What REALLY Happens When You “Pull” 35mm Film…
HTML-код
- Опубликовано: 12 июн 2023
- Check out the details of this innovative recycling program here - ikigaifilmlab.com.au/
Thanks to @RadicalYesTV for the killer accessories I'm using in this video - radicalyes.com.au/
Support Me And Get Something In Return By Purchasing A Print - lucylumen.darkroom.com/
Find my products and services here - www.buymeacoffee.com/lucylumen
My Guide To Help You Become A More Creative Photographer - Available Here For Only $5 www.buymeacoffee.com/lucylume...
🎬 Main Video Equipment
►Fujifilm Xt4 w/18-55mm Lens - amzn.to/3qX1ZIp
►Tiffen black pro mist 1/4 58mm - amzn.to/3xE6N9s
►Atomos Shinobi 5-inch HDMI 4K Monitor amzn.to/3SguDji
►SmallRig X-T4 Cage Kit for Fujifilm X-T4 - amzn.to/3BvAFpq
►SmallRig Swivel and Tilt Monitor Mount - amzn.to/3hU95fI
►SmallRig Mini Follow Focus - amzn.to/3YTUHFa
►SmallRig Camera Base Plate with Rod Rail Clamp - amzn.to/3I6ZTzw
►SmallRig 15mm Carbon Fiber Rods - amzn.to/3jyG1en
🎤 Audio gear for podcasts and RUclips Videos we use or recommend
For photo walks
►Rode Wireless GO II With 2x Rode Lavalier amzn.to/3QV0k0l
And in the studio we use
►Rode VideoMic GO II amzn.to/3Skp837
For podcasting I recommend using a dynamic microphone as it will reject a lot of room sound and background noise. The most important part is to make sure you are as close as you can comfortably be. Using a pop filter can help reduce sibilance and plosives as well.
We just got a new dedicated audio recorder that is a much better option than using the camera's audio input - TASCAM 4-Channel Portable Audio Recorder - amzn.to/3FWPZxy
►Rode PodMic Cardioid Dynamic Broadcast Microphone - amzn.to/3GmmlmG
►Samson Technologies Q2U amzn.to/3BzqP63
►Shure SM7B Vocal Dynamic Microphone amzn.to/3BAmFL4
Unless you have a really high quality preamp a level booster will give you a much cleaner sound
►Cloudlifter CL-1 Microphone Activator amzn.to/3DEuOkk
►Triton Audio FetHead amzn.to/3duCZFb
►Rode PSA1 Mic Arm amzn.to/3Uc3jno
Some Pop filter options - amzn.to/3Sp7KtU
Links are affiliate program and I may earn a small commission 
Наука
Check out the details of this innovative recycling program here - ikigaifilmlab.com.au/
Great video. To clarify, you either under or overexpose film, you then push and pull the development of the film in the darkroom to compensate for the under or overexposure.
Yup
Minolta glass is so amazing, people sleep on Minolta way too much. I mean it's fine by me because better prices, but also like come on Minolta Gang.
Love to see Henrik Purienne getting a shout out on your video! He’s so good and so much of the trend in nostalgic summer photography is thanks to the work he’s produced over the last decade.
Love it! Thanks for clearing this up, so helpful! Definitely going to try this! 😊
Loved this! Great relationship with the lab. Subscribed!
Always great to see film content, thank you Lucy.
My pleasure! Thank you for watching lovely!
I always understood pushing and pulling as more like how we twiddle the ISO knob on our digital cameras now. The books I read generally explained it as a way to deal with having the "wrong" film already loaded in your camera when you encounter certain conditions. That said, they did talk a little about the increased grain you get from pushing (this was the '90s, so it was definitely the style). In any case, you always exposed to what you were pushing or pulling *to*. But I see that, more generally, pushing and pulling is SOLELY about development, and you can expose however the heck you want, changing both dynamic range and overall exposure (high key/low key) at the same time. I think it's actually a matter of the understanding of the use of the words having shifted slightly in the last 30 years due to digital. Pushing and pulling is almost entirely a creative thing now instead of a practical like it more often used to be.
This contradicts your lab, but I think, as others have mentioned here, maybe it's partly about what's practical with color film. I know for sure that "in the old days" we would push Tri-X a couple stops and have a grainy, harsh, 1600 speed film.
