dear Roger, there is a technical error in your process..you adjust your enlarging time to what you like with your eyes...if you do testing like this (pushing vs. pulling), you should know your D-max time for specific format/paper (means a minimum time to get a maximum black on the paper). Otherwise (with different enlarging times) it is quite irrelevant what you get on paper - regarding shadows/light areas. if you want to have a chat about this, hit me on my FB with a message. my best, Lukas
You're right there Lukas. To be honest It didn't occur to me to do a DMAX test. I went for the other side of testing the highlights first. Still shows a difference! I may follow this up in another video! Thanks for reminding me. Pinned comment!
macwoj101 I have come across Tim Layton’s articles on the topic, but have not done it yet myself. www.timlaytonfineart.com/blog/2015/4/how-to-determine-base-exposure-for-analog-darkroom-contact-prints
@@ShootFilmLikeaBoss Hi Sir, I was wonering if you have any information on pull development times for portra 400 1 stop and 2 stop values. I cant find any simple math for how to take away time. Im using a standard unicolor c-41 kit for development.
Great work, smashed Buddha looks more interesting really, and you can even think about meaning, create it yourself, it's good sign. Even if it is just a test
Pulling film is my ghetto HDR secret. Gets me a great starting negative. Nice work and a super example! (Great video on the technicals by Trangent called 'Developing your Film Wrong')
one of the most thorough and at the same time, enjoyable, videos ive seen! considering that both videos i searched for (acros 2 push & delta 3200) were uploaded by you, you have my axe! ready to follow.
I never realised how well pulling film could work. I always shied away from doing it because I thought it looked flat. When the new Acros comes out I'll have to get my hands on some and give it a go.
Shoot Film Like a Boss, impermanence was one Buddha’s teachings. You made the head higher in Buddha nature with your accidental cracking of it, perhaps. A conscious destruction would have been something else entirely.
First, love the new video “tricks”... WAY COOL! Second, I believe I commented on that post. I nor regularly pull my film 1/2 to one full stop any more. I then process at box speed. I notice like you did, more detail, and a side benefit of less obvious grain. Again, STELLAR work! I almost believe your singlehandedly reviving film!!
I shoot acros at 80 or box and love the look I get. Great video. Of the three I like the box speed one the best. To each is own and all that. Another great video. Thanks
Those panels are good. Now, they are hard lights so you may need a diffuser in front for portraits and that's how I smashed the Buddah! I placed a large diffuser very badly in front. It fell off and knocked the Buddah off the table! Good lights though.
Hi Roger, I like your hands-on approach on pulling and pushing film. Yes, I like your practical and creative work processes very much. Stay on track and have fun. :-)
Excellent video, thank you for taking the time to make it. Look into getting yourself some spotting dyes and you can finish your prints up perfect, spotting out the little dust specs.
Wow. That is A LOT of contrast on the pushed one. I really like it! Didn't really expect it so contrasty. Either way: Fuji, bring it, now! Great work as always, sir!
Hello Roger. How nice to see you took my advice :-) I see a lot of technical reactions from your followers, that pleases me. Indeed, in my mail to you I did make a typing error but you tackeled that thank god. Also I am happy that you are positive about the outcoming. What I would ad as an advice, never pull more than 1 or 2/3 of a stop, so in case of an ISO 100 film use ISO 50 of 64, and reduce your development time by 20-25%, that wil do the trick. Oh, you did not mentionor show the reduction in grain when pulling film... Thanks for the credits ;-)) Bert Cremers.
Great video as usual. I push 100 speed film to 200 all the time, and have found Delta 100 at 200 to be one of my favorite combinations- better than Acros 100 at 200. When you have an overcast day, a push to 200 helps add just a little bit of contrast to your negative. And when I am shooting an event, 200 gives me a little bit better shutter speeds for freezing movement. I don’t like pushing my 100 to 400, but as you have show, it is possible. Also, most film manufacturers don’t recommend pulling more than one stop, but you have shown it is possible.
