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Curious what anyone's experience with the Cinestill C-41 kit is. It's a two-part, powder developer. I tried a Tenetal C-41 kit (6 part, liquid) back when I lived in Japan and it didn't go well - had a bathtub to try and keep temperatures stable but the results were "mixed" at best - lots of weird stains, etc on the film, though some shots came out OK. Now that I'm back in Australia (and nearly a decade has passed) I'm looking at AU$12.50/shot for a lab to do 4x5 C-41, which is... a lot. I'd be willing to attempt the Tenetal kit again now that I've got a sous vide setup that could be adapted, but if there's an easier option that gets good results I'd definitely be interested. It seems almost too good to be true, but I've read two reviews so far that are pretty positive on it. Cacator posted:Edit: Hmm, now that I think about it there's the possibility that when loading it into the tank I missed the little spool that the reels wrap around and I had to open it back up to put it back in. I may have turned on the lights when the funnel was attached, but the cover was not......... although I don't know if that explains the clear delineation between the exposed part of the roll and the unexposed part. I guess if the exposed film is opaque then that would block any more light passing through to the rest of the roll. Goddamnit, amateur mistake. That may well be it. I don't have my negs with me to check, but I think I remember getting something similar when I forgot to put the light trap into my Paterson tank. If it makes you feel better, it was my test roll for an eBay 6x6 Super Ikonta so I wound up returning it for a refund - only realised my error well afterwards and would have loved to have kept the camera 
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Jun 27, 2021 11:11
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Megabound posted:Nice choice, if you've got it stuck to aperture priority I'm sure they'll all be perfectly exposed. Comp and focus is on you tho. I have a Pentax ME Super with aperture priority and that's not my experience at all  I mean mostly the exposure seems good but I relatively frequently get photos where the exposure seems off. Problem with the camera or am I just doing it wrong?
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Jun 27, 2021 11:28
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Could be both, these problems do happen. It uses centre weighted metering so whatever is in the centre of frame it's going to try and place it at the middle of your exposure. If you're pointing at the brightest part of your scene everything else will be underexposed and vice-versa. In that situation switch it to manual or use the exposure compensation dial. These issues will show up most commonly on back-lit or spot-lit subjects so if those are the photos messing up that'll be your issue. Ethics_Gradient posted:Curious what anyone's experience with the Cinestill C-41 kit is. It's a two-part, powder developer. I've only used the Tetenal. With a sous vide setup I got stellar results every time. The biggest worry for me was longevity, it can process ~20 rolls and once it's mixed you've got about 6 months to do that. In the end I decided I didn't shoot enough colour to justify it. If you haven't spied Photo Resource they stock this Kodak kit and Kodak's Technical sheet on small tank developing. The developer is single shot, so you'd get about 60 rolls of 135 out of it, if you mix on demand and store the developer well (oxygen tight containers) then the rated shelf life is 2 years, but people will tell stories about getting a lot longer out of it. Megabound fucked around with this message at 12:48 on Jun 27, 2021 |
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Jun 27, 2021 12:24
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Megabound posted:Nice choice, if you've got it stuck to aperture priority I'm sure they'll all be perfectly exposed. Comp and focus is on you tho. I totally didn’t immediately forget to reset the exposure compensation dial for a few shots, no sir
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Jun 27, 2021 13:31
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We've been using the cinestill powder kit for a year and a half now with a labbox and a epson v600 and have no complaints except user errors. Aside from the negs being a little dustier than the ones from our local photo lab there wasnt any dif in the final product and we save a ton of money. Id say we've done about 100-125 rolls (my wife started an mfa during covid so lots of shooting) in the last year, mainly 120 portas but also a lot of various 135. We probably get about 20-25 rolls per kit. They also make a liquid kit but the shipping is ridiculous. During peak covid the kits got really scarce so we bought two at a time. Anyways we've had success with it
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Jun 27, 2021 13:53
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Paperhouse posted:I have a Pentax ME Super with aperture priority and that's not my experience at all Just shoot portra or tri-x and you won't need to worry about the exposure being bang on imo.