@@AndrewBarthle "more generally, pushing and pulling is SOLELY about development, and you can expose however the heck you want, changing both dynamic range and overall exposure (high key/low key) at the same time"
The only thing is that it changes the density of your negative, not the overall "Exposure" in terms of brightness. Everything else spot on
@@peterdavison934 yep, density is more correct.
Lovely video. My favourite type ! Some really amazing compositions
Omg i adore those boots!!
Thank you so much! They are from a Melbourne brand called Radical Yes. I linked them in the description of this video!
Very commendable. My students are going to love you when I share your vids with em!
Cool video Lucy! I’ve never pulled color film but black and white I pull almost all the time to control highlight and contrast. When I push film I usually only do it to gain an extra stop on the low end in order to prevent motion blur.
Love your channel, Lucy! I am new to film, so this is definitely an advanced topic for me. I am drawn to color negative film, so I hope to try this technique out someday.
Thank you Dave! Excited for you to be new to film and playing around it’s so much fun! I would definitely try the Ektar 100 pushed two stops that my lab mentioned! Thanks for watching. X
These are great photos! I like the lower contrast. I pushed film numerous times but when it comes to pulling I did it once. It was Lomo 800 and I think I overexposed it a lot, so I pulled it in development in hopes to save the roll (I know it's not recommended, but oh well 😅). Surprisingly photos turned out decent.
Such good results!! I've never pulled film before. Now I'm so keen to give it a go 😍
Thank you my love! I hope you do give it a try and let me know how you get on! Xx
i am now 60 and this camera was my first film camera bought new..awsome and great vid
Sleep is such a fire band
I know right we were so siked we got this record!
This video came very handy I was wondering what that meant since I’m a beginner newbie to film. 6:22 portrait beautiful shot.
PUSHING combines raising the box speed and processing for a longer time with gentler agitation. You lose shadow detail, but gain mid-tone density. In black-and-white work, using a "compensating" developer such as Acufine or Diafine can avoid excessive contrast build-up in the highlights. PULLING combines lowering the box speed with processing for a shorter time, which gives you lower contrast. Color processing generally doesn't allow changing anything other than time, when done by machine. By hand, you can vary the agitation a bit. Black-and-white processing has a wider latitude for pushing and pulling due to the availability of many different developers.
What she is saying is you can push/pull at any iso; over/under/box. Shooting at diff iso is INDEPENDENT of push/pull. They are often associated because deliberately changing iso means you have to change dev times but they are NOT the same. You can pull/push box speed to get contrast etc
yes, Lucy as I found out from some youtube videos, PUSHING and Pulling are mainly black and white processes, to compress or extend the tonal range of the scene to fit the film being used, aka if you put asa 400 in the camera, and the light went up, you pull this 400 down to asa 100 which you can shoot, and it gets the flare and glare out of the highlights, as these are the upper tones of the image and you are PULLING them down to the 10 value in the zone system, so crunching the tonal range!, BUT a warning, if you do this, TELL the LAB, as otherwise, they will adjust this effect out as a mistaken metering on your part, and try and "save" these shots, by developing them at the box speed of the stock they have been given, not as in a 'bracketting' shot on dslr's where you choose the shot you want, NOT the lab.
Nice shots!
And, love the camera.
Fun fact. Film canisters are perfect for storing the mouthpiece for bassoons. I have a colleague, who plays the bassoon, and he asked if he could buy some of my spent film canisters (I gave him 5 for free), that's why I know.
Sounds like we should be look out for at least 100,000 bassoon players! Bassoonists? Bassooners?
2:46 and 6:43 look so good!
So yeah when you’re pushing/pulling, you usually match your exposure to your development time. So pulling Portra 400 two stops, you’d usually expose it at 100 and then adjust the development time down by two stops. Same for pushing. You’d underexpose two stops in camera to 1600 and develop it longer. The terminology is a bit tricky. The exposure rating doesn’t have to match the development time. Basically what you’ve done is underexpose Portra 400 by two stops because it was then underdeveloped in processing.
Forces processing originally comes from people wanting to be able to expose film beyond what it would be capable of at box speed and not from wanting to change the look of a film.
