Hi im looking for a 35 mm film that is more suitable to daylight street photography, I would like it to have a high contrast and to have that daido moriyama look to it you know? Any suggestions?
suggestions in Daylight street photograpgy film
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Doing a quick look at his web site gallery his images have more to do with exposure and development than with the film.
From the grain he likely used HP5+ and D76 or equivalent developer. TriX can be processed to give a similar look also.
From the grain he likely used HP5+ and D76 or equivalent developer. TriX can be processed to give a similar look also.
Looks like TriX to me. Its less about the film and more about what you do with the film after developing.
I like fp4 @ 200 iso in strong contrasty light. It handles the strong highlights better than the 400 iso film. You would have much stronger light to deal with in Portugal than in Japan.
I like fp4 @ 200 iso in strong contrasty light. It handles the strong highlights better than the 400 iso film. You would have much stronger light to deal with in Portugal than in Japan.
OP
OP
What is trix???
Kodak Tri-X
New Kodak Tri-X
Ilford fp4 plus 125 might be a better solution if there is a greater difference out doors between highlights and shadows. 400 iso films does not have a great deal of latitude between shadows and highlights. Daido looks like he exposes more towards the highlights than the shadows. This is fine indoors, overcast, dingy alleyways etc, but in bright light the difference will be greater.
Have a look at Trent Parke's work, similar but I believe he used Ilford FP4.
Really need to choose the film to suite the light. I live in Australia where light can be extreme out doors, so I tend to carry 2 cameras with different iso film.
Have a look at Trent Parke's work, similar but I believe he used Ilford FP4.
Really need to choose the film to suite the light. I live in Australia where light can be extreme out doors, so I tend to carry 2 cameras with different iso film.
For daylight I would go with either FP 4 or Kodak Tmax 100, Tmax 100 has very fine grain, out side of a microfiche film highest resolution, and inherent high contrast. Many criticize Tmax 100 because of high contrast.
Moriyama did both colour and black and white. For B&W he uses (or used) Kodak 400TX.
Image I posted above is a Moriyama self-portrait.
Should add that if you want the Moriyama look, film won't be enough. His look is also a lot about process. I suggest doing a search about pushing film, and also about how different developers influence the end result.
Getting the look you want will mean a lot of experimenting.
Should add that if you want the Moriyama look, film won't be enough. His look is also a lot about process. I suggest doing a search about pushing film, and also about how different developers influence the end result.
Getting the look you want will mean a lot of experimenting.
OP
OP
thank you guys for your replies and help, im new to the development stuff, my first film was developed some weeks ago and it was kinda bad XD but I was proud of it, so one last question, where can I learn more about development???
The basics are very simple - developper / stop / fix / wash
. You'll find more than a few videos about it on YouTube. The rest will take time, and, like I said, a lot of experimenting with different developers, developing times, agitation, etc. There are no shortcuts, but since you obviously like grainy, high contrast pics, I suggest doing a search here on these basis. It'll give you some starting point on which process might be best.
Development times listed in the films publication, manufacturers web site and similar is a starting point. A 5% to 10% either side of the listed time is common. A temperature change of 2°F/1.1°C requires a different development time. All other chemicals and wash water need to be within 3°F/1.7°C of the developer for best results.
The Massive Development Chart is a useful resource. https://www.digitaltruth.com/devchart.php
There is an app, too.
There is an app, too.
I can get up to fourteen stops out ISO 125 films and ISO 400 films, but for a wide range of lighting ISO 400 provides greater flexibility without flash. I do not have problems getting a great deal of latitude between shadows and highlights with Tri-X400, but Ilford FP4 can force me to drag around a tripod more often.
MattKing
Moderator
This is the most important part!
Welcome.
Some useful resources: https://www.ilfordphoto.com/beginners-guide - make sure you dive deep into the links, to give yourself some context, but don't worry about assimilating everything all at once.
Another: https://125px.com/docs/techpubs/kodak/AJ-3-2016.pdf.
Some of the Kodak info refers to no longer available materials, but most is fine.
I have 50+ years into this, but it still provides a thrill.
I also really like helping people who are new to this, as do many on this site - don't hesitate to ask for advice or help.
Moriyama and I may in some ways be polar opposites, but I certainly understand the desire to emulate his magic.
This is an example of something I am more likely to make:
Show us what you like to make. Or what you have done, that indicates what you would like to make.
By the way, I could turn the above into something slightly like Moriyama by cheating, and playing with it:
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Huh.
When I get photos like this I try to figure out what I did wrong. I guess I should write down what I'm doing next time and make a genre out of it.
My take. It's heavily expired/abused C-41 very underexposed and DSLR scanned with the levels all the way to the wall so you can rescue at least something. Maybe even a small format like 110 or 16mm. I get this look with microfilm
Pentax Auto 110, Kodak HQ-Link, Rodinal 1:100. lacks the grain of 'ol Moriyama but I'm sure I can work on it.
(Yes, I know it says Tri-x on the film)
But you are the master, mere morals will struggle. Fp4 gives great tonal range when there's a big difference in EV's. Find trix doesn't have a good tonal range in the shadows especially if there is a large difference in lighting. Personally don't like the look of trix, daido obviously does.
The OP is from Portugal where I assume the light is quite strong in daylight as is here, no need for a tripod when shooting street type photography @f11 and under.
MattKing
Moderator
'
Please tell me you mean "mere mortals will struggle".
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- Old Gregg
- Deleted
I ran out of tee,s.
I was specifically talking about fp4.
In my experience fp4 handles differences in strong daylight better than 400 iso film. Please show me a picture using any 400 iso film exposed at 400 iso in bright sunlight you have done that has detail in shadows and highlights and even tonal range.
Not doubting anyone, just never seen it in the real world.
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- Old Gregg
- Deleted
Been a long wait for the Avenue parade.
Hp5 has a very good tonal range if the shadows and highlights are not too many stops apart, as in your picture. I find in strong sunlight you either have to meter towards the shadows or to the highlights at the sacrifice of the other. Sure you can burn in the highlights but is difficult to match the tonal range in the shadows. Whilst with fp4 seems to be constant in its tonal range.
I have nothing against 400 iso film, its my main film but if I go out in the midday sun, I prefer fp4.
The OP is spoilt by choice and should experiment with different films to find what suites him and lighting conditions. Then get good at composition and editing, thats truly the hardest part.
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