Motion Picture Film Used As Stills. Post Results Here.

[Nokton48]

Minolta SRT-101 #16 LS2000 by Nokton48, on Flickr

I love my XK. I need to dust it off and start using it again.

Minolta XK #6 by Nokton48, on Flickr

Minolta XK #7 by Nokton48, on Flickr

 

[Alan Johnson]

Vision 3 250D 5207 is re-rolled into cassettes in the UK, in the EU, and in China. Here I developed it in a relatively simple homebrew.
This may be the least expensive color negative process.

 

[Cholentpot]

OM-1, 50 1.8, Vision3 50D

This was a good roll.

 

[koltin]

I primarily use motion , and have used the Kodak line over the past two years. I absolutely love the color pallet and always expose at 'box speed' but as others said, it does well with extra light! I know I don't always nail exposure, and since I scratch mix (I'm sure it varies a little bit by batch) , the latitude is a safety. I used to use an Epson v600, or a Pacific Images XAs for 135, but now I scan with a CS-Lite, Sony AR7ii and a Schneider Kreuznach lens, and my gosh, the colors are even more beautiful, much sharper too. Here are some examples of motion picture film processed ECN-2, or D96.

AGFA Isolette + Epson v600 + CineStill BWXX + D96

Olympus XA + Pacific Image XAs + CineStill 50D + ECN-2

Nikon F2 + Pacific Image XAs + 250D + ECN-2

Nikon F2 + Pacific Image XAs + 500T + ECN-2

Mamiya RB67 (ft. Light Leaked Back) + Epson v600 + CineStill 50 +1 Stop , ECN-2

Mamiya RB67 + Camera Scan + CineStill 50 +1 Stop , ECN-2

Mamiya RB67 + Camera Scan + CineStill 400D + ECN-2

Mamiya RB67 + Camera Scan + 500T + ECN-2

Mamiya RB67 + Camera Scan + 500T + ECN-2

Mamiya 645 Pro + Epson v600 + 500T + ECN-2

 

[Sirius Glass]

I primarily use motion , and have used the Kodak line over the past two years. I absolutely love the color pallet and always expose at 'box speed' but as others said, it does well with extra light! I know I don't always nail exposure, and since I scratch mix (I'm sure it varies a little bit by batch) , the latitude is a safety. I used to use an Epson v600, or a Pacific Images XAs for 135, but now I scan with a CS-Lite, Sony AR7ii and a Schneider Kreuznach lens, and my gosh, the colors are even more beautiful, much sharper too. Here are some examples of motion picture film processed ECN-2, or D96.

AGFA Isolette + Epson v600 + CineStill BWXX + D96

View attachment 324955


Olympus XA + Pacific Image XAs + CineStill 50D + ECN-2
View attachment 324956



Nikon F2 + Pacific Image XAs + 250D + ECN-2
View attachment 324958



Nikon F2 + Pacific Image XAs + 500T + ECN-2
View attachment 324959


Mamiya RB67 (ft. Light Leaked Back) + Epson v600 + CineStill 50 +1 Stop , ECN-2
View attachment 324960



Mamiya RB67 + Camera Scan + CineStill 50 +1 Stop , ECN-2
View attachment 324961


Mamiya RB67 + Camera Scan + CineStill 400D + ECN-2
View attachment 324962


Mamiya RB67 + Camera Scan + 500T + ECN-2
View attachment 324963

Mamiya RB67 + Camera Scan + 500T + ECN-2
View attachment 324964

Mamiya 645 Pro + Epson v600 + 500T + ECN-2
View attachment 324965

Welcome to APUG Photrio!!​

 

[blee1996]

@koltin beautiful shots and wonderful color palettes! I have two questions:

1. Where do you source the medium format 500T?
2. Do you use 85B filter while shooting 500T in daylight?

Thanks!

 

[koltin]

@Sirius Glass I sincerely appreciate the warm welcome!

@blee1996 Thank you!
1. I purchased 65mm from Kodak then cut it down myself and spool with night vision and used 120 paper.
2. I don't use any 85 filter when using the 500T in daylight (including the images I posted). I have used an 85B actually but found it too warm. The Kodak data sheet says to use an 85- and I started using those, they definitely helped, and the colors are different when comparing to 250D.

When the sun is at the point of the day where it is giving noon daylight , it could be a bit cold, but it's not hard to add warmth or reds into it in Negative Lab Pro, or Silverfast, etc.. I'm typically shooting in the desert or somewhere where the light bounces warm or other colors onto the subject , so I might not be always getting a full dose of 'noon daylight kelvin' either. The sun slowly turns tungsten and it will get closer and closer to the rated temperature.