But since force processing also changes the curve and color, for example pulling reduces density and saturation while pushing increases them, people started using it to get different looks. Linus Sandgren for example, shot all the film for La La Land at 1 1/3 stops over and pull processed it by one stop. Effectively overexposing by 1/3 stop to get a softer contrast, finer grained look.
As for pushing film for low light, you have to consider how a final image is made. Scanners like the Fuji Frontier basically work like making a darkroom print. You can’t say I want my black point to be here and why white point to be there. So when you have a dark scene that is underexposed the image has to be “printed up” to get the information from the shadows to the mid tones. This leaves you with milky blacks. Since pushing increases density in the shadows and highlights your blacks will be darker. It also moves your shadow detail more toward the mid tones meaning you don’t have to “print them up” to get them there, giving you darker blacks. You’re relying on the underexposure latitude of your film to capture as much information as possible and then push process the negative to get more normal looking blacks. But you won’t effectively get more information. But since films like Portra have a good deal of underexposure latitude it can be a viable way to gain speed, in the sense of being able to use faster shutter speeds. Forced processing also effects the colors and introduces a color cast. So I basically only push when I need fast shutter speeds in very low light. For stationary low light scenes I just give the film as much light as possible (wide open at the slowest speed I can handhold), and scan them with the black as far down as possible to get a darker, flatter image with natural colors. That gives me a pretty accurate representation of what the scene actually felt like.
Great deal on that Minolta!
As someone who learned on a Minolta SRT201, and still has that camera today, you have inspired me to start playing with film again. I hope I don't break the bank - LOL.
I'm almost always pulling 160 and 400 Portra these days a stop or two, because I'm not so much a fan of their box speed look. Great video as always!
yes!!!!
you shot at box speed? how is that pushing or pulling mate?
The pushing and pulling is part of film development. Changing ISO just effects exposure. Some say you need to adjust exposure to compensate but my research has shown you don’t always and it’s a creative decision rather than an outright rule.
Because pushing and pulling happens in development, you can rate your film at whatever you want depending on what you want to achieve
This is why a video like this is helpful because most people are confused by it
awesome video Lucy! I did think you had to change what speed you shoot on if you are going to push or pull it so thanks for sharing this info and including Ikigai in it!
You do have to change the film speed as you shoot. Whatever film speed you are looking to push/pull to you need to shoot it at that speed. So if you’re shooting Portra 400 but wanted to push to 800, you would shoot the roll at 800 and then develop at 800 too. Don’t shoot it at box speed as all this would do is under or over expose if you’re developing it at a different ISO
if you shoot a roll at box speed and then push it(which is basically over-developing), then the highlights may get too blown out. Underexposing when pushing is done to keep that in check at the expense of losing shadow detail
Yes this is what I was thinking. Pushing and pulling is usually done both in camera AND development. At least for black and white, you overexpose to get all the detail in the harsh shadows and then under develop to retain the highlights, resulting in a flat negative. Isn’t shooting at box speed and then under-developing just … underdevelopment 🤔
@@cameronwheatley7065 I agree. Pushing/pulling should mean the combination of under/over exposing and over/under developing respectively
@@hjecvatanabe1008 yes, it appears from this video+comments than many, many people don't understand what is actually going on with the interaction of in-camera exposure and negative development.
@@cameronwheatley7065 The irony of this statement is bewildering. You don't have to under or over expose film to push or pull film.
@@hjecvatanabe1008 But it doesn't... Pushing and pulling film is often used with under and over exposure, but you can push and push film at any level of exposure. It depends on what you want to achieve.