Shoot Film Like a Boss Fp4 is one of my favorite films, but I actually shoot it at 100, 95% of the time. I have pushed a handful of rolls to 200, but generally would reach for a roll of Tri-X when I needed the speed. Never really got along with Hp5 for one reason or another. To my eye Tri-X is a tad finer grain and has different tones. I just find that a 200 speed film is perfect for me in most situations (as I am shooting with the yellow filter and don’t want to remove it when I am in the shade). Yesterday I was shooting Delta 100 at 100 with an unmetered Nikon F2, and came across the kind of scene I like to photograph. I was at old castle ruins and a family came to photograph their daughter in a kimono to celebrate her “coming of age” when she turns 20. I was using the Voigtlander 40mm f/2 and a yellow filter, so I knew the evening light would give me EV14 which is 1/250 and f/5.6. Then there was scene with the grandfather interacting with his young grandchildren in the shade; so I opened up to 1/125 took a few frames, then decided to play it safe and open up another stop to f/4. And shot another one or two. I smiled at the family and moved on my way to a different part of the castle. Later, I had my 28mm f/2.8 Voigtlander with an orange filter to take advantage of the beautiful clouds in the sky. But then when I came across the same family helping each other down a steep flight of stairs, I knew I had to open up. So I shot at 1/90 to try to stop the motion as much as I could, and then open up to f/4 to try to ensure sufficient depth of field. With 100 speed film and a yellow filter, you are generally around 1/60 and f/4 when in the shade. So with the orange filter alone I will be a stop off of that plus the half stop on the shutter. So the moral of the story: if I have shot the film at 200, it would have been a bit better. Haha
@@ryans_life Not sure, but I believe he cuts each 12 exposure section off the take up spool right after taking them then re-feeds the film, but how to do it in darkness or precisely at the frame line is some David Blaine level mastery right there.
I have done it making a template first cutting the leader off then pulled film from the canister over the template and cutting not sure if this is the right way worked for me
This is in total darkness....In the darkroom I have three tanks all open, labeled and ready to load. I take the film out the can. I know the start of my film is the 100 speed. So I cut a small notch at the top. I then fold the film into three equal sections and use scissors to cut. I know the section with the notch is my 100. that goes in the first tank and put to one side. I then take the middle, my 400 section and put that in the next tank. put that to one side, then my last section that is the 25 pull. I know this because it's the end of the roll and has the rough bits on it where it was crimped to the film can. I put that in the last tank. All this is done by feel so it's quite tricky. When I turn the lights on I have three tanks all labeled. Then I can develop each one separately. Hope this helps.
@@ShootFilmLikeaBoss that's bonkers!! but I'm sure you've heard that one before 😉👍👍.... that's some serious "working blind" skills. I still struggle getting the bloody film on the developer rolls🤣. Practice makes perfect I guess/hope.... Loving the tutorials and knowledge. Thank you for all the troubles and sharing it. Been learning a lot... Cheers!!
I really enjoy your videos. I love your camera selection and now my 35 mm go to is an f6. Medium format a mamiya 645 pro tl and rb67. Now, I develop my film but scan, edit and print digitally. I like a to pull the film about 1/3 to 2/3 stop, with acros, to ISO 80 to get the shadows off the toe for more contrast/ detail in the shadows but then pull it 10% to protect highlights. I can then darken shadows and brighten highlights with plenty of detail at either end. Midtones can then be worked. With 400 hp5 or tmax 400, iso 250 cut development 15%. Since tmax and acros are a bit contrasty, that gives me a flatter negative instead of the baked in contrast so I can adjust to taste without sacrificing image quality that can happen trying to brighten dark shadows or recover somewhat blown highlights. You might try that as a video.
