Hi Vladimir, I expose expired slide film at box speed, yes. This stuff does not handle over-exposure well. However, when it comes to colour-negative film (C-41), I typically add +1 stop of exposure for every decade past its expiration date. So if it’s something like Portra 400VC that expired in 2010, I’d shoot it as if it was an ISO 200 film and develop it normally. Hope that helps!
Дмитрий, доброго Вам времени суток, читая внимательно Ваши статьи я обратил внимание что Вы всегда снимаете просроченные фильмы на коробочной скорости, полагая что реверсивная плёнка практически не теряет заявленное производителем ИСО. Судя по результатам Ваших изысканий так оно и есть, я очень впечатлён Вашими анализами и воспользуюсь ими когда получу просроченные реверсивные фильмы Фуджи и Эктахром 120 формата, особенно интересны буду фильмы где просрочка два десятилетия!
This isn’t exactly film photography but what a trip! Certainly fits in the vintage electronics category and there are some analogue bits there too: “I Made a CRT Game Boy” by James Channel.
The functional LEGO camera project, LEGO ZH1 has reached its first goal: 10K upvotes.
Zung’s project will now enter a review process where they company will evaluate whether they’ll make it an official kit you can buy and assemble yourself.
Hey Eddie, I don’t seem to have this problem with mine and I haven’t read about issues like that. Did you test your camera with film to see if the exposure is indeed longer?
Hey, I have an ae1-p and I’m noticing a weird issue, though I’m a bit of a noob so it might be something I’m missing. When I set the exposure to something like 1/250 the first shot I take sounds and looks like a much longer exposure. The second shot taken immediately after has a much more ‘as expected’ sound. Has this ever been reported anywhere else?
Nice! This stuff is arguably the most important film product for Kodak (since movie studios spend a lot more on film than still photographers) and they sure do care about quality.
Отснял по паре фильмов 50D и 250D, снимал в соответствии с рекомендациями, пока не проявил, но читал отзывы о них самые восторженные! Я проявил один фильм 250 D, который снял на Зенит-12 СД, то что я увидел на негативе меня очень обрадовало! Негативы очень чёткие и резкие на просмотр, к сожалению было недосуг отсканировать и просмотреть, но даже беглого просмотра на свет негатива можно понять что снимки очень высокого качества!
I’m currently shooting a roll of NC500 and I’ve found some labs nearby that do ECN-2, so I’ll consider trying it out myself. I haven’t yet decided though if I want the washed out look or the more saturated look for this roll, I guess we’ll see what kind of scenes I have a chance to shoot on this one.
Bastian got some excellent results with this film! Interesting that he compared it to Agfa Vista, it’s one of my all-time favourite emulsions. Many suggest it’s rebranded Fujifilm, but as the case often is in these cases, the evidence is scarce.
I’m wondering what the grain is like with ECN-2. Bastian’s scans don’t show it on the website. My scans showed it as exceptionally prominent (a lot grainier than Agfa Vista). Perhaps the “proper” chemistry can soften it a bit as well?
You’re right and thank you! Just had a look at the manual — it explicitly states that the additional time is for the developer only. I’ve removed that sentence from the article.
I’ve found a blog post showing some photos shot on NC500, but developed in ECN-2 chemistry: phillipreeve.net/blog/anal… The results show much more saturation than with C-41 development (and I’ve been told this is not a result of digital postprocessing), the colours still have pleasantly quaint tones though. It looks like it’s something worth trying with this film, and maybe also with stuff like Lomochrome Metropolis? What do you think?
I’ve never had a Cinestill c-41 kit instructions require me to extend the time of blix — only the developer. Great article! Definitely going to give this kit a try.
Techniques like dodging and burning shows us that at least many black and white films have dynamic ranges bigger than what human eye can register. It’s often shock to many people to see how you can “recover” details from “underexposed” or “overexposed” by adjusting time of exposure of print paper in darkroom or by adjusting level of backlight during scanning. And the bigger film format is used the dynamic range only increases.
Kodak Alaris, a brand that owns the rights to the Portra name, was recently acquired by Kingswood Capital Management, L.P.
As some of you may know, Kodak was split into several businesses decades ago. Kodak Alaris is responsible for the branding and distribution of its films like the Portras.
The news is fresh, but some photographers are already making gloomy speculations about film prices increasing. I think this will be impossible to prove untrue, as price increases in film photography are guaranteed — at…
I’m pretty sure it replaces the current stock. I imagine it would be expensive to run two separate formulations simultaneously while earning the same from sales.
True! There’s a lot that could be improved about Color’92, and the new version seems incremental. But I suppose it’s nice to see the brand continuously working on making the film better. While Kodak films are nearly perfect, they’ve remained constant for almost 20 years! (Although the 400’ reel I have here says that they won’t take responsibility for…
Do you think/know that the new Color ‘92 emulsion is intended to replace the original one? Or will they be available side-by-side?
Now, I haven’t yet seen any comparisons, so maybe the warmer tone of the new one is just a kinda marketing gimmick, but I feel like we already have a ton of film stocks that are supposed to yield warmer tones, while the possibility of preserving more gloomy ambiances are overlooked, which is a bit of a shame IMO.
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