Need color film advice.

[Hubigpielover]

One of my jobs is helping a local Native American tribe and I they have invited me to come to the pow wow. Pretty excited about it.

Unknown lighting conditions.

Will be using my Olympus OM-1 MD but was thinking of bringing the Canon AE-1 because it has a 85mm as opposed to a 50mm

So I normally shoot Fuji Pro 400 but am worried that it will be to slow. Should I bump up to Portia 800?

Thanks

 

[bdial]

Indoors or outside?
I'd probably bring both, then you have some flexibility. If there is more light than you expect you can use the 400, if there is less than you hoped for the Portra might save the day.

 

[Hubigpielover]

Indoors or outside?
I'd probably bring both, then you have some flexibility. If there is more light than you expect you can use the 400, if there is less than you hoped for the Portra might save the day.

Indoors. Might order both. Just trying to save money. Color film and developing are getting expensive.

 

[chassis]

Portra 800 is pretty good. My preference is to use one emulsion for an entire shoot, to give a consistent feel to all the images.

 

[trendland]

I would not use higher speet films.
I would not use additional lighting.

I would have a look in these special
natural light athmosphere on the set -
and I would use a tripot.

Oh yes - thats a more work - but I would not carte about it.

with regards

 

[trendland]

I would not use higher speet films.
I would not use additional lighting.

I would have a look in these special
natural light athmosphere on the set -
and I would use a tripot.

Oh yes - thats a more work - but I would not carte about it.

with regards

sorry for this - my cellphone is "changing"
every 2. word without asking me.

- have a look "on" these special....
- I would not "care" ......

Of cause

with regards

 

[klownshed]

I'd take a flash, at least as a backup. I normally dislike flash but a bounced bit of fill from an Olympus T32 would help out a lot as even 800 is a bit slow indoors IMHO.

For B&W I'd push HP5+ or Tri-X to 1600.

 

[trendland]

I'd take a flash, at least as a backup. I normally dislike flash but a bounced bit of fill from an Olympus T32 would help out a lot as even 800 is a bit slow indoors IMHO.

For B&W I'd push HP5+ or Tri-X to 1600.

I see - well I don't know that set.
Sometimes you will need one flash light - of cause.

Have it had never in use - flash lights - to the first 30years of photography.

Mostly - even not know how it works.

And of cause just with no interest on this
topic.

But - yes - sometimes it can be usefull.

with regards

 

[bvy]

Have you considered Superia 1600? I think you might be splitting hairs between the two films you mentioned.

 

[Jarin Blaschke]

As a cinematographer, and thus lighting designer, Portra 400 and 800, with fast lens without flash. Unless you're in a studio set-up, a flash is the worst light possible. Atmosphere killer. Move yourself to where the light direction works, as opposed to simply watering down what is there and filling in with a hard, unnatural light source.

J

 

[klownshed]

As a cinematographer, and thus lighting designer, Portra 400 and 800, with fast lens without flash. Unless you're in a studio set-up, a flash is the worst light possible. Atmosphere killer. Move yourself to where the light direction works, as opposed to simply watering down what is there and filling in with a hard, unnatural light source.

J

That's great advice.

As long as there is enough natural light.

 

[trendland]

As a cinematographer, and thus lighting designer, Portra 400 and 800, with fast lens without flash. Unless you're in a studio set-up, a flash is the worst light possible. Atmosphere killer. Move yourself to where the light direction works, as opposed to simply watering down what is there and filling in with a hard, unnatural light source.

J

As you said it : " A killer " but low light with "very low lights" could be also kills
the atmosphäre.

Remember a Paris Night Shooting with
Fuji 1600 as 3200 without tripot cause of flexability on the set : Champs-Elysees!
Looks great with avaible light - till?
Massive underexposure .

But it was no scene to flashlight at all.

with regards

 

[Jarin Blaschke]

Well then it becomes a question of making strong photographs vs. "just getting it." Or, commit to a decisively "flash" look. In my opinion, it's the watery middle ground that can often produce weaker ideas.

When I lived and went out in New York City, shooting Delta P3200 handheld at ei 1600 (more like its real speed) with a 1.4 lens worked for almost anything worth photographing. You desperately need shadow detail and overrating the film is asking for trouble. I would nearly always include at least one highlight (often a light source) somewhere in the frame to at least deliver a full tonal range in the image, as long as there was sufficient detail in the subject. Because of its extremes, night photography needs a lower-contrast treatment, not a higher contrast treatment, and I would advocate against pushing except for the flattest night subjects (an uncommon thing). On the contrary, I used partial stand development on the film when I got home: D3200 rated at 1600 got 25-30 minutes in dilute Rodinal, agitating every 3-4 minutes.

