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You happened to luck into a combination that worked (overexpose by one stop AND cross process). If you would have overexposed by one stop and done E-6 development, you would have blown the heck out of those highlights. Meanwhile E-6 <-> C-41 cross usually calls for two stops of overexposure or two stops of overdevelopment. So the combination worked here. I don't know who invented the one stop per decade rule, I've found out it to be completely bunk especially on slide film. Expired slide film either is fine or it has a color cast. I've had magenta, red and green slides. Even the rebate area turns into a color instead of being black. Overexposing won't help with that. Overexposing from my experience is only useful for one thing on expired film; trying to blast your latent image onto negative film over a fogged film base. Slow black and white doesn't fog that bad, so it doesn't need that much overexposure. Might not need any. Color negative is... bad. The fogging becomes random colors on development, making splotchy color dyes. I have some Portra 400VC that is only 17 years out of date, but it's fast and has been stored so badly I need to shoot it at ISO 50 or 25 to get through the base fog.

The Bike Riders, in my opinion, is a documentary that showcases a raw, honest glimpse of bike culture, and quite simply put, it is what it is. It’s what happened, and there isn’t anymore. Danny Lyon is a true-grit genius with a highly perceptive gift for seeing beyond the dark. He bravely immersed himself in bike culture when it was feared by outsiders, including the police. His recordings and striking photos invite us to experience a snapshot in time, capturing the dawn of bike gang culture from the golden era of good ol' boys/charming rebels to its unsettling decline into a more sinister world. Thank you, Mr. Lyon, for sharing the excitement, goof ball moments, and dangerous happenings, and for inspiring bike gang culture into an iconic era, helping clear the mud on the misunderstood biker lifestyle.

A modest correction to the historical summary of the early development of Ektachrome. Kodak originally lived or died color slides with Kodachrome. The last thing it wanted was a chromogenic color transparency process. During WWII, the government pressured Kodak to produce a chromogenic film for the military, as Kodachrome was too complex and lab-dependent to be useful. Kodak produced what is considered its first form of Ektachrome around 1943, just for the military. It sucked. From the early 1930s, Agfa in Germany had been developing its chromogenic color film for movies with success. After WWII, the US seized Agfa's patents as war booty and transferred them to Kodak. In the 1950s, Kodak developed the first true Ektachrome based in the Agfa technology, but had no interest in competing with Kodachrome sales, so the product stayed "not ready for prime time" until about 1962. Kodak launched a new film, Ektachome-X, with a new development process, E-4. It was impressive, and it was cheaper and faster to process than Kodachrome. That was Kodak's acceptance that Kodachrome was a dying art form. Two decades later, Kodak introduced the E-6 process and new Ektachome films to match, solving the prior weakness of image dye fading over time. That was also the death rattle of Kodachrome.

That NYC 4th of July shot is awesome!

Man, was great listening to the both of you! Awesome dynamic between you both. Guess we need more Harlie on the channel.

This is great. At 64 now, and with film being so expensive, lately I’ve felt that too much film is being “wasted“ on “average, uninteresting” subject matter by young film artists these days, instead of faces, people, emotion and history documentation. This has reminded me that life is too short to wait for perfect shots of ideal subjects before pressing the shutter button. That photographing scenes which highlight my emotion, that bring happiness to me, can carry much more importance than how they might appeal to other eyes. Indeed, some of my favorite photos I’ve created over the past 50+ years are simple, innocent glimpses of images I enjoy. Thank you for this breath of fresh perspective and insight into why I am a film photographer in the first place. I needed this.

The Photographer I would like you to cover is Pennie Smith. You are displaying one of her photographs in this video on London Calling LP. She used a Pentax ES II SLR to shoot it. The last M42 mount ("Universal Thread Mount") camera that Pentax made.

Get that girl her own camera and permanent segment on this channel

This was fun 🎉

Kodak, Full, Ilford, Agfa, all closed their chemical based photo business 15-20 years ago. They have sold their names and brands to investors for pennies. All companies involved in manufacturing chemical based photo products were the biggest drinking water polluters on earth. They were forced to stop their operations.