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Jun 27, 2021 14:14
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Megabound posted:Could be both, these problems do happen. It uses centre weighted metering so whatever is in the centre of frame it's going to try and place it at the middle of your exposure. If you're pointing at the brightest part of your scene everything else will be underexposed and vice-versa. In that situation switch it to manual or use the exposure compensation dial. I was about to say "$270 is a lot!" but doing the maths its only ~21 sheets of 4x5 until I hit the break even point. Do you have a Jobo or do you agitate by hand? I don't know whether my previous results were sloppy agitation technique or sloppy temperature control (or both). King of Bees posted:We've been using the cinestill powder kit for a year and a half now with a labbox and a epson v600 and have no complaints except user errors. Aside from the negs being a little dustier than the ones from our local photo lab there wasnt any dif in the final product and we save a ton of money. Id say we've done about 100-125 rolls (my wife started an mfa during covid so lots of shooting) in the last year, mainly 120 portas but also a lot of various 135. We probably get about 20-25 rolls per kit. They also make a liquid kit but the shipping is ridiculous. During peak covid the kits got really scarce so we bought two at a time. Anyways we've had success with it That's awesome to hear! It seems to be OOS here in Australia (and most places in the US) but Freestyle seems to think they'll have them back by the end of the week, will have to see what international shipping runs me. I had no idea the Labbox exists - interesting device and I'd have definitely been interested in one back when I shot more with my Hasselblad.
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Jun 28, 2021 09:47
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Ethics_Gradient posted:I was about to say "$270 is a lot!" but doing the maths its only ~21 sheets of 4x5 until I hit the break even point. I agitated by hand, 4 inversions every 30 seconds.
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Jun 28, 2021 09:51
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For those that don't do their own developing, what are good options for it? I've got a couple of local stores that do it, but are any of the online options worthwhile? Get prints at the time or scan the negatives and choose from there? Anything else?
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Jun 28, 2021 14:52
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if you plan to shoot film for any length of time, buy your own scanner, don't get prints, scan your negatives at home
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Jun 28, 2021 17:32
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bellows lugosi posted:if you plan to shoot film for any length of time, buy your own scanner, don't get prints, scan your negatives at home This. Even when having a lab do the development we got a scanner as soon as possible. The lab scans we paid a premium for were unsatisfactory in many ways and a poor investment all around imo. When a refurbed v600 came up at b and h for 150ish we snapped it up and havent looked back. Its been great for our needs and the next step up was out of our range. TBH i even prefer the epson software that came with it instead of the fancier ones. I figure at 25 dollars per roll for highest rez scans at a lab we have potentially saved thousands and got the scans exactly how we wanted them before going into post.
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Jun 28, 2021 17:50
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what is the expected longevity of RA4 chemistry production? is that still used in minilabs at all or have they all gone to inkjets now? color wet printing is something that I've never tried and it kinda looks like at this rate I'm never going to get to
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Jun 28, 2021 18:23
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i don't think anyone does RA4 anymore
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Jun 28, 2021 19:01
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I don't think RA-4 is appreciably more endangered than any other color chemistry right now. It's still popular for high-end prints and even in the digital world, the lambda/lightjet processes will use it.
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Jun 28, 2021 20:40
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Yeah, RA4 is readily available in Australia at least. Never heard that it's dying or anything.
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Jun 28, 2021 21:30
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I shot a roll of Portra 800 but will be a while before I can develop and scan, and even longer before I can shoot a roll of Portra 400 and process it at +1 stop push. Since it’ll be a while before I can actually do my own comparison, I’m curious if it’s still a Dorkroom consensus that 800 is no better than 400 pushed? And does that still hold true at 1600?
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Jul 3, 2021 00:32
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Love to know this myself since 800 can be scarce and/or pricey
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Jul 3, 2021 01:57
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Portra 400 at one stop underexposed and developed as normal is absolutely fine, don't even need to push. It's a petapixel article but it has sample photos from -3 to +6. https://petapixel.com/2018/02/05/test-reveals-exposure-limits-kodak-portra-400-film/
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Jul 3, 2021 02:17
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I've only shot a couple of rolls of Portra 800 and have been disappointed every time. I'd rather push 400.