This conversation is happening all upside down and back to front! Over/under exposing push/pulling are artistic choices based on the END outcome you want to achieve. First you have to learn how to expose correctly. B&W film has much more latitude than colour film, because it is made differently. Colour film outcome and artistic choice is for most based on film choice, different colour films will display colours differently, more punchy or more washed out, more warm or cold etc. how many colour users check what developer the lab uses? Because developer has a real impact on the outcome. I have moved to back and white photography and in doing so have attempted to calibrate my Bronica with HP5plus and Ilfotec DD-X. I have determined that in ‘normal’ lighting conditions I need to underexpose by one stop and push the development by one stop to achieve the correct exposure within the zonal system. This has taken my about 8 months and I am getting more consistent results. I haven’t started to experiment in more extreme lighting conditions or actually determined if these are the results I actually want artistically in the longer term I’m just getting to grips with one camera, one film and one developer. As this is medium format I have 12 shot in a roll so easier to remember that I am underexposing every shot. With 36 shots it may be hard to get a consistent range of images suitable for pulling or pushing the whole film, as under/over exposure might not be suitable for every shot in the roll. I think this topic is a classic dunning-Kruger thing, at first it seems simple but actually it is quite a complicated artistic tool and takes a lot of time and practice to master. Good luck and keep practicing everyone!
Wow I think you're on the money, sticking to just one (camera, film, developer). I'm planning to do the same, except I will stubbornly continue to juggle multiple cameras hahaha
@@LieutenantLights hi james, I’m sticking to one camera, one, film and one developer for my Bronica, I chop and change for my 35mm camera (foma or Kent or ilford etc) whatever I can get cheap) I have just bought a Mamiya press super 23 am doing a general test of it and the lenses then will choose a different film (ilford delta maybe) and try rodinal and calibrate them - that’ll take me six months I expect. I should also say that I choose different projects for different cameras too!
@@tobycunningham797 I have a Mamiya Press myself, though I haven't put film through it. I'd like to get more lenses, the longer ones. I also have the ground glass attachment. I'm so curious what composing through that will be like. I think I'll meter with a Pentax film camera and a long lens. I HAVE been putting film through a new for me Bronica GS-1, and the results are mesmerizing. There's nothing like an SLR in some cases. I developed 6 rolls last night, Acros ii in rodinol. I'm very lucky my local camera shop has an expired stash of Acros they sell for cheap. I really love Bronica. I have a Bronica RF645 that I've shot more than any other camera in the two years I've had it. When I get exposure right, the images are just sublime. You've really got the right idea, get a complete understanding of the meter in your camera, and thoroughly test to know how your film stock likes to be exposed. I do need to pick up a sekonic spot meter some day. That would simplify things a lot, just one meter to test with a film stock
C41 is a set process and not designed to be pushed or pulled. People mess with the developing times/temps to do it but it frequently causes issues. The lab said your film had a weird color cast that needed to be fixed. That color cast is from not developing it properly. I personally like to shoot portra 400 at 320 and process normally. I will push black and white film when I am in a low light situation. I feel like there's so much confusion about pushing and pulling with newer film photographers. People talk about it all the time online like it's something that everyone should try and it distracts people from working on their compositions. I know a lot of people wonder if pushing and pulling can do something to improve their results but most would improve more by simply getting closer to their subjects, seeking more exciting subjects and practicing a lot. The technical aspects of photography are very important but photography is a lot more than what camera settings and film you use
With my old CCD sensor cameras they tend to under expose my pictures fortunately i adjust my pictures in post processing generally boosting the light and contrast. The light meter does not work on my Spotmatic so i use a Monilta digital light meter to set my espourse and again use a editing Program on my scaned film to adjust my pictures to my preferences
I do think that if you're going to pull film, Portra is definitely the right film for it. Loved these results.
Thank you my friend! Xx
I shoot Kodak Vision 3 500T at 500 ISO w/o filter and at 320 ISO with the 85B filter then pull by one stop in C41 chemistry by shortening development time. The results tame the oversaturation caused by the C41 chemistry on an ECN-2 film and the grain is essentially nonexistent. With regular bargain films like Fujicolor 200, I shoot at ISO 100 then pull one stop in development. Again, the over the top saturation in the bargain film gets tamed and the grain is so smooth.
Lucy great video! Would you please give us a brief rundown of how this video was done? It looks really nice, but I assume it wasn’t a 16mm print. 😊
Hi Eric, we use a Fuji Xt4 using Eterna profile with an adapted Nikon 35/2D lens and then the secret sauce is a Tiffin Glimmer glass one and of course a variable ND so we can shoot with shallower depth. Then the rest is done in post in davinci resolve with a film Lut and additional grading to taste. Thanks for watching lovely!
The XGM is a good camera. I have to finish that roll of Lomo Turquoise I have in mine.