Very interesting video! I had largely dismissed pulling but will definitely consider it now! Also, I honestly reckon you should also put some of your extra negatives on ebay, cause I'd love to buy some and make those prints in my own darkroom, not just cause they're awesome photos but to compare the results myself :) Keep it up mate!
I bought 3 bricks of Acros when they discontinued it. I hope the new one (Acros II) is as good. Acros works fine at box speed, but I nearly always shoot it at ISO 50 and develop about 10-15 percent less than at 100. Just like the look better. I do only wet prints too, have no idea how this might affect scanning. In bright, contrasty sunlight, like your car pictures, I'd probably go down to 25. I don't think it pushes well at all, and agree with your commenter: if I need a faster film, I switch to HP-5.
If you want to scan Acros, keep it at the boxspeed. You can easily pull the film by manually adjusting the levels on preview scans before making a final decision. That's how I always do it anyways.
As the late Barry Thornton states in his book " Elements " for ultimate quality half the box speed of the film and develop in Ilford Perceptol 1+2. You have gone some way to prove this point.
@@kamaksi24 Absolutely nothing wrong with Xtol, I have 10ltrs. of the stuff but lately I have been using old Microdol-X and the results are great. I have thrown away 2 bottles of Ilfosol 3, I hate it.
mamiyapress I can honestly say I have never used microdol, so you could be right. For now I will use XTOL till it’s time for the next round of supplies.
mamiyapress not always the case. The best quality will always be what is the minimum exposure over FB+F. For some films that is half, others it a quarter speed, and a few popular films are right on the money. It’s best to pick a favorite, run a few simple tests and stick with the emulsion until you master it. Cheers!
Depends how the film has been stored over that time. Should be fine if it's a quality film and been stored in a fridge or a freezer. I have films here in the fridge from 2009 (AGFA APX 100) and they work fine.
Clear explanation. I just need to put this on repeat to make sure it is carved in my head now! Thank you. Stupid question from beginner : at what shutter speed do we start seeing motion blur? (I had 1/3rd of my roll unusable as my kids or my wife just "walked" and I captured the motion and not the moment...). I shoot with 35mm and 50mm lens usually (no tripod). Thank you
It all depends on the subject and also how steady you can hold a camera handheld JD. People walking at normal pace in the street I wouldn't go less than 1/125th. There may be some motion blur, so 1/250th would be a safe bet if you want to freeze the walker more. And at 1/250th a fast car would render with motion blur. Portraits at 1/60th I make sure my subject is very still! 1/125th is a safe bet for my window light portraits. So I'd say anything under 1/125th is risking motion blur on most moving subjects. Saying that, it can look effective and real.
Love your vids!!....A question for anyone out there. Could you just shoot at box speed use your exposer compensation dial to over/under expose as you wish then develop normally to get similar results as pushing or pulling film?
No, to push you need to underexpose, over develop. Pull, overexpose, under develop. If you develop normally with over exposed or under exposed frames they will be over /under exposed.
@@ShootFilmLikeaBoss Thanks a lot for your reply. I am recently getting back into film. It can be a bit confusing about pushing and pulling film which also relates to the amount time one processes the negative. As oppose to overexposing/underexposing the negative. A lot people on RUclips fail to make that distinction making it a bit confusing to newbies. Thanks again!
@@ejacks3 you will hear some people shooting at box speed, some shooting half box speed like "I rate Hp5 at 200 instead of 400" that's nothing to do with pushing or pulling. They develop normally and the speed they rate the film at works best for their personal development process. To find your ideal speed for any particular film you have to test a roll with your normal development (Google *testing a films true speed) And then there is pushing and pulling a totally different process.
A really informative video, Roger. I've been meaning to ask for while, how you bought/made the metal strips that you use to weigh your paper down ? It looks like you've wrapped some tape around, but what where they originally ?