Great video, really deserves higher numbers under it!

surprice to see there is a stack difference between the NC400 && the NC500.. I have only shot the NC500 and I love the muted look with the fujifilmlike colors ( green in shadows, pink in the midtones and highlights ), however, there film stock is quite expensive for its worth ( poor quality control ).. I will still shoot it again though.. I find it shine best in cloudy situations..

When I used B/W film, I usually used a yellow filter. It removed mist and made the sky darker so the clouds became more visible.

Good job with this report. Thanks.

Yeah, I never over expose expired slide film. That “one stop per decade” thing is mainly for negative film. Frankly, I’m surprised at your results when not shooting it at box speed. Then again, with cross processing being the plan from the get go, it looked like it worked out great. Nicely done sir.

I love to cross-process slide film, and I love to redscale it 🙂

icl ur gonna blow up very soon, good stuff man🔥

I recently cross processed some slide film. Contrary to popular belief, the formula you mention at the beginning isn't necessarily giving the best results. I shot at box speed and didn't encounter any issue. The real problem is more about how the chemicals on the film were kept from aging. If it was in a freezer, there's a chance it's as good as new. if it wasn't, the results are very random, depending on how the person who sold you the film kept it.

A great video. Thank you.

Rarely mentioned is that a red filter can cut through haze and fog better.

Great photos! I can relate to being attached to objects. I have a very visual memory, so remembering things I find while on a walk with someone I care about makes a great subject for a meaningful photo.

Your best photo recap so far. Well-chosen selection of images that hang together as a cohesive group - and your narration adds to the visual impact. You don't over-explain. Keep up the good work!

A yellow filter is my go to in the city. I only use the red or orange in the parks (Washington or Central), on the Highline, or around the East River. The rest of the time I find red an orange to make the shadows to deep.

Great video, I watched n gained a great deal of information from it. I recently purchased an RB67 n love it. Yeah, it's a beast, but the pics it takes are amazing, and sharp. My favorite is how close I can get to the subject with sharpness and clarity...with tons of bokeh. The bellows system works as advertised...keep these videos coming...very nicely done.

glad to see that you have a positive outlook. I actually like the looks of the film it is very artistic and the cool thing about film cameras you can change your sensor anytime you want. when people complain about something new that they're doing for the film community I really have to scratch my head on that I don't understand the negative thinking I see a lot of it on the forms. the first thing that comes to mind maybe they should be shooting digital. they are definitely not helping the cause

A filter factor of 2 = 1 stop.

got one with a whole bunch of lenses from goodwill for like $70. needed a little tlc but got it functional and i’m obsessed with it

I am one of those who likes the "messy film look", but I've done an effort to challenge that taste of mine, or to at least understand what is actually what I look for... and I neither have an definitive answer. One of the ways to challenge myself is to think what would have been the case if digital cameras had developed before film. So would we try to replicate "digital look" with film just for the sake of nostalgia? I do feel for some reason that film photography is more authentic, maybe because it's like a more direct effect of the light on the process of achieving the final photo, instead of digital in which you are actually measuring electric tension, and then try to interpret an image out of those measurements... but I don't know, it feels like an emotional argument. One last thing that I think you didn't mention is explicity. In my case, I sometime feel "crisp" look to be very explicit, not leaving enough room for asking questions. It's like the difference between reading a book and watching the movie. When I see an old "low quality" photo, I <feel> like I wander, and I stare at the photo, and I feel like in the trip to the place where it was taken... again, pure emotional stuff going on here, without any conclusion... just to keep the discussion ongoing. Great video BTW! Subscribing right now.

Re; the increase of exposure due to filter use (the "filter factor") I think that, with people moving away from film photography and with the automation of most camera exposure functions, some of the basics are becoming "fuzzy". A filter factor of 2 equates to 1 stop (as your in camera meter indicated). As you determined and have shown in your video, if a handheld meter set to the film speed says f5.6@ 1/500, changing from f5.6 to f 4.0 gives twice the indicated exposure (the 2X filter factor) as does leaving the aperture at 5.6 and dropping the shutter speed to 1/250. I think that the confusion comes from people seeing the 2x on the filter ring and thinking that equates to 2 stops, as you suspected. The built-in camera meter is obviously measuring the actual light and confirms this. Thanks for continuing to promote film photography. Cheers!

