Full development stats:
I am in love with JCH 400. The results are outstanding. Great tonal range, contrast, sharpness and grain. This film was shot during the London snowy period (Feb 2018) and the following week (1st week of March).
It has been a long time since I uploaded to this blog, my first post in over 3 years is Ilford Pan 100 pushed to 200. Developed myself. Details are below….
No pushing or pulling, shot straight out of the box. With a little bit of love.
Ilford XP2 Super 400 is the second film I shot at London Pride 2014. The streets were once again alive and buzzing, by this time of the day i’d had a fair bit to drink and was definitely enjoying the evening!
I have said this a lot over the past year but Ilford always performs well. This film has an excellent tonal range and really bites in the shadows whilst holding on to details. The highlights are given a glow by the grain softening them.
The 400 speed SP2 has a much larger and higher grain value compared to other 400 speed films such as Kodak TMAX or BW400CN that boast a super fine grain at high speed. That being said, the ‘rugged’, grainy look is something that I love about Ilford.
The 35mm Project has been lacking some colour lately! Finally after quite a bit of waiting (an error on my part) the gorgeous Adox Color Implosion shot out of the box at 100ISO during the sunnier (and warmer) spell of weather the UK had, about two weeks ago arrived today. Filling me with so much excitement and glee I could of squealed. This film has shot right up to one of my favourite films for its unique take on reality, strong grain and texture.
Color Implosion is an astonishingly high grain film at a low ISO. Resulting in some extreme saturation in parts of the images (reds) that give a punchier and crisper image. Throughout the image there is a mixture of various tones and nuances that can be seen when at a higher magnification, there is a strong presence of red across the entire film.
The grain is not intrusive and I believe gives this film a true individuality and separation from other colour films. Where the grain most works is on the wild life photographs taken at The Wetlands Park in London. However not totally disregarding the other photographs which have their own texture from the grain.
Having gone through a standard C-41 process the trickiest part was scanning the negative into my computer. Silverfast does not have a colour profile for Adox, and I have the cheaper (box version software) that came with my scanner so I am unable to make my own profiles. Instead I used the Fuji Pro 160s profile as I felt this gave a good CCR (Colour Cast Removal) and profiled the photographs well enough for post work.
White balance set from white point. Assuming that this film should have a white balance to white. I should note there was an exceptionally strong colour cast over the photographs when scanning. As I haven’t seen what these images ‘should’ look like after being printed from an enlarger onto light sensitive paper it was difficult to tell exactly how much to remove (and whether a cast of some sort is inherant of this film type) Google searching didn’t help so I decided I didn’t feel anything was gained in the images by allowing strong colour casts, as a result I have developed my own style of images with this film.
Over the last week i have made it my mission to get some film shot, it had been a while as i had started to use digital again for events, interiors and project work.
So the weather is improving and the summer may finally be upon us! (As i write this it’s getting darker and colder….hmmm) I have finished my dissertation and now full steam ahead into my Final Major Project. I’ve developed a project based on domestic violence with men. I had a radio interview this afternoon promoting the campaign and awareness. Please take a look at www.invisiblecampaign.com
There was initially some problems with the developing of this film. The developer used with this film (Neotinol) isn’t listed with Rollei on Digital Truth so there was a bit of confusion with the dev times. Neotinol is similar to TMAX and DT rate it a 2ASA and 25ASA (mine is massively underexposed from those) which would relate to 12 min and 7 1/2 mins dev times respectively.
After a bit of umming and arring a clip test of 18 minutes was carried out to see the results and the images turned out fantastic, the rest of the film was then developed with an extra couple of minutes on top.
The results are great! The only thing i am getting a bit frustrated about is the lack of profiles with the negative scanner software SilverFast. I wish that it was possible to create complex customisable profiles. I am considering printing the photographs from the negatives to light sensitive paper and then scanning them on a flat bed scanner to see if the results are different. Of course scanning onto light sensitive paper will (in my opinion) always create a much better result than scanning digitally, i am more interested in how the properties of the paper will be read by the scanner rather than of the negative.
For this roll i used a mixture of Kodak BW+ 400 and Kodak TMAX and TRI-X for the profiles to use. Each profile gave varied results but i decided on the profile which gave the best range from lows to lights.
An interesting mix of highlights and shadows in this roll of film, as i didn’t use an IR filter or any special treatments the film remains relatively normal to look at. The highlights are smooth and have a soft glow to them which improves overall image quality. The shadows are deep and retain good detail, there is a fairly good contrast which is no doubt because of the push and post production work.
Whilst shooting the film i had a bit of an obsession with walls and people around them. The entire film consists of people interacting around walls however these where the images that made it to the final edit.