That's correct. In my experience, the Catlabs Pro 320 is at least a stop more sensitive towards the red part of the spectrum than green.
That's correct. In my experience, the Catlabs Pro 320 is at least a stop more sensitive towards the red part of the spectrum than green.However it would appear to have a different spectral response in that P30 seems very close to being ortho with reds being very dark whereas CatLABS 320 Pro is sensitive to red according to aparat's findings
pentaxuser
However it would appear to have a different spectral response in that P30 seems very close to being ortho with reds being very dark whereas CatLABS 320 Pro is sensitive to red according to aparat's findings
pentaxuser
This lonely angler photograph makes me think of the insignificance of a person's existence compared to the timelessness of nature, with a strong dose of foreboding. I think your choice of composition and deep contrast helps convey the theme perfectly.
This lonely angler photograph makes me think of the insignificance of a person's existence compared to the timelessness of nature, with a strong dose of foreboding. I think your choice of composition and deep contrast helps convey the theme perfectly.
Thank you. But I think he is wondering if he should cancel his CatLabs order as he uses DF96 Monobath as his developer.
CatLABS 320 Pro is sensitive to red according to aparat's findings
Sensitivity is lowest to green, then blue, then highest to red. But those are only very rough estimates. I am still putting together a better test of spectral response, but it'll be at least a few weeks before I am able to return to it.In fact, based on Shoot Film Like a Boss YouTube tests (dropped a couple days ago), the CatLABS Xfilm 320 Pro has reduced blue sensitivity -- he shot portraits of the same subject on 5222 and 320 Pro, and the blue eyes printed much lighter with the XX than with the 320 Pro. Of course, this could also be read as extended red sensitivity, which we might expect from a relabeled surveillance emulsion.
Please, do not take my comment as criticism of your process, only curiosity. In the picture showing the hatted man sitting with a beach ball, the texture in the sky and the shadows seems to show, what looks like to me, rather pronounced grain or some sort of artifact (from scanning?), in addition to bromide drag. In my experience, processing the Catlabs Pro 320 in D76, grain is very fine for a film marketed as ISO 320. Could you please elaborate/speculate as to nature of this texture? Is it increased grain or is it just part of bromide drag? Aesthetically, I rather like it. It adds to the mood of the photograph.
This is perhaps the world's most boring, unimaginative, blandest photo ever. It's the Catlabs Pro 320 35mm film dye dissolved in a two-minute pre-wash cycle water. I would call this color a dark cyan-grey.
View attachment 320596
That’s pretty much the color I got from my pre-wash in the film.
Yet, others get a bright yellow. Are we dealing with perhaps multiple available
versions of this film?
I have gotten around to developing some actual pictures I took on the Catlabs Pro 320 with my Minolta SRT102 and a 35mm f/2.8 lens. To start, I wanted to do a crude ring-around with a somewhat typical, late afternoon, seven-stop scene, with some nice shadow, some mid-tone, and some highlight information. Super boring, but it could be informative, at least to me. I based my exposure and development on the results of my curve family and tone reproduction analyses. I set my Gossen Luna-Pro Digital F incident meter to ISO 64, then I made subsequent frames at ISO 40, ISO 100, ISO 160, and ISO 250. I processed the film in Kodak D76 1+1 for 5:45 min at 20C in a rotary processor.
Here's a picture of the negatives on a light table. I was pleased to find out that the results corroborated my earlier findings and the experiences of some of the other forum members who posted in this thread. In order to get ample shadow detail, ISO 64 is a good starting point, going as low as ISO 40, if necessary. From ISO 100 onward, you start losing quite a bit of shadow detail, which you cannot get back by increasing development time. Highlights are nicely contained by this film. The bench is painted bright white, is in full sunlight, and it, nevertheless, retains texture nicely. Whether highlight compression is a merit or a flaw is up to interpretation, but, it can be helpful at times. In the next few days, I will digitize some of the other pictures from this roll. By the way, in the ISO 100 frame, there's some glare from the light table. I noticed it too late to fix it.
View attachment 320608
Your SRT-102 has a harmless light-leak at the sprocket. I once had this happen with a Yashica rangefinder; it turned out that light was sneaking past the rewind button on the bottom.
Judging by shadow detail in the shrubbery, I'd say ISO 64 is borderline and ISO 40 is fine. As you said, ISO 100 upward loses considerable shadow detail. It would be interesting to photograph this same scene on an Ilford or Kodak film to see when its shadow detail vanishes.
That's pretty much what I get when I prewash the Rollei Retro 80S I mentioned earlier. I haven't used any of the Retro 400S/IR/Superpan 200.This is perhaps the world's most boring, unimaginative, blandest photo ever. It's the Catlabs Pro 320 35mm film dye dissolved in a two-minute pre-wash cycle water. I would call this color a dark cyan-grey.
View attachment 320596
I am relieved to hear it, as the camera just came back from shutter repair and CLA.Nope, it's not a light leak, it's the untinted, clear polyester base that does this. I always see this happening with Rollei Retro 80S.
That's pretty much what I get when I prewash the Rollei Retro 80S I mentioned earlier. I haven't used any of the Retro 400S/IR/Superpan 200.
I am relieved to hear it, as the camera just came back from shutter repair and CLA.
I only had experience with the Rollei 80s, and there are some similarities with the Catlabs film, except the Rollei film curls more, if my memory serves me well.
I've already given an explanation.
The colour comes from the dyes reacting with the liquid.
And the liquid varies.
This is perhaps the world's most boring, unimaginative, blandest photo ever. It's the Catlabs Pro 320 35mm film dye dissolved in a two-minute pre-wash cycle water. I would call this color a dark cyan-grey.
View attachment 320596
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