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Jul 3, 2021 08:19
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Godspeed, Velvia 100.
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Jul 7, 2021 03:29
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Bah, guess I need to raid the local shops.
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Jul 7, 2021 03:31
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same energy 
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Jul 7, 2021 03:34
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It's been a long time since I've thought about Gunsmith Cats, thank you.
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Jul 7, 2021 04:03
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trashy owl posted:Godspeed, Velvia 100. Thanks, Obama 
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Jul 7, 2021 10:35
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trashy owl posted:Godspeed, Velvia 100. God dammit.
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Jul 7, 2021 12:41
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portra 800 is an older generation of portra, it's inherently inferior to 400
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Jul 7, 2021 16:54
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I'm doing a roadtrip to SW Colorado in a month-ish and thought it would be a pretty good way to dip my toes back into film. Has there been a drought on Portra 400 for a while now? Everywhere I've looked has been either sold out with no restock date or it's a lot more expensive than I remember a couple years ago drat. Edit: Also I don't remember 35mm rolls being $10+ per roll jeez
Casu Marzu fucked around with this message at 04:20 on Jul 22, 2021 |
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Jul 22, 2021 04:17
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bellows lugosi posted:portra 800 is an older generation of portra, it's inherently inferior to 400 I'll bet you like Acros II better than the original 
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Jul 22, 2021 08:44
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Ethics_Gradient posted:I'll bet you like Acros II better than the original nah but seriously 400 is just way better. you can shoot it at 800 and it still comes out better than box speed 800
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Jul 22, 2021 18:23
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Portra 800 was from the generation before they started incorporating all the advances with Vision stock into Portra film, so it's definitely grainier and more contrasty with less dynamic range than 160 and 400.
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Jul 22, 2021 18:53
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Yesterday I picked up my 500C/M after a very long time so I could finish off a roll. I had just finished doing a wet plate shoot at the same location and I was blown away by the speed, simplicity, and convenience of the thing. It was like reverse culture shock   I poked my head in at the tip shop on a whim today and was rewarded with a Durst 6x7 enlarger with a minty EL-Nikkor 50mm f/2.8, 6x6 condensor, and 6x6 neg carrier. Pretty excited - was hoping to get my darkroom closer to completion (maybe even try a test print or two) but my old Meopta didn't have a condenser or neg carrier. I know I could make the latter, but was resigned to paying eBay prices for the former. The downside is the Durst is just a liiitle too tall for my closet/darkroom. I may be able to extend the ceiling; there's a sheet of MDF screwed in right above my current enlarger setup that leads to the attic where the wood stove flue used to be - if the hole underneath is wide enough I can build an extension without any major dramas. (I was already planning on removing it so I could replace it with one I'd cut a hole in for a ventillation fan/duct. Otherwise I'll have to take an angle grinder to the last 15cm or so of the column, which feels very wrong, even if I'm not planning on any huge prints.  Was feeling lucky (and had an hour to kill before I picked my partner up from work) so I stopped in at the one across town and found a bunch of paper plus this ancient FP4 in 5x7. Me, making smalltalk at the register: "Just hope nobody's opened this yet!" Guy at register: *quickly grabs the lid off the FP4 and yanks it off before I can say or do anything* "Oh yeah, looks like nobody's been in there" I still bought it anyways since $2.20 is like, a can of Coke and it may even still be good (think it was still inside the black bag from the glimpse I had of it). I don't actually have a 5x7 camera though.
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Sep 30, 2021 08:33
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Very nice, I really like my Durst M700. They're worth taking apart and giving a good clean but beware, the Italians were allergic to using the same sized screw twice so keep good track of where everything goes. The film story has strong "Selling unused paper with a photo of the paper out of the box" energy.
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Sep 30, 2021 09:12
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Anyone have an OpticFilm scanner for 35mm and could recommend it? I have an Epson V550 which works fine for 120 but 35mm looks gross and it's bad enough that it discourages me from shooting more 35mm.