J

 

[Agulliver]

If you're really unsure of the lighting conditions....try Superia 1600. If you really don't want that, then Portra 800 with a fast lens.

Though if it were me.....Delta 3200 or possibly HP5+ pushed to 1600.

 

[chassis]

Jarin's advice is sound.

 

[removed account4]

how big will your enlargements be ?

if you have a norman or lumedyne flash you can match it to your sunlight/available light get a bachrach bracket
or a stroboframe, put your light above your camera and flood your scene without a "flash" look.

have fun at the powwow !

 

[ME Super]

Since it's indoors, and you're shooting color negative, which handles overexposure well, I'd go for the Portra 800. I've shot Portra 800 indoors under daylight balanced LEDs and it looks good. Under the lighting conditions I shoot under, Portra 800 does well at f/3.5 and 1/25 second, which puts my lighting at around EV 5. The living room is at EV 4 and Portra 800 still handles the same shutter speed and aperture pretty well. This is with normal processing too, no push.

 

[Berri]

I'd consider some vision3 500T (cinestill) film. It would give a more natural looking colours on indoor situations and anyway with low temp colours

 

[LAG]

... Unknown lighting conditions...

In those conditions, I think it would be better if you take more than one film/lens with you to be covered and safe
Have fun and good luck!

... and I would use a tripot...

What's a tripot? A tripod (T) with a third longer leg?

 

[trendland]

In those conditions, I think it would be better if you take more than one film/lens with you to be covered and safe
Have fun and good luck!



What's a tripot? A tripod (T) with a third longer leg?

No I would say it is not absolute nescessary!
Regading just this here :

www.bhphotovideo.com/c/product/1247856-RE


with regards

 

[trendland]

In those conditions, I think it would be better if you take more than one film/lens with you to be covered and safe
Have fun and good luck!



What's a tripot? A tripod (T) with a third longer leg?

No - just forgive me to write it without (d) - if you are interisted I have a good link to a phantastic tripod - hope it will run.


with regards

 

[trendland]

As a cinematographer, and thus lighting designer, Portra 400 and 800, with fast lens without flash. Unless you're in a studio set-up, a flash is the worst light possible. Atmosphere killer. Move yourself to where the light direction works, as opposed to simply watering down what is there and filling in with a hard, unnatural light source.

J

Jerin have you done jobs as a freelancer - with 16mm AND 35mm ?
As an ex lighting designer it is hard to get full respect from colleges when you desided to become a cinematographer am I right-Jerin ?

with greetings to you.

 

[Jarin Blaschke]

I started as a cinematographer from the start around 15 years ago. The first few years of projects are embarrassing, but the material slowly gets better... then after years your projects slowly get a reasonable audience. And I mean SLOWLY. The first reel was all 16mm, then it became a well crafted 35mm reel, but everything now is Arri Alexa. I am still waiting for a producer to let us shoot 35mm again.

Early on, on the side I sometimes did some photojournalism (on 35mm, then digital) on the side, as well as design lighting for a fashion and editorial photographer: Vanity Fair, GQ, and on down to the cheesier women's magazines too. We usually used hot lights on the actors and models, which seemed to be unusual to people and the studios were not best equipped for that.

J

 

[Hubigpielover]

Hey everyone. I just got one notification for this today so didn't see all of y'alls great advice. Should have checked this periodically when I wasn't getting notification.

The Pow Wow was awesome. It was amazing to see young and old keep their tradition going through dance and oral folklore. They also had some great craftsman there. One lady had a loom that she was making blankets and the Navajo tribe had a huge both with really great jewelry and pottery.

So the dance competition was held in the casino's live event area. They had the house lights on so the lighting was really harsh and unflattering. All of this is a moot point because my camera didn't come back from John until yesterday. When I didn't think anyone was responding, I went ahead and ordered Porta 800 which I can always use somewhere. Never have too much film. It wasn't wasted because I did bring my new Minolta Autocord and the drive from Baton Rouge to Marksville has a lot of good scenery. It is a weird trying to focus but practice practice practice.

Once again thanks and sorry.

 

[Hubigpielover]

Portra 800 is pretty good. My preference is to use one emulsion for an entire shoot, to give a consistent feel to all the images.

For future reference what do you mean by one emulsion?