Your mention of skin tones and skies reminded me that many, many years ago at my first newspaper job, our publisher required all photographers to shoot with a yellow filter. This produced better skies and clouds, and also improved complexions of those we photographed. He also required us to use flash on all photographs of people, even outdoors.

I'm gonna guess the blank frames are from a laggy shutter. So you're just leaving it there unused and the shutter will start to get stuck because of the old lubricant. A servicing will probably fix it, but if you want to try and fix it yourself please don't use oil. Use something like graphite powder on the shutter blades.

I tried and liked yellow/green filters such as the Hoya XO, Tokina YG and the Leica GGR. Found that the provided better contrast and definition than Yellow only. Less than one stop compensation. These are my always on filters now.

Blank frames.. blank as in no exposure? Or totally exposed frame? Possible intermittent issue with the leaf shutter in your lens? Or does it happen regardless of the lens used? Or a possible film back issue.. a little process of elimination will go a long way.. I use red, orange and yellow filters almost exclusively for adding drama to skies, preferably with puffy clouds. I rarely bother using filters to add effect to colored subjects.

The third video in this series and it stills contains misleading or just wrong information, though less. Thanks for providing comparisons.

Okay, I was watching and you said your cat's name is "Kirby" and my brain immediately went, "Just like Aes." And then a couple minutes later you are talking about him and "Pigeonometery". Amazing! Don't make it about the flock.

This film I must try! Thanks for a great video.

Gonzos name was Hunter S Thomson not Tompkins. Thanks for this video. I'm diving in after seeing The Bikeriders.

You lost me at Hunter S. “TOMPKINS”

I very much enjoy this series. Another photographer that I would like to see in your Artist Spotlight series is Vincent Peters. Thanks for sharing.

Interesting But please learn to correctly pronounce her first name Look it help Please

Found this post a year after you made it, but really well made. Great stuff, Joshua. I'm glad you put this together.

What would be interesting to know is if you adjusted the scan of the clear shot in an editing program could you get the same as filter shot.

Hunter S. Thompkins ??? Thats a mighty big faux pas there newbie. Certainly, you must be familiar with "Gonzo Journalism's" most famous counter culture witness and writer Hunter S. Thompson. He was even played by Johnny Depp in a 1998 movie called " Fear and Loathing in Las Vegas", along with Benicio Del Toro, and plenty of other camio appearances.

Thank you. Eggleston is one of my favorite photographers (just like Faulkner is my favorite American novelist). Great video. Greetings from Poland.

First impressions is hard; it’s squared when it’s first impression of a new camera system and an unknown example. The ergonomics are brutal compared to some yashica, but the bellows and interchangeable lenses more than make up for that in added versatility. Regarding parralax indicator - if you’re going to use the bellows enough that it makes framing a bit hit and miss, get a paramender. They’re pretty cheap and an absolute game changer. I hope the example you have is sound; it can be a really wonderful system when tuned up nicely and you’re tuned in to it.

NO F WAY!!! not available on any platform in EU.

Hi Joshua, light leaks are nothing new with old analog cameras. It's something you always have to check with old used analog cameras before taking pictures, namely whether the seals and the mirror damper are still good or whether they need to be replaced. Cut a little foam rubber to size, remove the old one as completely as possible beforehand and attach the new seals and mirror damper. It's a lot of work, but it's worth it and it's not that expensive. You should check all analog and used cameras anyway and replace them if necessary. If you prefer other cameras that have more mechanics and less electronics, except for the battery-operated light meter, the Ricoh XR-1 or the Ricoh XR-1s would be an obvious choice. I can also recommend the Chinon CM-4s or their export model Revue SC3 for the Pentax K-mount. With the Chinon / Revue you don't have a needle but three diodes that light up, albeit on the outside of the viewfinder window, if that doesn't bother you. Incidentally, the Revue SC3 is also arriving with me today. The s on the Ricoh XR cameras, i.e. XR-1s and XR-2s, stands for the motor winder connection at the bottom of the camera. 😉 Greetings from Germany Lutz

Great stuff 🙌 subscribed !!

That first shot of the El Cortez was such a banger. Followed u on insta to see more of ur work 👏🏼

Great presentation with so many real images to compare. Thanks.