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Sep 30, 2021 17:43
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I'm sorry y'all, I have an extremely basic question; it's one of those questions that's either so obvious or so specific that Googling it has become somewhat challenging for me. (context: my company is in the process of buying components for an eventual video studio where we'll shoot interviews, product demos, etc) We are ordering two wireless lav mics and a mounted shotgun mic. How do we capture this audio along with the video? There's only one audio input on the camera (Sony a7III), which I assume will be used for the shotgun mic. What is the industry standard for capturing the audio from the two lav mics? And since I'll probably be capturing those devices separately from the video, should I include the shotgun mic in with whatever's capturing the wireless lavs? I've casually browsed around devices called field mixers like this one or this one. Am I on the right track or is there a better / simpler / easier way to do this? EDIT: Oh goddamnit I just realized this thread is not for that kind of film.  Leaving this anyway; since it's such a basic question I bet somebody here knows
timp fucked around with this message at 20:38 on Sep 30, 2021 |
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Sep 30, 2021 20:24
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Cacator posted:Anyone have an OpticFilm scanner for 35mm and could recommend it? I have an Epson V550 which works fine for 120 but 35mm looks gross and it's bad enough that it discourages me from shooting more 35mm. They are good and will make your 35 look much better than the Epson does.
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Sep 30, 2021 20:52
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Megabound posted:Very nice, I really like my Durst M700. They're worth taking apart and giving a good clean but beware, the Italians were allergic to using the same sized screw twice so keep good track of where everything goes. The film story has strong "Selling unused paper with a photo of the paper out of the box" energy. Good to know - I have an incomplete 6x9 Durst in the shed as well that may now get turned into another DIY project. The guy at the register was some Zoomer who didn't know any better (or read the box), I still couldn't believe it though. I think actually worth it just for the laugh I had when I got out to the car. Cacator posted:Anyone have an OpticFilm scanner for 35mm and could recommend it? I have an Epson V550 which works fine for 120 but 35mm looks gross and it's bad enough that it discourages me from shooting more 35mm. If you're doing slide or B&W, it's not hard to set up a DSLR/mirrorless digitisation rig and you can get some really good results for around a hundred bucks or so: Micro-Nikkor + adapter, cheap eBay macro rail, and set up the stage out of wood/cardboard (or a slide copier if you're feeling fancy).
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Sep 30, 2021 22:29
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Ethics_Gradient posted:Good to know - I have an incomplete 6x9 Durst in the shed as well that may now get turned into another DIY project. Unfortunately I got rid of my mirrorless system camera last year (my only digital is an X100F) plus I don't really have the space for such a setup. Megabound posted:They are good and will make your 35 look much better than the Epson does. Cool. Are the varying models pretty much the same?
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Sep 30, 2021 22:41
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Yep, the main difference is the version of silverfast it comes with and whether or not it has infrared for dust removal. The 8200i AI is the only one that comes with software capable of scanning 48bit out of the box but you can buy the upgrade to Silverfast seperatly and it may cost less. e: They hide the info pretty well but it's €74.50 EUR to upgrade from Silverfast SE to AI, the extra bit depth is worth it, so factor that in to whichever one you buy. Megabound fucked around with this message at 23:01 on Sep 30, 2021 |
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Sep 30, 2021 22:48
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timp posted:EDIT: Oh goddamnit I just realized this thread is not for that kind of film. this thread is probably where you'll want to go for advice later, but i can give you the short answer for this one: yes, a field mixer is what you're looking for, but keep in mind you'll have to sync your sound and video in post. industry standard is Sound Devices, but you can find decent, much cheaper stuff in Zoom's F series and from Tascam if budget is a concern.
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Sep 30, 2021 23:20
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Ethics_Gradient posted:Good to know - I have an incomplete 6x9 Durst in the shed as well that may now get turned into another DIY project. The worst thing about Durst stuff is they didn't give anything model numbers but names instead. If you need a hand finding names for stuff like the mixing box and whatnot let me know. The good thing about Durst stuff is that they were in a lot of Australian schools so I've found the second hand market to be pretty good so long as you know the special name for whatever it is you're looking for.
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Sep 30, 2021 23:21
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