View allAll Photos Tagged KodakVISION3500T5219,
Arriflex BL4
50mm Schneider-Kreuznach
T5.6
Kodak Vision 3 5219 500T (no 85)
scanned 2K (2048x1556) 4 perf downconvert .tiff
Teaser: vimeo.com/134401016
My seeds that I started indoors are doing well. They'll have to stay inside a little longer, since nights in the yard are cold still. Hoping to get a sunny day off, so I can start getting the soil on the beds ready.
Pentax MZ-5
SMC Pentax-F 35-70mm F3.5-4.5
Kodak Vision3 500T/5219
Unicolor
Pakon F135
This Instamatic came with a couple of 126 cartridges; one sealed in box and another exposed in camera, which unfortunately, yielded no photos. However, I was able to re-load the cartridge with 35mm Kodak Gold 200 and use the camera with fresh film.
Pentax MZ-5 w/ 50/1.7, stuck wide-open
Kodak Vision3 500T/5219
Unicolor
Epson V550
Day 34: February 3, 2014: Billy Goat Hill
Heading home around sunset today, I opted to stop at a park just off my usual commute route, Billy Goat Hill. You may know it as the one with the big rope swing. If you don’t know it as the one with the big rope swing, you should definitely go try the big rope swing.
No rope swing for me today, though. I was here for a few photos of the city (and the rope swing was in use). Normally, I would have chosen a different film for this scene, but I still had the Cinestill 800T in my camera, and was keen to test it in new conditions, so why not see what it can do here?
I kind of set myself up for failure on this shot: There’s really little justifiable reason to use a high speed film for a tripod-based long exposure, where the shutter speed doesn’t matter. Sure, I’ll occasionally go to 800ISO or higher on my digital camera to catch stars on a dark night, but getting clean photos at high ISO levels is really one of digital’s major advantages. With film, you’re just asking for the small details to disappear in a sea of grain, right?
Maybe not. Honestly, I’m pleasantly surprised with the way this came out. ‘Tis a bit grainy, but I’m overall not displeased with the look. Sure, zooming way in, the far off details aren’t as crisp as they might be from a digital camera or lower speed film, but I’m digging the colors and all of those little halos that I mentioned the other day.
(Canon EOS3 with Cinestill 800T)
Today we’re sitting down with Mike Fraser, Toronto-based photographer, cancer researcher and all round globe-trotting nice guy.
Mike works in film of all formats, as well as the occasional foray into digital. He has (we think) an incredibly keen eye for detail in shadows. To be clear,...
Large version at: emulsive.org/interviews/i-am-mike-fraser-and-this-is-why-...
Filed under: #Interviews #Fuji #FujiProvia100FRDPIII #Hasselblad #Hasselblad500CM #ILFORD #ILFORDPanF #Kodak #KodakGold400 #KodakPortra400 #KodakTriX400 #KodakVISION3500T5219 #Konica #KonicaHexarAF #Leica #LeicaM3 #LeicaMP #LeicaSummitar #Leitz #Mamiya7 #MichaelFraser #Voigtlander #Voigtlander3514
Day 29: January 29, 2014: Tank Hill
If you follow this project through the year, you’ll probably be seeing a fair amount of this tower. This is my symbol of San Francisco. Not the bridges, not the skyline, not that pointy building downtown, but this, the giant red and white claw reaching out of the fog from one of the City’s highest peaks.
No matter where I’ve been and how long I’ve been gone, whether I’m coming from the North, South, East, or even from the air, Sutro is there to welcome me home, standing high, reaching up through the fog as though the City were trying dig itself out of a moist cloudy grave, always blinking away. Don’t ever change, Sutro. Don’t ever change.