I have always set my camera on whatever the film asa was. always wondered about how it would look pushed or pulled, I have hear about it never saw a comparison like that . I 'll try that next time I think, when i have time , Now the dog has to have the metal plate taken back out of her knee because it is separating . another 600 dollars. and on top of that my wind lever on my CE-5 stripped out. so be gentle with yours.!
How did you manage cutting the film into thirds in the dark? I know you couldn't have been very accurate, did you just estimate thirds after pulling the film from the cannister?
Great video thanks I’m still struggling to understand this If you need more light say, why not just set the shutter speed slower? The metre will say you’re over exposing but is that not exactly what happens by tricking the camera to think it has a different iso film, then using a slower shutter to bring the metre up? Or if you need a faster shutter why not just use a faster shutter and know that the shots going to be underexposed. Just the same result as pushing anyway right? It seem like over or under exposing your photo then in the developing stage, fixing this..is what creates the look? Not tricking the camera into what iso it uses. I’m guessing it’s so you can use the metre correctly? Even though the shot will not be properly exposed Confusing! 😅
Whether you over expose or under expose you need to compensate in the development or your negs will be just that. And an under exposed negative is a pain to make good. I can't remember the contents of the video Alex. Of course if you're scanning film Photoshop can get you around these exposure issues better than actual printing.
Shooting Acros 100 at the moment. Unintentionally buggered it up by misloading the film and having to reload it ten shots in in my darkroom (really a boiler cupboard). I presume that I really should pull development on the possibility of light leaks, may just adjust ASA to 25, probably leave everything alone and hope for the best, if it turns out pants I'll call it art! Keep telling yourself you've made it up to the missus for smashing the head....it will still turn up in an argument 10 years later :-)
Clicked on the Ebay link, received an error. Love the videos! Thanks so much. Maybe the money from the sale can replace your wife's Budda? Thanks again.
dear Roger, there is a technical error in your process..you adjust your enlarging time to what you like with your eyes...if you do testing like this (pushing vs. pulling), you should know your D-max time for specific format/paper (means a minimum time to get a maximum black on the paper). Otherwise (with different enlarging times) it is quite irrelevant what you get on paper - regarding shadows/light areas. if you want to have a chat about this, hit me on my FB with a message. my best, Lukas
You're right there Lukas. To be honest It didn't occur to me to do a DMAX test. I went for the other side of testing the highlights first. Still shows a difference! I may follow this up in another video! Thanks for reminding me. Pinned comment!
@@ShootFilmLikeaBoss I would love to watch how to do DMAX test for a given paper.
macwoj101 I have come across Tim Layton’s articles on the topic, but have not done it yet myself.
www.timlaytonfineart.com/blog/2015/4/how-to-determine-base-exposure-for-analog-darkroom-contact-prints
@@ShootFilmLikeaBoss Hi Sir, I was wonering if you have any information on pull development times for portra 400 1 stop and 2 stop values. I cant find any simple math for how to take away time. Im using a standard unicolor c-41 kit for development.
Stunning picture. It cracked in half at the best possible angle. Now it has a "I am at peace with my pain" vibe
It did work out well in the end!
Great work, smashed Buddha looks more interesting really, and you can even think about meaning, create it yourself, it's good sign. Even if it is just a test
Out of all the stuff I've read and watched about pushing, this is the video that finally got it to click for me. Thanks!
I have pushed Acros and never really liked the result. I never thought of pulling it though. It looks great pulled!
Love all the production effects in this video to demonstrate what your explaining with pushing and pulling film. 👍🏻 Always learn something new
Thank you very much, Roger.
Very helpful video, it is much easier to understand push-pull with side by side examples of it.
It helps Victor. Thanks.
Pulling film is my ghetto HDR secret. Gets me a great starting negative. Nice work and a super example! (Great video on the technicals by Trangent called 'Developing your Film Wrong')
Thanks mate for the link
one of the most thorough and at the same time, enjoyable, videos ive seen! considering that both videos i searched for (acros 2 push & delta 3200) were uploaded by you, you have my axe! ready to follow.