When I was shooting weddings we would shoot Kodak or Fuji 400 but rated it at ISO 320. And for Portrait 160 we would rated it at ISO 125, 100 and even at 80.
Back in the day a lot of people would say Portrait 160 was not a true 160 ISO.
if you dont ask to the lab to develop at the new ISO, you are just overexposing a bit the film. Which ofc works and is the usual aproach in many films (like fomapan family). Pulling and pushing changes times in the development process so there are more or less interactions between the molecules of the developer and the ones on the emulsion.
I pulled Cinestill 800T by a stop last week (at night), the results where pretty interesting
Thats awesome! I have heard that it looks good shot like that. Thanks for watching!
It’s a native 500 ASA film with lots of latitude, so your results shouldn’t be unexpected.
Awesome video! Can you please tell me which camera, filter, and software, did you use to create this video? Thank you.
Hello, someone else asked the same question above and I gave a quick run down of our gear also check the video description I do need to update that list though as we are always upgrading and tweaking things. Thanks for watching.
You do actually need to change the ISO you shoot at. Otherwise, you just end up with the same exposure you would get normally
this video is 🔥 BTW will the recycled film things be available to USA? always cool to see you out on a photo walk. Love seeing whats up 'down under'
Thanks Brian! I think it’s only open to labs nationwide in Australia at the moment but I think I remember the lab saying they would like to eventually make it international! Definitely check out the part on their website about the program.
@@LucyLumen thanks Lucy, will do!
but you are pulling or pushing without adjusting the exposure. Which ofc can give you interesting results, but the whole thing is shooting in the new ISO and calculating the exposure based on that. So if you pull, you have a less energetic chemical development that you should compensate by adding more exposure (so hitting the film with more energy from the photons), but you missed that part. I mean, it works (also because the hybrid film photography compensates the diferent density in film in the scanning process), but first time in my life i see this explanation and use of pull and push.
Maybe there is space for a video comparing pulling film with and without adjusted exposure, that can be made on the same roll. Just calculate exposure for one scene at stock ISO, make another picture with double exposure time (or change one stop the ISO and calculate new exposure), next picture with again double exposure or half ISO speed and send the roll to develop 2 stops pulled.
The terminology of pushing and pulling film is so confusing. If the box speed is 400 and you shoot it at 200, are you pushing or pulling the film? And what does this do to the exposure. Likewise if you shot it at 800 asa. Development aside since I am not doing that. Recently I had a roll of Kodak TMax-400 come back too dark. Never happened with Agfa APX 400 and both were shot at box speed by me and same camera - Minolta x-700 50 mm 1.4. 🤷🏼♂️ I prefer the lighter contrast of the Agfa APX 400 but don't know if its the film stock or the development process that made the difference - I used different labs. Any ideas?
Every time you say your film lab makes me think of a Japanese camcorder company called ikegami. They made high end pro camcorder for production companies and TV station.
How does pushing/pulling apply to slide film? E100, specifically? I think I saw a video on this by that other Australian guy on this actually....
$30! 🎉
Are you sure you don't have Italian blood in your veins? Because you gesture a lot with your hands as if you were Italian. That's a compliment though, your videos are always very interesting, good work, and I love your Minolta, I recently acquired a minolta x300 and can't wait to use a roll of film.
Haha 😂 I wish I could say yes but no I don’t. My family are all British actually. I wish I was Italian though I even named my son Luca because i love Italy so much! Thanks for watching
@@LucyLumen great choice, my first son is named Luca.
If you push or pull you have to meter AND develop for the speed your trying to achieve.
That’s not actually true according to the lab I use. I understand why everyone says this because it has been repeated so often tho by other RUclipsrs etc. I think these photos are fairly convincing evidence as well.
Not sure but why would you pull film 2 stops if you can get those stops by adjusting shutter and or aperture? With a subject at proximity underexposed and a backdrop overexposed I'd try hss (high speed sync). This is flash at high shutters with flash exposing your subject and shutter exposing for the background.
FYI iso is not part of exposure (yes it is taught so yet it is wrong). Exposure is the light that hits the film/sensor.