This was another shot from the new Cinestill 800T film. Of note is the large halos around the red lights on the tower. One of the main difficulties in adapting the cinema film for a still film process is the different methods used to prevent this halation, which results from light passing through the film, and reflecting back off of the other side of the film or the back of the camera, coming back through to re-expose the film like you see here. Cinema film generally uses a coating that isn’t compatible with normal still film C41 development, so it has to be sent to labs that specialize in cinema development. Unfortunately, there are few of these labs around and they prefer to handle batches of many feet of film at a time, so finding a way to develop small batches of 36 frames is difficult at best. To get around the problem with this film, they’ve stripped that coating off ahead of time, leaving a film that can easily be developed in any standard lab, or at home, if you have the equipment. Of course, one of the side effects is the loss of the anti-halation layer, so bright lights are prone to these halos. Is this a flaw, or is it a unique feature to get creative with? That depends on what you’re going for, I suppose, but I prefer to think positive. :)
(Cinestill 800T in the new Canon EOS 3)
Leica MP
Leica Summilux 35mm f/1.4 II
Cinestill 800 Tungsten
Tetenal Colortec C-41
Scan from negative film
Day 30: January 30, 2014: Outer Sunset
What do we miss when we stick to that which is familiar? How will we ever know if we don’t try something new?
In that spirit, helped by a bit of boredom with my usual locales, I took a new way home tonight, swinging over to the Great Highway, following the beach down, and eventually settling in for a wander around the end of Judah in the Outer Sunset.
The N-Judah happens to turn around down here by Java Beach, and it turns out that my absurdly large collection of Muni photos has been stagnant for a while, so this seemed like the perfect place to play some more with the Cinestill in high speed/low light situations.
Again, for the first roll, I’m quite pleased. It handled the dark like a champ, getting plenty enough light from the coffee shop, street lights, and Muni to keep a reasonable speed; the halos are there, but I kind of like the look they add; and I’m digging the colors. Not to mention, digital can’t touch the way the film handles that lovely neon.
(More Cinestill 800T in the Canon EOS3)
Day 36: February 5, 2014: The Castro
The Fenway Market: My localest convenience store. It was a great spot to stop for beer/wine/snacks, or a few other items on the walk up the hill on those numerous occasions when I find myself stranded by the 33. Sadly, I recently discovered that this spot closed down this May, the second of three businesses in this spot near my home to go vacant. Sign of the times? Did they get priced out of the neighborhood? Will these spaces be filled? Only time will tell. For now, there's one less option in the already sparse neighborhoods up the hill.
(Cinestill 800T in the Canon EOS3 on a rainy night)
Folsom Lake. CA.
Olympus 35RC, E.Zuiko 42mm/f2.8, Kodak vision3 500T (5219), Rodinal 1:100 90 minutes.
Today we’re sitting down with Mike Fraser, Toronto-based photographer, cancer researcher and all round globe-trotting nice guy.
Mike works in film of all formats, as well as the occasional foray into digital. He has (we think) an incredibly keen eye for detail in shadows. To be clear,...
Read on at: emulsive.org/interviews/film-photographer-interviews/inte...
Filed under: #FilmPhotographerInterviews, #Interviews, #EMULSIVEInterview, #FilmPhotographerInterviews, #Fuji, #FujiProvia100FRDPIII, #Hasselblad, #Hasselblad500CM, #ILFORD, #ILFORDPanFPLUS, #Interview, #Kodak, #KodakGold400, #KodakPortra400, #KodakTriX400, #KodakVISION3500T5219, #Konica, #KonicaHexarAF, #Leica, #LeicaM3, #LeicaMP, #LeicaSummitar, #Leitz, #Mamiya7, #MichaelFraser, #Voigtlander, #Voigtlander3514
#shootfilmbenice #filmphotography # believeinfilm
In part two of this series we are going to go delve into the technical side of motion picture film: color temperature, print vs motion picture film stocks and finally start to get into what ECN-2 is all about. Part three puts all that together and will provide you with formulas and processing...
Read on at: emulsive.org/articles/cinematic-storytelling-part-2-motio...
Filed under: #Articles, #Darkroom, #CrossProcessing, #DevelopingFilm, #ECN2Chemistry, #Kodak, #KodakVISION3200T5213, #KodakVISION3250D5207, #KodakVISION3500T5219, #KodakVISION350D5203, #MotionPictureFilm, #MultiPart
#shootfilmbenice #filmphotography # believeinfilm
Day 37: February 6, 2014: Turtle Hill AKA Grandview Park
Not as well known as some of those other hills, this is of my favorite spots to catch a sunset, on those fogless days when the Sunset actually has a sunset. Here, on a clear day, you can see for miles south, north, and even out to the Farallones. This is the hilltop where I get away from the crowds on the other hilltops. :p
Sure, it’s out there a little ways, but it’s just one of the many things you’re missing out on if you haven’t made the trip out to the Sunset lately.
