Without repeating all the reasoning I already gave on a different forum, let me cut to the chase, and say that if you want to simulate the Ortho look using ordinary Pan film, the easiest way is to simply stack a medium dark green filter, like a Hoya X1, with a modest blue one, like a 80A or 80B, then test to figure out the combined filter factor, which will probably be somewhere around 3 stops.
Great!
Without repeating all the reasoning I already gave on a different forum, let me cut to the chase, and say that if you want to simulate the Ortho look using ordinary Pan film, the easiest way is to simply stack a medium dark green filter, like a Hoya X1, with a modest blue one, like a 80A or 80B, then test to figure out the combined filter factor, which will probably be somewhere around 3 stops.
Taking a cursory look at the transmission spectra for the X1 filter vs the 80A, it looks like stacking the two would cut out a lot of the blue that the 80A transmits. This may or may not be more like the transmission of the #44 filter.
Doremus
It's an excellent thread, full of info, and graphs, but no comparison photos.
Just watch “The Lighthouse” and you’ll be convinced. A cyan filter like the one @Jarin Blaschke used will simulate orthochromatic film. A Wratten No.47 blue separation filter will simulate a blue sensitive film (and that might be what you want).
A cyan CC filter over flash may help you see the effect, if you can’t get an optical quality cyan filter.
Are you stacking a #47 with an 80A? The rule is, when you stack filters of about the same color, you just get the effect of the stronger filter. Your results with the stack will be no different than the #47 alone.I'll be using a wratten #47 blue, which shouldn't inhibit the passage of blue passed through the 80A. The only thing I'm not looking forward to is the 32x factor (5 stops) that I will have to add to exposure time, with stacked #47, and #44A.
Just watch “The Lighthouse” and you’ll be convinced. A cyan filter like the one @Jarin Blaschke used will simulate orthochromatic film. A Wratten No.47 blue separation filter will simulate a blue sensitive film (and that might be what you want).
A cyan CC filter over flash may help you see the effect, if you can’t get an optical quality cyan filter.
The SP570 that Blaschke used was custom made. I can get an SP570, but not the exact one that Blaschke used (the SP570 reduced exposure by 1 stop, but the one he had made reduced it by 2/3rd stop, if I recall correctly). The SP570 is quite expensive, and who knows how much they paid for the custom filter. My money is on the 44A producing the same results as the SP570, anyway. I'd rather spend that money on more film!
Well that settles it for me. Your last sentence, Andrew, certainly reflects my sentiments. In my Scottish family watching the "bawbees" and getting value for money is still our motto
pentaxuser
My Gran used to sing this to us kiddies...
Ally Bally Ally Bally Bee
Sittin on your mammy's knee
Greetin for a wee bawbee
Tae buy some Coulter's candy
Where this technique really shines is with contrastily-shaded foliage and in situations where dark shadows are lit primarily by blue light from the sky. The ortho-sensitivity opens up the shadows gratifyingly. In a pinch, an 80A or 80B color-conversion filter gives results very similar to the 44/44A. I carry a #44 or an 80A/B with me always.
Andrew, thanks for this! Too bad you didn't include an 80A in the test! I'd be interested in that comparison.
Best,
Doremus
Are you stacking a #47 with an 80A? The rule is, when you stack filters of about the same color, you just get the effect of the stronger filter. Your results with the stack will be no different than the #47 alone.
Doremus
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