Note that I've scanned people's 500T that they used in a point-and-shoot with a daylight flash and that turned out extremely blue, now I warn them to put a filter on their flash or an 85 on their camera if it allows.

 

[Cholentpot]

Nikon F3, N-74 pushed +1, Rodinal 1:100 stand.

I mixed up my films and developed this in Rodinal by mistake. It came out ok. I wouldn't do it again though. It needed 20+ minutes of fixing though.

 

[blee1996]

@koltin thank you for the useful info regarding your practical use of 500T! And welcome to photrio.

 

[Sirius Glass]

@Sirius Glass I sincerely appreciate the warm welcome!

@blee1996 Thank you!
1. I purchased 65mm from Kodak then cut it down myself and spool with night vision and used 120 paper.
2. I don't use any 85 filter when using the 500T in daylight (including the images I posted). I have used an 85B actually but found it too warm. The Kodak data sheet says to use an 85- and I started using those, they definitely helped, and the colors are different when comparing to 250D.

When the sun is at the point of the day where it is giving noon daylight , it could be a bit cold, but it's not hard to add warmth or reds into it in Negative Lab Pro, or Silverfast, etc.. I'm typically shooting in the desert or somewhere where the light bounces warm or other colors onto the subject , so I might not be always getting a full dose of 'noon daylight kelvin' either. The sun slowly turns tungsten and it will get closer and closer to the rated temperature.

Note that I've scanned people's 500T that they used in a point-and-shoot with a daylight flash and that turned out extremely blue, now I warn them to put a filter on their flash or an 85 on their camera if it allows.

When I was shooting a lot of low light level or night photography I liked to use Tungsten or "Indoor" film. I found those films balanced well and had less color reciprocity failure than the daylight films.

 

[aparat]

I recently bought Lomography Potsdam Kino 100 and Berlin Kino 400 B&W films (based on cine films made by ORWO).

I ran a typical five-curve family test, which I repeated twice and averaged density values for the final analysis. I processed the samples in replenished XTOL (XTOL-R) for 5:45, 8, 11, 16, and 22 minutes at 20C in a Jobo tank with continuous rotary agitation.

Both films have been a pleasure to work with. Overall, the films performed very well, though they seem to need rather long development times in XTOL-R to obtain “normal” contrast. The Potsdam 100 film speed was ISO 45, whereas the Berlin 400 was ISO 194 in my test (using the 0.1 over B+F criterion). Emulsion quality and consistency seems quite good. I have not yet come across any defects or imperfections. The Potsdam 100 curls a bit, even when dry, whereas the Berlin 400 dries nice and flat. I will post photographs once I've had a chance to digitize them.

 

[blee1996]

A few Kodak Vision 3 500T shots. Home ECN-2 developed, Epson V700 scanned. Canon 7N with EF 35/1.4 L lens.

The nature shots I used 85B filter. Since it was late afternoon, the added warmth did not interfere.

The slough at sunset - Canon7N_500T_016 by Zheng, on Flickr

Welcoming trees at sunset - Canon7N_500T_013 by Zheng, on Flickr

Grapevine behind hotel - Canon7N_500T_035 by Zheng, on Flickr

The indoor shot was without any filter, but white balancing after scanning.

When will the show start, mom? - Canon7N_500T_012 by Zheng, on Flickr

 

[Joel_L]

Took a few more shots with Double X. this time in Xtol 1:1 for 8:30. It was an overcast day, quite hazy out. These are scans of the negatives. The one of the Kodak plant is down a hill from me, way zoomed in so does not look so great. I'm not sure if anything goes on there anymore, but I believe it was in production in the early 90s when I first moved to Colorado. Says Kodak Alaris now when I drive by.

 

[Joel_L]

I went back out to the same place with 250D and a longer lens. I must of goofed something up in the processing, things are not right compared to previous rolls. I was able to get a better shot of the Kodak building.

After looking at some of the much better results others are getting, I think next pass I will go back to a pre bath ( milder than my DWC ). It looks like I could be getting remjet in the emulsion during processing, I also wonder If I'm not screwing up the color balance.

 

[Cholentpot]

I went back out to the same place with 250D and a longer lens. I must of goofed something up in the processing, things are not right compared to previous rolls. I was able to get a better shot of the Kodak building.

After looking at some of the much better results others are getting, I think next pass I will go back to a pre bath ( milder than my DWC ). It looks like I could be getting remjet in the emulsion during processing, I also wonder If I'm not screwing up the color balance.