(Cinestill 800T in the Canon EOS 3)
Today we’re sitting down with Mike Fraser, Toronto-based photographer, cancer researcher and all round globe-trotting nice guy.
Mike works in film of all formats, as well as the occasional foray into digital. He has (we think) an incredibly keen eye for detail in shadows. To be clear,...
Large version at: emulsive.org/interviews/i-am-mike-fraser-and-this-is-why-...
Filed under: #Interviews #Fuji #FujiProvia100FRDPIII #Hasselblad #Hasselblad500CM #ILFORD #ILFORDPanF #Kodak #KodakGold400 #KodakPortra400 #KodakTriX400 #KodakVISION3500T5219 #Konica #KonicaHexarAF #Leica #LeicaM3 #LeicaMP #LeicaSummitar #Leitz #Mamiya7 #MichaelFraser #Voigtlander #Voigtlander3514
Day 30: January 30, 2014: Outer Sunset
What do we miss when we stick to that which is familiar? How will we ever know if we don’t try something new?
In that spirit, helped by a bit of boredom with my usual locales, I took a new way home tonight, swinging over to the Great Highway, following the beach down, and eventually settling in for a wander around the end of Judah in the Outer Sunset.
The N-Judah happens to turn around down here by Java Beach, and it turns out that my absurdly large collection of Muni photos has been stagnant for a while, so this seemed like the perfect place to play some more with the Cinestill in high speed/low light situations.
Again, for the first roll, I’m quite pleased. It handled the dark like a champ, getting plenty enough light from the coffee shop, street lights, and Muni to keep a reasonable speed; the halos are there, but I kind of like the look they add; and I’m digging the colors. Not to mention, digital can’t touch the way the film handles that lovely neon.
(More Cinestill 800T in the Canon EOS3)
Exploring 49 more film stocks from Kodak to Maco in part 4 of my series, "Every single film stock still made today"
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Read on at: emulsive.org/reviews/film-reviews/film-list/every-single-...
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Featuring films from: @kodakprofessional, @kono_the_reanimated_film, @lomography and @macodirect
Filed under: #Articles, #FilmList, #FilmReviews, #KodakFilms, #LomographyFilms, #LuckyfilmFilms, #Reviews, #FilmList, #Kodak, #KodakColorPlus200, #KodakEASTMANDOUBLEX5222, #KodakEktar100, #KodakPortra160, #KodakPortra400, #KodakPortra800, #KodakVISION3200T5213, #KodakVISION3250D5207, #KodakVISION3500T5219, #KodakVISION350D5203, #KodakVISION2250D5205, #KONO, #LomochromePurpleXR100400, #LomochromeTurquoiseXR100400, #Lomography, #LomographyColorNegative100, #LomographyColorNegative400, #LomographyColorNegative800, #LomographyColorTiger200, #LomographyEarlGray100, #LomographyLadyGrey400, #LomographyOrcaBW100, #LuckyfilmNewSHD100, #MacoEagleAQS400, #Macodirect
#shootfilmbenice #filmphotography #believeinfilm
This three-part series explores motion picture film for use in still camera and covers the theory behind motion picture film, currently available film stocks, the importance of correct development and the development process itself.
Through this article and the two which follow, I’ll be...
Read on at: emulsive.org/articles/cinematic-storytelling-part-1-an-ov...
Filed under: #Articles, #Darkroom, #AlteCine, #Arri, #ArriflexD21, #CrossProcessing, #DevelopingFilm, #ECN2Chemistry, #Kodak, #KodakVISION3200T5213, #KodakVISION3250D5207, #KodakVISION3500T5219, #KodakVISION350D5203, #MotionPictureFilm, #RED, #REDEPIC, #REDONE, #Sony, #SonyF35CineAlta, #SonyHDWF900CineAlta
#shootfilmbenice #filmphotography # believeinfilm