Tag Archives: film

Kodak Portra 400 Pushed To 800

I love London Pride and i’m sad to see that this year it has been cancelled due to COVID-19. This will be the first time since the first pride march in 1972 that there wont be a march. It’s very sad and feels like the right time to post this roll of film which I shot last year at London Pride 2019 and then a few frames after at the London Wetland Centre.

 

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Fuji Velvia 50 Cross Processed

Hey there!

In 2013 I bought 2 rolls of Fuji Velvia 50. I shot the first roll pretty quickly on a trip to New York City…to my surprise i’ve not uploaded that roll to the blog so at a later date will go back and rescan the negative for you all to see. Fast forward to 2020 and i’m shocked it took me 7 years to shoot the other roll (London Pride 2019)…I remember thinking it’s because Velvia is an E6 process. Which for the colour noobies out there E6 is a film processing technique using a different variation of chemicals and timings. The end results is a positive image instead of a negative image created with C-41.

E6 film is usually very fine grain, pin sharp image quality and vivid colours. However it doesn’t have the exposure latitude of C-41 colour negatives so your shots need to be perfectly exposed each time! For more information on the differences between E6 and C-41 check out this blog post from The Darkroom

As I don’t own E6 chemicals and wasn’t going to invest in any for 1 roll of film I decided to cross process with Tetenal C-41. Cross Processing is where you develop a roll of E6 > C-41 or C-41 with E6. For E6 > C-41 process you will usually get strong contrast and a lot of colour cast. For C-41 > E6 you’d normally see a flatter image with muted colours.

For my process I have a very prominent green colour cast.

Changing settings in Silverfast to compensate for Green Colour Cast.

 

You can see from the images below the highlights are blown out and the contrast is really high in places but overall i’m happy with the results!

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Kodak Portra 400 Pushed to 1600

Last year I visited Chedder Gorge and Woolacombe in Devon. The weather was rainy & overcast….fantastic for diffusing light and creating soft shadows…an opportunity for me to push a roll of Portra to 1600. To follow steps on how to develop colour film check out my other post on Lomography Color Film

I’m very impressed with how this roll of Kodak Portra held up. I was expecting the shadows to be muddier but the contrasts and colours are looking great. The photos in Chedder Gorge on a rainy day work better than on a sunnier day in Woolacombe. On brighter days the contrast looses detail in the shadows.

 

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KODAK ULTRAMAX 400 PUSHED TO 1600

Hey there!

Here is a collection of photographs from a visit to London Zoo, Devon and Trafalgar Square. To see the development recipe please check out my blog post Lomography 100 Color which uses the same Tetenal C-41 Developer

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Dubblefilm Moonstruck 200

Canon EOS 620. F/8. 1/250. 40mm.

This collection of photographs is from a trip to Devon in the summer. Dubblefilm partially expose kodak stock of film with a blue hue. The film was exceptionally dusty – i’ve didn’t have this with other rolls I developed in the same tank or dried at the same time so I am assuming it’s from where the film is partially exposed and then wound back in to the cassette.

Nothing some cleaning can’t fix and the end results are interesting.

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Kodak Portra 400

Brick Lane

 

Southend Beach & Pier

I’ve kept yellow and warm tones running through the beach images as I prefer this over cooler tones. The warmth adds a dreamy cinematic feel to the images.

 

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Kodak Portra 400

Brad sitting at the Wetland Centre. Photo credit: James Wakelin

A Fresh Start

The first roll of colour film I developed at home for this blog was Lomography Colour 100 with Tetenal C-41. The results were pretty good and I wondered why friends in the photography community always claimed colour was more tricky…I agree one must be very precise with water temperature during processing but as long as you set up a good workflow you minimise risk of problems.

At the beginning a rookie mistake I made was storing chemicals in glass bottles on the top shelf of my wardrobe instead of plastic bottles on the bottom shelf. Unfortunately the shelf gave out from the weight which smashed everything on the floor…whoops! More about that can be read here.

Another mistake I made was not knowing colour chemicals do not stay fresh for very long once mixed (6 weeks), the concentrate gives you 12 weeks though, added to the 6 weeks after mixing is another 24 weeks. I tried mixing another 1000ml after the end use date and the bleach fix turned into a yellow lumpy cheese like goop. Not good.

