A quick post with a few photos from Christmas time around Blåvand, snow in Amsterdam, and a Paris flea market. Not too good with exposure on this one for some reason.
I hadn’t shot a Kodak Ektar for a long time — somehow the last one had left a bad impression, though looking at it now I can only vaguely remember why. In any case, a good friend talked positively about it recently so decided to give it another try.
The rendering of City Park is great, and the same for Windows, Sea Resistance, and Les Pirates. The rendering of Bunker Hotel, Market Barn, and View is close to how I remembered the film, being either a bit too strong on some colours (reds) or a bit too dark on others (dark greens). The rest look somewhat like a Kodak Portra.
Overall I’m happy with the result and have a more positive opinion on the film now. Perhaps it’s important to not underexpose the film, and to use something else for scenes with dark greens and, to a lesser extend, blues.
Given its colour tint and demand for light (I tend to shoot it at ISO 50), the Lomo Redscale is not an easy film to find good scenes for. Combined with a long period of me living out of boxes, this roll ended up staying in the camera for around a year. And when it was finally developed it turned out to contain a few other surprises besides that of re-seeing old frames.
The first surprise was to see the frame on which I suspect the roll had been stuck on in the camera for around 9 months. I’m not completely sure it’s the real reason, but it is striking that Left in Camera is the only frame with two very different colour tints.
The second surprise was that the tint appears to have somewhat shifted over the year, with some shots be quite heavier in the red tones than others. Again this may have been some rustiness on my part, but there was a clean pattern.
At any rate, turns out there’s some evidence to the old advice of not keeping a film in the camera for too long.
First up is a Rollei Chrome CR 200. Not overly impressed and not overly forgiving, it does have some likeable browns and reds when the exposure is right.
Second up is the CineStill 50 Daylight X-Pro. which, unlike the other CineStill is calibrated for shooting outdoor at daylight as opposed to indoor with low light. Much better first impression of this one and looking forward to shooting the next roll — skin tones and blues in particular seem great.
Last one is an Adox Color Implosion 100 which gave a few interesting shoots, such as the dreamy toning in East Paris. Cute film though perhaps also a bit demanding and picky.
Shooting the LomoChromo Purple is a gamble or, more positively, a challenge. Here’s my second attempt.
Until solved, the tint of this film sometimes renders frames mundane by not having a lot of colour contrast; Street Corner is one example, Forest another. Yet at other times, this is it’s greatest strength (perhaps going back to its origins in the special-purpose Kodak) and it will separate things normally blent together, such as in High-speed Sheep.
And finally, sometimes the colours are just right making for an interesting alternatively such as Silver Roof, or the soft colours fit the scene nicely as in Love Plant.
When the exposure is right I really like the Lomography X-Pro Slide 200, but it seems I’d somewhat forgotten this while shooting this roll: don’t overexpose!
I like Trains, shot on a winter evening, of this little, rather specialised, store around the corner from Place de la République. As a kid we had a large track in the basement, and one can only be happy to realise that these toys have not gone completely extinct yet.
The colours in Ida are exactly what I’d like most shots to look like, yet unfortunately there aren’t many like that on the roll due to overexposure; Sleeping under the Bridge for instance is nice for the scene of SDF’s (refugees?) camping under a metro bridge, but it’s hard to argue that better colours would have made it better.
As in these two rolls of film, the tragic Charlie Hebdo shootings filled up a large part in-between the typical events this winter. Having participated first and foremost as a peaceful demonstrator, I’m happy that bringing the camera along that day allowed me to capture a bit of that very unique atmosphere.
The first roll contains a bizarre mix of family christmas photos, random walk around Paris, and a scenes of shootings.
The second roll covers the peaceful demonstration, as well as more winter travelling.
Both were Kodak Portra, and on a technical note I’m actually surprised how well it stood up to the clearly underexposed evening shots.
Unlike the black and white films I’ve shot so far, the Ilford XP2 Super 400 (together with the Kodak BW400CN) are meant for standardised machine processing in C41 chemicals. People claim that the quality suffers a bit, but it is a lot easier to just drop it off at the developer’s and ask for prints than locating (or turning your kitchen into) a darkroom!
A bit disappointingly, the prints have less contrast than I’d normally go for in either scanning or making prints in the darkroom; perhaps simply due to me picking the same cheapest print option that so far has worked fine for colour prints, yet it takes some of the motivation away (and makes you wonder what the colour prints would look like in a premium print). On the other hand, the negatives seem to contain a lot more detail than the prints show, so as such there might not be much lost going with this film, despite not having struck printing gold — and some prints are better than none I suppose.
As for the shots themselves, I think Behind the Shop, The Lucky Middle, and Parc des Buttes-Chaumont turned out well. I really like the light in Scooter Light and the scenery in View on Montmartre was simply spectacular.
CineStill takes Kodak film used in the cinema industry, splashes on chemicals to adapt it to C41 processing, and rolls it onto 35mm spools. Apparently best suited for indoor low-light scenes, it took a few months for me to finish my first roll.
I find the results so-so to be honest, mostly because they are underexposed and look more pale than anticipated. I believe I exposed it correctly as a ASA 800 film, yet didn’t ask to have it pushed during development — CineStill themselves mention that this is a possibility, and from what I’ve seen here it might also be my recommendation.
Not all is lost though, and had Midnight Walk just had a bit more exposure it might have reached what I was expecting. Also somewhat like the colours in Marina, at least enough to want to try out the daylight calibrated version of the film, the CineStill 50Daylight — more to come on this.