Apr 27 2019

Ultrafine Colouruption in the Konica Auto S3

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I bought a few rolls of what Photo Warehouse calls “Ultrafine Colouruption”  Now I’m not complaining because I did expect strange results but the name is a bit of a misnomer as it’s more of a “Mute-elation”.  Inspecting the film edge it becomes clear that this film is actually ORWO NC3  the “NC” apparently stands for Negative Colour, I’m not sure what the 3 means yet but if its a quality scale that goes to ten I think 3 is being generous.  This film apparently hasn’t been manufactured for years and was originally intended as movie film and likely came in canister with a label much like this.

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Thanks for the use of the image The Vintage Europe

The film also apparently has a different developing process than C41.  Without it can you really call this a colour film?  Many of the pictures seem to be bereft of any colour other than a cyan cast while some others have a few selective colours that survive in particular green.  Overall I would describe the colours  as muddy. The closest comparison I can think of is the look of faded slides like Anscochrome   Any way you look at it this is a strange film that behaves like nothing else I know.  Ultrafine has it listed as 25 ISO but I suspect you could use a lower setting yet.

I’m also not saying its this films fault (It’s not) but my Konica Auto S3 died half way through the roll.  Repairing it is another post though.  Konica Auto S3 Battery Holder repair


Mar 30 2019

Cinestill 800 T

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Just some random pictures from a roll of Cinestill 800 T I ran through my Pentax MZ6.  Some other posts with Cinestill 800 can be seen here SeattleCanon A1 , 2015, Nocturnes, Niagara, Industrial, Gatineau

 


Feb 24 2019

Fuji Drive Half Frame

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I was half way through this roll of Ultrafine Colouruption (ORWO NC-3) in my Konica Auto S3 when it stopped working.  So I thought I would finish it in this camera with the idea that if it ended up being a grainy film that it would be accentuated by the half frame capture.  However despite the strange colours the film is not particularly grainy.  Nothing like the graininess of  Adox Color Implosion although the colour shifts are even more extreme with this emulsion.

Here is a comparison shot taken with my Pentax Q7 digital camera and the Fuji Drive with Colouruption.

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Now about the Fuji Drive.  It has a 28mm f2.8 5 element lens which is surprisingly good but the cameras unique feature has to be that it uses a clockwork mechanism to advance the film.  This is of course where it gets the name “Drive” from.  The camera has a selenium meter that can be used for fully automatic exposure but you can also manually select shutter and aperture for more control.  Also the meter system was made at a time when 100 ASA film was considered fast so it only goes to a maximum of 200 ASA.  I’m also not really a fan of zone focus with most cameras so that’s a strike against it but if you pay attention to focus and set exposure manually you have a nice photography tool that is fun to use.

Another camera in my collection that has a clockwork film advance is the Ricoh Auto Shot.


Feb 17 2019

Konica 400 VX Super film RUN!!!

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Some films age gracefully, some just fade away but Konica 400 VX does neither it turns everything magenta in a fit of rage.  I know what your thinking ‘why don’t you just colour correct it?’  Well there is no colour correction on earth that can handle what ever this is. Yes I could adjust it but that would just give me a new set of weird colours.

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I think I owe an apology and a roll of some decent film to my Yashica T3 now like this Agfa Vista 200 I used in it last time.  Yashica T3 With Agfa Vista 200


May 19 2018

Olympus 35SP with Agfa Precisa Cross Processed

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I had a roll of Agfa Precisa 100 which is a slide film meant for E6 development however I opted to develop it in C41 color negative chemistry.  This is commonly referred to with the self explaining name ‘cross processing’  As with many things ‘film’ I like the somewhat random nature of the results.  Some images turned out with very little to tell them apart from an image processed normally to other images having severe colour shifts.  Part way through the roll I also opened up the back of the camera for a little bit of a light leak across some frames.  Doing this of course you loose some images and you risk ‘damaging’ what might have otherwise been a good image.  On the flip side you can get some interestingly effected images that would be hard to achieve any other way.   You might be able to get a faux light leak result with some photo manipulation but someone needs to create the baseline of what would happen in the real world.

The shift in colour was quite unpredictable as can be seen from these two images of the same sign.  The one on the left was taken shooting into the light and the one on the right was taken away from the light.  The shift towards green isn’t equal across the entire image but happens primarily in the blues of the sky.  That image is as scanned with no effort made to hide the effect through adjustments.

