Sunday, February 1, 2015

Eternal Vision

Eterna or Vision?

I love Tri-X pushed, I miss Neopan 400. I use loads of Fuji C200 but switch to Kodak's Portra if it's an 'important' shoot. Film is an intimate and personal choice. They all have there quirks and own signature colourimetry that you learn through use.

This endeavour into motion picture film has opened up a whole load of questions about colour, grain, halation and processing tolerances. I'm really excited to see how Vision3 250D looks when shot as still and scanned by me, other examples are a guide but too little is know about there process. I tend to push my colour films to increase the grain, I'm rather keen on Seurat like colour noise derived from film grain, I tend to enhance it with a small aperture drum scan.

Detail of Georges Seurat's "A Sunday on La Grande Jette" 1886

Cinestill have chosen Kodak's well regarded Vision3 5219 500T Tungsten balanced film stock as the base of there 800T 35mm film*. There's obvious advantages to this choice, it's readily available new and as re-can. As is, there recent addition of Vision3 50D. But what of Fuji? Fuji also had a range of films stocks that included a Eterna 500t, 250D and 160D Vivid. Unfortunately these films are no longer in production but they available at incredibly attractive prices. I'm going to test them too..... 

* 800T but films E.I is 500T. I'm working up a post about the why and how the film is rated different from Kodak E.I recommendation. But i'm in process of reading up on film densitometry and gamma and how 'speed' is derived. All valuable learning as I near my first test batch of stocks. 

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