I never realised how well pulling film could work. I always shied away from doing it because I thought it looked flat. When the new Acros comes out I'll have to get my hands on some and give it a go.
Try other films. I've yet to.
Beautiful images and composition. Just as much your talent and skill as the film is incredible.
Thanks Jacques!
nice photos and good for George as well😂😂😂
Great video! Thanks for the information on the push/pull process thank you.
The Cod father and their slogan had me in stitches mate! Great video as always and a late but very happy birthday
Nice fish and chips in there!
@@ShootFilmLikeaBoss Note taken if I ever head down south 😁
The cracked Buddha looks great! I think you enhanced its Buddha nature by smashing it.
I actually Google what do to with a smashed Buddah. Lots of superstitious answers
Shoot Film Like a Boss, impermanence was one Buddha’s teachings.
You made the head higher in Buddha nature with your accidental cracking of it, perhaps.
A conscious destruction would have been something else entirely.
@@Frisenettemakes me feel better. Thanks 🙂
First, love the new video “tricks”... WAY COOL! Second, I believe I commented on that post. I nor regularly pull my film 1/2 to one full stop any more. I then process at box speed. I notice like you did, more detail, and a side benefit of less obvious grain.
Again, STELLAR work! I almost believe your singlehandedly reviving film!!
Thanks mate
Great edit Roger and awesome info going on. I really liked the final print. Acros is a great film to print.
Thanks Nico! Makes you wonder about Acros II
@@ShootFilmLikeaBoss I think we all are eager to see how good it is. It has a hard job to do.
Love the final print. 👍🏻
Glad to see you are back.
Cracking good video. And an upvote for the saveloy. 👍
I shoot acros at 80 or box and love the look I get. Great video. Of the three I like the box speed one the best. To each is own and all that. Another great video. Thanks
Thanks Thomas. Do you shoot at 80 and develop normally?
Very interesting...and a great pulled image - Peter.
Thanks Peter.
Great video, I find reducing contrast has its place
Agreed. You can always boost contrast in the print.
Another fantastic video roger and great results.I need to invest in some photography lighting. Especially during hot summer days I can shoot indoors.
Those panels are good. Now, they are hard lights so you may need a diffuser in front for portraits and that's how I smashed the Buddah! I placed a large diffuser very badly in front. It fell off and knocked the Buddah off the table! Good lights though.
Hi Roger, I like your hands-on approach on pulling and pushing film. Yes, I like your practical and creative work processes very much. Stay on track and have fun. :-)
Thanks Odu!
Excellent video, thank you for taking the time to make it. Look into getting yourself some spotting dyes and you can finish your prints up perfect, spotting out the little dust specs.
I have some. I just can't get it right on Resin.
Very interesting Roger, great work.
Wow. That is A LOT of contrast on the pushed one. I really like it! Didn't really expect it so contrasty. Either way: Fuji, bring it, now! Great work as always, sir!
Thanks!
Hello Roger.
How nice to see you took my advice :-)
I see a lot of technical reactions from your followers, that pleases me.
Indeed, in my mail to you I did make a typing error but you tackeled that thank god.
Also I am happy that you are positive about the outcoming.
What I would ad as an advice, never pull more than 1 or 2/3 of a stop, so in case of an ISO 100 film use ISO 50 of 64, and reduce your development time by 20-25%, that wil do the trick.
Oh, you did not mentionor show the reduction in grain when pulling film...
Thanks for the credits ;-))
Bert Cremers.
Always welcome your experience Bert. Thank you.
Great video as usual. I push 100 speed film to 200 all the time, and have found Delta 100 at 200 to be one of my favorite combinations- better than Acros 100 at 200.
When you have an overcast day, a push to 200 helps add just a little bit of contrast to your negative. And when I am shooting an event, 200 gives me a little bit better shutter speeds for freezing movement.