Tetenal can process around 30-40 rolls of film so these two mistakes are an expensive lesson to learn. At the time I didn’t have the money or free time to invest in 40 rolls of film to shoot – I was looking for a new job and had a lot of changes happening in life.

I regularly wrap paper around my film telling me what is on the roll for a later date when i process.

Fast forward to Autumn 2019 and in 3 months i’ve shot 20 rolls of film to develop and will be ordering some more for a short trip away in October – so fingers crossed I should hit that 30-40 number making things way more cost efficient.

Mixing Tetenal C41 developer.

How I develop

Follow the instructions in the Tetenal guide – they’re fool proof and super easy! Each time I develop a roll of film I tally up the guide to track the life of each mix. The development and bleach times are extended depending on how many rolls you have developed or if you are push processing.

Everyones workflow will vary but i’ve found that if I fill a bowl with water to around 50ºc the heat transfer warms up the chemicals with enough time during cooling to 38ºc to load the film to the spools & development tank. Once the bowl temperature reaches 39ºc I start a 5 minute film bath at 38ºc (water taken straight from tap and temp measured using thermometer). By the time I have finished preheating the film the temperature in the bowl and my chemicals are 38ºc exactly.

I always put the development tank in to the bowl to keep the temperature up and I regularly check with a thermometer! If it starts dropping below 38ºc I top up the warm bath with hot water to a couple of degrees higher to keep the chemicals at 38ºc.

Scanning:

Once the negatives have dried they are cut in to a strips of 6 frames and placed in an archival box. I use industry standard archiving from when I was working as a retoucher – date backwards, followed by job number, then by product, and client or location. Underscores are used instead of spacing. So the latest project is always at the bottom of the list. For example the roll of film for this blog post is 19090601_KODAK_PORTRA_400_LONDON_WETLAND_CENTRE

The job number goes up depending on how many jobs I have that day. This is handy if i’m with the same client but on a different shoot or location or batch. I.e 19060101_PORTRA, 19060102_PORTRA, 19060103_PORTRA, etc etc etc

I scan my negatives flat without adjustments or sharpening using a Plustek Opticfilm 8100 at 3600 dpi which produces a 50mb file at 3300 x 4968. The scanner can do up to 7200dpi however the scan time is too slow and I don’t require that much data for web use. If I ever print the images I would rescan at 7200dpi and reprocess for print. The images are saved as PSD’s which increases their compatibility with Lightroom and Photoshop. Lightroom is my main tool for global adjustments such as colour, cropping and batch processing. Macro adjustments and cleaning are done in Photoshop.

London Wetland Centre

This roll of Kodak Portra 400 has been processed with warmer tone that I feel reflects the warmth of the summer day I shot it on.

Limehouse to Camden Canal Walk

Lewisham twilight

These photographs are some test shots I took for a future post about Reciprocity Failure.

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Found Archive: Kodak Gold 100

Being so young at the time these were taken I do not know some of the people in these photographs. However they were taken in a small town called Brightlingsea on the Essex Coast during the 1980s. These photos are of my Aunts, Sister, Mother, Great Grandmother and Cousin – oh and the happy baby is me!

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Agfa Vista APX Plus 200

After the success of last years London Pride, I decided this year I would walk the streets in the Parade/March. Of course bringing my camera along as it’s also around the ‘anniversary’ of me starting this blog.

For most of the march I stayed alongside some of the members of my boxing club that also walked this year. Braving the rain throughout the day we started at Baker Street and finished at Whitehall.

It looks like my negative scanner is on the fritz as it’s starting to develop some lines across the images (upon closer inspection) and colour casts, nothing overly drastic, but a little frustrating and adds processing time to the photographs. Quite possibly this may also be a result of the developer used, so is something I must look into.

The Agfa Vista has quite a lot of grain for a lower iso film. Out of the box delivers average results from an average class film. Personally I don’t rate it very highly, there are other colour films out there that give much more interesting results.

That being said I haven’t pushed or pulled this film yet so I can only pass comment on the selection of images that i’ve produced and not for the entire production line of Agfa Vista.

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