View attachment 325433View attachment 325434View attachment 325435View attachment 325436

I've not had consistent results with 250D. 50D, 500T have been just about always the same. 250D seems to go great one roll and awful the next.

 

[Joel_L]

I really like the 50D, I shied away from it because it is too slow for what I do most ( how well does it push ? ). I also stayed away from the 500T because I was afraid it would be too grainy. The 500T shots I have seen look better than my 250D. I will play with the 250D I have till I'm out and see where I end up. The 500T even with an 85B filter is still faster than the 250D, it's just an awful lot of filters I would need to get. For scanning, I suppose one could post process. For printing, I wonder if a filter on the enlarging lens would work well, or can it all be filtered with CMY.

 

[blee1996]

I have been using 500T for late afternoon to night photography, as well as indoor mixed lighting scenarios. Recently I start to use it more and more for daylight general photography, with or without 85B filters. I like the color palette, and the grain is well controlled. It kind of replaced Fuji X-Tra 400 film for me, and the 500T tend to be cheaper nowadays.

 

[Cholentpot]

I really like the 50D, I shied away from it because it is too slow for what I do most ( how well does it push ? ). I also stayed away from the 500T because I was afraid it would be too grainy. The 500T shots I have seen look better than my 250D. I will play with the 250D I have till I'm out and see where I end up. The 500T even with an 85B filter is still faster than the 250D, it's just an awful lot of filters I would need to get. For scanning, I suppose one could post process. For printing, I wonder if a filter on the enlarging lens would work well, or can it all be filtered with CMY.

I've shot the 50D at ISO 100 with no push in processing. No issues. The 250D, when it works, it's the best of the bunch. I can't seem to nail it consistently. 500T is very very grainy, using a filter doesn't necessarily do much for me. I shoot it without a filter these days. Shooting at 800 and developing as normal also seems to work just fine. The stuff can also be over exposed massively with no issues.

Praktica MTL3, Vision3 250D

This roll is another case of 250D confusion. Inferior camera and lens (in my opinion), well beyond use development kit and the photos look pretty good. I might just have an erratic roll of 250D sitting in my bulk loader. Or maybe the stuff like exhausted chemistry. Who knows.

 

[KitosLAB]

Redscale - expired turned inside out, emulsion layer inside. Canon Photura 135 caption camera

 

[Cholentpot]

Redscale - expired Kodak T-Max turned inside out, emulsion layer inside. Canon Photura 135 caption camera

Start over there sport.

Redscale Tmax? Tmax is a black and white film. And as far as I can tell it's not a motion picture stock.

 

[KitosLAB]

Start over there sport.

Redscale Tmax? Tmax is a black and white film. And as far as I can tell it's not a motion picture stock.

Thank you! YES, of course, I copy and paste from the translator, but for some reason very inattentively, although I try. I bought this film, but it's hand-wound expired film. That's all I wanted to say that she is manually turned upside down.

 

[Sirius Glass]

I have been using 500T for late afternoon to night photography, as well as indoor mixed lighting scenarios. Recently I start to use it more and more for daylight general photography, with or without 85B filters. I like the color palette, and the grain is well controlled. It kind of replaced Fuji X-Tra 400 film for me, and the 500T tend to be cheaper nowadays.

I like tungsten films for night photography.

 

[Cholentpot]

Thank you! YES, of course, I copy and paste from the translator, but for some reason very inattentively, although I try. I bought this film, but it's hand-wound expired film. That's all I wanted to say that she is manually turned upside down.

It looks nice. Interesting camera.

 

[Patrick Robert James]

5222. I shot this at 640 as well, developed in Rodinal. You can see the shadows are starting to dump. Like I said previously, I think this is really the limit of what it can do. You might get more speed out of it in other developers though. Konica Hexar RF, Uncoated pre war Sonnar.

 

[Joel_L]

I did another roll where I prewashed before developing. I used Kodaks ECN2 Sodium Carbonate recipe. I also did a quicker DWC post wash ( again trying to be touchless in this process ). I had no left over remjet to wipe off. What I notice, the mask is darker ( similar to the very first roll of 50D I did that looked OK ). I really don't know what this Vision 3 film should look like. Using the pre wash, I think the color is much better. One tractor is my DWC post wash, the other is using the ECN2 prewash. The Prewash version is much truer to the original. One the pic of the negatives, the top three are the ECN pre wash, the bottom three are the DWC post wash. In both cases I think I will reduce my development time slightly.

The center pic is the pre wash.

The last pic is from a digital camera for comparison. It was a little later in the day, not as bright out.