There's actually a reason behind pushing and pulling film while still properly metering it. Chemical processes are fun and the end result may lend itself to a more or less contrasted picture, with a different tonal range. These techniques are just tools in a photographer's toolbox and, like any tool, should be treated as such. What makes me laugh is calling the video "a new way of..." when it's just a bunch of old common knowledge being parroted. People should really shoot more and talk less.
I’m still confused. How do I push or pull film? Do I shoot at box iso and the lab either under or over develops depending on whether I’m pushing or pulling?
Pushing is underexposing and correcting in development. Pulling is overexposing and correcting in development. To push, set your camera's meter to a higher iso. To pull, set meter to a lower iso, then ask the lab to compensate.
The person below has said the opposite to what i did and what my lab explained pushing and pulling to be. I shot this roll of portra 400 at box speed and then it was pulled by the lab in development. To my understanding and the labs explanation that is pulling. Setting the ISO of your camera to higher or lower is just under or over exposing. The pulling is something that happens in the developing stage. That was kind of the whole point of the video but many people seem to still think that pulling and pushing is changing you iso setting but it’s not.
@@LucyLumen Thank you, Lucy! Your comment makes perfect sense and now I understand what you were getting at in the video 😊
Pulling film generally means you over expose in camera AND under develop at the lab. The whole point of doing BOTH is to retain all the image detail in high contrast scenes. The overexposure captures the extra shadow detail on the negative and the under development helps retain your highlights on the negative. If you shoot it at box speed and under develop at the lab you’re only doing half the process really and it is just underdeveloped … it will mean the highlights won’t be as bright but your shadows will also be quite dark because they didn’t get any extra light to compensate for the under development, so just looks similar to if the whole image was under exposed.
@@LucyLumen correct. I shoot portra at iso 200 basically one stop over sometimes less depending on the scene. I develop standard. IF I want more contrast I OVER develop or push, UNDER develop to reduce contrast. You can certainly rate it at 800 but have to PUSH the development to get contrast as you have underexposed.
U look classs
Thank you 😊
good topic, esp. for film beginners, or darkroom beginners, but the title is the misleading part, you forgot to state 2 is STOPS, not natural numbers (basic decimal integers), so this equation makes sence, as (for the rest of you) the push/ pull is done in terms of exposure stops, aka like powers in maths, 1 stop = 1 set of numbers (f2.8 @1/125, f4 @1/50) but also a stop Difference means double the number!, aka 100 -200, or f4 - f8; that is adding half as much light as in camera settings, or Removing half the light, by changing the combination, ie, going from 2.8 to 4, or 1/200 to 1/100th the singular digit difference is a power of two in reality, half or double the previous combination.
Flash numbers are similar, going from 10 to 9 is in effect going to half flash power!, even though not many realise this!, because you are talking stops, not Watt seconds or joules (measure of actual electrical energy{ current flow through the bulb exciting the gas inside, giving X amount of photons of light output} v.s. the RATIO of this energy in terms of stops).
I wished you developed the prints to see how the film behaved in print…
I did not got a clear response to the question: "When pulling/pushing film, should one shoot at box ISO speed or at the pulled/pushed ISO speed?".
My understanding is you can actually do either but you don't have to do one or the other. There's so many variables with different film stocks, methods of metering etc. I think personally I will probably stick to box speed from now on and push or pull depending on how much contrast and saturation I want in the image.
As Lucy said it depends what you’re trying to achieve. Colour negative film doesn’t really handle under exposure as well as correct or over exposure.
Use pulling and pushing as a tool to control contrast.
Shooting at box and pushing/pulling will yield better results than under exposing your film and doing the same. Remember, the film sensitivity will never change.
A good experiment is shooting any film at box speed and pushing it two stops in development. You’ll see quite a dramatic boost in contrast!
Similarly, you can shoot at box and pull two stops to reduce contrast.
Personally I find pushing for contrast a much more useful tool than pulling but if there is one thing people take away from this it should be that shooting something like Portra 400 at 3200 ISO at night and pushing 3 stops won’t save your under exposed film and it won’t make the film 3200 speed. You’ll just get more contrasty under exposed Portra.
@@peterdavison934 Thanks! I knew that (unlike digital sensors or even positive film) negative film should rather be overexposed than underexposed (although it ofc still depends on the scene).
