is a bit reassuring because it lets me know that it is just my camera that is funky. I'll wait until my other camera is back to me to do this like you suggest, its even a camera from the 50s so I imagine it is lacking in the lense filters and I might get artsy looks because of that.Btw, come to think of it - the Foma film you're using, does it indeed come in the metal cassettes, or the two-part plastic ones? I'm asking because my niece uses a Canon Rebel of the kind that spools up the entire film before photographing it back into the cassette, and she's using Fomapan 400 in metal cassettes without apparent transport problems.
This is good to know, so if I am to be enlarging at home I should stick with black and white film, but if I am to go the colour route its better to go hybrid and have it scanned and printed for the best effect?I wouldn't recommend this; the results are generally lackluster and exposure times for the prints are long due to the orange mask. The exception would be (partially) maskless films like Phoenix, but here you'd still have to deal with the issue of the spectral response of the paper, which just isn't very suitable for color negatives. If you decide to go this route, you could overdevelop the color film (so you'd need to develop it at home, which isn't very difficult) to get more contrast in the negative.
Hi everyone, I am new to this stuff so forgive me for the gaps in knowledge or if I am missing anything key.
I am intending to do a photo shoot at a pub, they do open mic and proper shows there. so I was hoping to get the performers basked in the lights with some cool halation you know? I shoot black and white, and have struggled to find anything solid on the topic. I find a lot of stuff about colour films and whatnot, but anything solid on black and white has been tough, I think I just don't know where to look. I was recommended fomapan 400 but that doesn't agree with my camera at the moment. so if anyone has any information I would be happy to hear it.
Hi everyone, I am new to this stuff so forgive me for the gaps in knowledge or if I am missing anything key.
I am intending to do a photo shoot at a pub, they do open mic and proper shows there. so I was hoping to get the performers basked in the lights with some cool halation you know? I shoot black and white, and have struggled to find anything solid on the topic. I find a lot of stuff about colour films and whatnot, but anything solid on black and white has been tough, I think I just don't know where to look. I was recommended fomapan 400 but that doesn't agree with my camera at the moment. so if anyone has any information I would be happy to hear it.
I am interested to learn what you mean by coating on the lenses, in regards to the film I am currently writing up a list of films to ask my camera shop about. Canada post is currently on strike so its a bit of a pain to get anything shipped at the moment.
Thinking about you have the C4 which has a 2.8 50mm, still single coated. With that lens I would use Kodak Double X, push to 400 and develop in Edwal 12. Photographers Formulary sells a version of it, if you can import it. Edwal 12 produces a glowey type negative. Not a compensation developer, used for shoot line drawing, what PF calls brilliant. Meter for highlights and let the shadows fall where they may.
the problem with the fomapan on my rebel 2000 was the center spool for some strange reason so if I buy it in bulk then load it onto my cassettes then I should be fine.
Edwal 12
Huh, imagine that! Nice that you've been able to find the cause!
Or maybe it is a problem with modern Foma cassette spools that the were designed at least 30 or so years after the Rebel 2000 camera's film transport system was designed.
A slight variance that has no affect on results with most cameras, but not absolutely every camera model, or the tolerance variation one may encounter in some examples.
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