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I’m happy with the results and continue to be enamored with the Olympus 35SP which has risen to be my favorite rangefinder camera.  More about this camera here Olympus 35 SP

While many people think of a 50mm lens on 35mm film as being the normal focal length that approximates what the human eye would see the actual diagonal of a 35mm film frame is around 43mm which means that the 42mm lens on the 35SP is much closer to the ideal normal lens than 50mm is.  One more reason the Olympus 35 SP is an awesome camera.

 


Apr 28 2018

Kodak Portra 160 in the Pentax MZ6

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While I enjoy using rangefinder and point and shoot cameras there is no doubt for versatility its the SLR that wins.  That’s why when I have the space and can spare the weight I like to bring along an SLR on trips.  In this case the camera was the Pentax MZ6 one of the last film SLR’s produced by Pentax and full of all the features you need in a small light package.

I haven’t shot much of the Kodak Portra 160 mostly because it seems like an odd sensitivity.  It has a Print grain index of 79 at a magnification ratio of 17.9 while Ektar is 66 and Portra 400 is 89.  With only a marginal improvement in granularity over the Portra 400 it makes choosing it more about needing the slower ISO at which point the Ektar comes into play.   Then the choice is more between their colour rendition the more punchy saturated  Ektar vs the more muted skin tone friendly Portra.


Apr 22 2018

Rollei CN200 in the Yashica GX

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Different films often say ‘load film in subdued light’ but few of them require it to the degree that Rollei CN200 does.  Each roll that I have shot so far has had ‘unwanted’ light strike the film while it is inside the canister.  I placed unwanted in quotes because I could have been more careful to prevent it if it really mattered to me more.  I like the randomness that can occur.  What appears to happen is that the tang of the film leader sticking out of the canister works like a light pipe allowing the film to transfer light from outside to inside.  The most clear evidence of this is the way that the first 12″ or so of the film is exposed to sunlight in a diminishing fashion.

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The reason that this may occur with CN200 is it is an unmasked film.  Unlike most negative colour films it does not have the same orange brown color mask but its base is clear as you would see with slide film.  An interesting side effect of the lack of the normal C41 mask is that the film can be optically printed with Black and White paper the same as normal Black and White film.   A quick check on the Internet as of January 2018  and this film is not available through any retailers I can locate which is a shame.  Posts that actually talk about the Yashica Electro GX can be found by a search of my blog here “Yashica GX”


Feb 11 2018

Cinestill 800T and Seattle at night

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I loaded my trusty Pentax MZ6 with some Cinestill 800t film which I really like the look of particularly for the way it creates halos around bright lights against dark backgrounds.  You can see my discussion around why that occurs here “Niagara at night”  Coupling the fast film with some equally fast lenses such as the Vivitar 28mm f2.0 Close Focus allows me to forgo a tripod even when walking around at night.


Oct 8 2017

Disposible film camera harvest

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Disposable cameras have their place but nestled inside them can be some fun random films.  I acquired a few similar disposable cameras of dubious quality so I decided to rip one open and pull out its heart.  Mentioned previously here Thrift Store DisposableDispossible_film-5387

The first thing you need to do though is get the film back into the canister.  The way that disposable cameras work is that rather than a separate rewind action all the film starts outside the canister and is wound back in as you advance the film.  I accomplished this, without taking unwanted pictures, by winding and tripping the shutter while the camera was inside my changing bag.  Any suitably dark sack will do or even a finger over the lens.

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With the expired Italian film recovered from the Chinese camera I put it into my Japanese Yashica GX and here is what I got shooting around my neck of the Canadian woods.

One last thing I found when taking the film out of the developing tank was that a short piece of dummy film was taped to the end presumably to maximize every piece of emulsion that gets exposed.

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Jan 22 2017

Canon A1 and Cinestill 800T a continued pairing

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As I have posted previously I really like using the Canon A1 for taking long low light exposures and I also like the halo around light sources that Cinestill 800 provides. So I keep pairing these two up like they are a couple.

One issue that has come up for me is the remnants of the ramjet removal has reared its head several times. It’s primarily seen in darker images. For this reason I will need to rethink the way I expose and scan this film. I’ve tended to perhaps under expose at times with the intention of highlighting lights in the scene but when scanned this seems to reveal the residue of the remjet. I had a particularly egregious example of this that Cinestill remedied by sending me replacement rolls

As I haven’t seen this issue from other users of the film I now have to conclude it is something I am doing. No other film is effected this way during my processing so it leaves me to believe that it is always there to a degree its just a matter of the ratio of it to the recorded image on the negative. If during scanning your trying to extract details from a thin negative then it is likely going to show. Because I still want to continue to use it for nocturnes I am going to increase the amount of exposure I do and see if I get a better result.

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It can be much worse than shown in the above image as well. But when it does work out I have been pleased with the look.

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Some more images from the same roll