I'd be curious, for example, how Lucy's 2 stops pulled photos on Portra 400 would've looked with same pulled dev process, but shot at "pulled exposure" (iso 100 - overexposed) instead of box iso 400.
@@ValentinPadurean I typically don’t push/pull colour but I am going to “pull” my next roll for fun. I rate portra at 200 usually. I print colour in the darkroom where controlling contrast is difficult for ra4. It may help a little getting highlights down a bit
What you did is basically underdeveloping the film, hence the colour shift. Pulling or pushing also requires under- or overexposing the film, combined with longer or shorter development times. Pushing film (especially black & white) was born out of the necessity to shoot at low light, when there was no high speed film available. Pulling is not so common and used primarily in landscape photography to get a little bit more tonal range. The effect also varies from film to film, with films like HP5 or Tri-X you won't see much difference if you push or pull one stop. Concerning colour negative film, it is not necessary to pull the film, overexposing with normal development has the same effect. Pulling can be done, but it gets grainier and colour noise doesn't look as pleasing as black and white grain. I hope this clears a bit of the confusion!
Pushing and pulling do not require over or under exposure, they’re processing steps and completely different.
It’s common for people to do both, but not required.
For example, it’s really common for people to shoot film at box speed and push it to increase contrast
Pulling/pushing vs under/over exposure two separate concepts often used together. I’m afraid you have made confusion worse bud
@@xpost92 "Pulling/pushing vs under/over exposure two separate concepts"
Bingo!
@@peterdavison934 From the perspective of a lab owner, I understand that you don't know how the customers expose their film and just call the service "pushing" or "pulling".
Anyway, the results are very different from what is usually (in all the books I've read) called pushing or pulling. An overdeveloped negative doesn't show the typical high-contrast-look of a pushed film. Over- or underdeveloping film without adjusted exposure results only in negatives that are too thin or to dense, without any desidered effects or "look". Call the process how you want it, that's the simple truth.
@@z00w00zs I mean, you can call it whatever you want but you should consider trying it sometime.
Saying pushed film isn't pushed unless you shoot it at something other than box speed is completely wrong.
Shoot your film at box speed, push it two stops. Take it to a professional lab. Don't develop it yourself in your kitchen sink and scan it on an Epson.
Then come back
Wow! I thought I understood pulling & pushing. I guess not.
Ansel Adams in his book The Negative describes the zone system he used in controlling contrast. This involved over or under exposing the film and then pushing or pulling the film processing to compensate.
I was today old when I realized “Portra” was formulated for portraits
There's really no benefit nowadays to pulling your film and risking color shifts and added issues caused by under development since most are scanning negatives and working from a digital file.
My color film choice is Ektar 100 over anything Portra. I've given Portra several chances to impress me but I just haven't bonded with it and gave up. I shoot Ektar at 50-75 iso most of the time and have it developed normally. I like the punch, saturation, and shadow detail. The orange(y) skin tones I deal with in post. It as been my go-to for color negative film (E100 for slides). Side note: I'm thinking you may have some Black Irish (Spanish blood mix) in your background. Just a guess. A genealogy report might be fun...
Pushing and pulling film is done in camera and in processing. Shooting iso 400 at 100 (2 stops over exposure) followed by reducing development. Pushing, iso 400 film at iso 1600 ( 2stops underexposed) followed by increased development time. To do one step and not the other would result in very dense difficult to print or very thin difficult to print negatives. You could still get prints but not very good ones. If I had to choose, give me the dense ones over the thin ones but better yet do both steps!!!!!
Speaking in terms of B&W and printing in a wet darkroom!!!
But...... you do change the iso value if pushing and pulling
From what I’ve know, pulling is overexposing film say one stop, then under developing the film by one stop to compensate for the exposure. You may want to change the title of this video or remove it to avoid confusing your viewers.
The title is correct. Pulling is the underdevelopment not the over exposure. It’s a common practice to over or underexpose in relation to push pull but not necessarily correct.
hey lucy
Your videos are very good. But you should improve more on video thumbnails.
Then you succeed on RUclips.
carry on 😘
I’m not sure why film shooters post so many pointless images. They each cost money. They are so trigger happy and literally taking random pics of telephone wires?