Actually, there is a wealth of evidence that proves otherwise!
Do you plan to optically print your ColorPlus film?
If not, and scanning is part of your workflow, then the discussion is off topic for APUG and, more importantly in general, the scanning part of the process will add so many variables as to make analysis of a 1/3 stop variation in exposure essentially meaningless.
Flickr is great for seeing how people are inspired, but it it doesn't tell much of anything about the technical realities of film.
HOWEVER...
If you find that the combination of using an EI of 160, your equipment, your metering technique, your development routine or your lab's development routine, your choice of subjects and your preferences for output gives you results that you like/meet your needs than I would encourage you to use that combination!
IMO most posters are like you in that they don't understand how it all works.
Do you plan to optically print your ColorPlus film?
If you find that the combination of using an EI of 160, your equipment, your metering technique, your development routine or your lab's development routine, your choice of subjects and your preferences for output gives you results that you like/meet your needs than I would encourage you to use that combination!
Can you give us at least some of sources of your wealth of evidence? I must admit to not having seen any of this but I am open to looking at any evidence.
Thanks
pentaxuser
I thought I had researched the subject and had simply failed to find the sources I was hoping you'd tell me about. Presumably you were looking for help in the loosest sense when you began your thread. I was looking for your help in return to point me in the direction of these sources. As others have said if 160 does what you believe it does then that's a statement by you which you are entitled to make as is the advice you have given me to do my own research but it does kind of end the thread at this point, doesn't itThe best way for you to learn is to research the subject yourself. Start with a search about shooting Kodak Ektar @ iso 80.
I'm not exactly sure what you are referring to when you use the phrase "grain suppression" in reference to a method or procedure. Are you referring to the effects that over-exposure can have with respect to contrast and saturation, and the resultant slightly more pastel appearance?
If so, it takes a lot more than 1/3 of a stop increase in exposure to bring those effects into being.
Presumably you were looking for help in the loosest sense when you began your thread.
but it does kind of end the thread at this point, doesn't it
Giggle. There may be some, but your questions and answers indicate that you have a ways to go before you even understand what makes for reasonable testing procedures.You are just full of faulty assumptions!
George, I suggest you take your own advice before you dole it out to people who have more experience. Or tell us what you do.The best way for you to learn is to research the subject yourself. Start with a search about shooting Kodak Ektar @ iso 80.
It is strictly against the site's rules, and in conflict with the intentions and desires of the owner of the site, the moderators, the Council and the majority of the active subscribers and members.I disagree Matt. Scanning is on topic these days on APUG.
Giggle. There may be some, but your questions and answers indicate that you have a ways to go before you even understand what makes for reasonable testing procedures.
George, I suggest you take your own advice before you dole it out to people who have more experience.
I think that just about raps it up.
Have fun.I think that just about raps it up.
Mick:The fact that we usually kept highlights and shadow limits within a five stop range did help, but the main help, was keeping the grain structure tighter by over exposing.
I have developed squillions of C41 film that was almost always over exposed for fashion and product photography purposes, well before the electronic aids for film photography were generally used.....
Exposed at 100 ASA, the film was always slightly over exposed either a little, or a bit more than a little, this gave us a tighter grain structure for print making and also gave us very good colour control. The fact that we usually kept highlights and shadow limits within a five stop range did help, but the main help, was keeping the grain structure tighter by over exposing.
I have developed squillions of C41 film that was almost always over exposed for fashion and product photography purposes, well before the electronic aids for film photography were generally used.
The lab I worked in, was attached to a studio complex with about 14 in-house photographers. In general we used E6 film for our standard range of product photography; things like towels, blankets, white goods, and so on. If there was a bit of an iffy subject, like white fluffy towels with a white background, then that was usually shot on C41.
With fashion it was the opposite, almost always C41 with the emphasis on getting dead accurate, or as accurate as possible reproduction on the four colour, sometimes five colour, print run for magazines.
It was standard practice to shoot Kodak C41 film, nominally rated at 160 ASA, at or around 100 ASA. This was always after batch testing in a recently calibrated and sweet running C41 Dip and Dunk bath. Mostly, I remember our working ASA was usually 100 ASA, with true film speed in our bath,often between 125 ASA and 140 ASA
Exposed at 100 ASA, the film was always slightly over exposed either a little, or a bit more than a little, this gave us a tighter grain structure for print making and also gave us very good colour control. The fact that we usually kept highlights and shadow limits within a five stop range did help, but the main help, was keeping the grain structure tighter by over exposing.
One could visually see this effect under a loupe, or sometimes in the negatives side by side on a light box if you stood back and looked at the images as a whole without seeing the detail. As much as you can see C41 negatives in detail, that is. I might also add, the light boxes we used, were also of a colour corrected international standard
We usually received a pallet load of any one batch in 120 format at a time, this helped with consistency. From batch to batch, Kodak professional 160 ASA colour negative film, differed no more than a tenth of a stop; they had wonderful control.
Mick.
I think that just about raps it up.
ColorPlus 200 @ 100 is amazing.
sic erat scriptumI think that just about raps it up.
The rendition is more to my taste than what Punker posted, but that is mostly beside the point.
I'm sure of that.Please note that the samples he posted does not represent the best results that the film in question is capable of.
Except that it varies with the distribution market. The lower level distributors in Canada that handle the amateur films (and tend to service drug and corner and grocery stores) often end up with product that is labelled and packaged differently than the lower level distributors in the US or other parts of the world.ColorPlus 200 = Kodacolor VR Plus 200.
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