I don’t like pushing my 100 to 400, but as you have show, it is possible. Also, most film manufacturers don’t recommend pulling more than one stop, but you have shown it is possible.
Tgrain films do lack contrast. Would you push fp4 hp5 a stop?
Shoot Film Like a Boss Fp4 is one of my favorite films, but I actually shoot it at 100, 95% of the time. I have pushed a handful of rolls to 200, but generally would reach for a roll of Tri-X when I needed the speed. Never really got along with Hp5 for one reason or another. To my eye Tri-X is a tad finer grain and has different tones.
I just find that a 200 speed film is perfect for me in most situations (as I am shooting with the yellow filter and don’t want to remove it when I am in the shade).
Yesterday I was shooting Delta 100 at 100 with an unmetered Nikon F2, and came across the kind of scene I like to photograph. I was at old castle ruins and a family came to photograph their daughter in a kimono to celebrate her “coming of age” when she turns 20.
I was using the Voigtlander 40mm f/2 and a yellow filter, so I knew the evening light would give me EV14 which is 1/250 and f/5.6. Then there was scene with the grandfather interacting with his young grandchildren in the shade; so I opened up to 1/125 took a few frames, then decided to play it safe and open up another stop to f/4. And shot another one or two.
I smiled at the family and moved on my way to a different part of the castle. Later, I had my 28mm f/2.8 Voigtlander with an orange filter to take advantage of the beautiful clouds in the sky. But then when I came across the same family helping each other down a steep flight of stairs, I knew I had to open up. So I shot at 1/90 to try to stop the motion as much as I could, and then open up to f/4 to try to ensure sufficient depth of field.
With 100 speed film and a yellow filter, you are generally around 1/60 and f/4 when in the shade. So with the orange filter alone I will be a stop off of that plus the half stop on the shutter.
So the moral of the story: if I have shot the film at 200, it would have been a bit better. Haha
@@ZachBie I get that. You never know what you're going to see when you're out and about.
Great demonstration !!
I agree with you. I think the pulled film looks better. Also, I feel its easier to add contrast in post then it is to take it away when pushing film.
Definitely. Someone once said to me always under develop a film and bring back in print. I've never forgotten.
Nice video and result.
Very educational, interesting stuff
How do you separate your roll into 3 sections of 12 frames each? Best video I've seen on pushing / pulling
yeah was wondering the same. Since each section has different developing times. Im quite puzzled.
@@ryans_life Not sure, but I believe he cuts each 12 exposure section off the take up spool right after taking them then re-feeds the film, but how to do it in darkness or precisely at the frame line is some David Blaine level mastery right there.
I have done it making a template first cutting the leader off then pulled film from the canister over the template and cutting not sure if this is the right way worked for me
This is in total darkness....In the darkroom I have three tanks all open, labeled and ready to load. I take the film out the can. I know the start of my film is the 100 speed. So I cut a small notch at the top. I then fold the film into three equal sections and use scissors to cut. I know the section with the notch is my 100. that goes in the first tank and put to one side. I then take the middle, my 400 section and put that in the next tank. put that to one side, then my last section that is the 25 pull. I know this because it's the end of the roll and has the rough bits on it where it was crimped to the film can. I put that in the last tank. All this is done by feel so it's quite tricky. When I turn the lights on I have three tanks all labeled. Then I can develop each one separately. Hope this helps.
@@ShootFilmLikeaBoss that's bonkers!! but I'm sure you've heard that one before 😉👍👍.... that's some serious "working blind" skills. I still struggle getting the bloody film on the developer rolls🤣. Practice makes perfect I guess/hope....
Loving the tutorials and knowledge. Thank you for all the troubles and sharing it. Been learning a lot... Cheers!!
Nice work, thanks for sharing
I placed my bid lets see if i will win.
You printed this at my birthday 😊🙏
Awesome! Thanks.
awesome, thank you.
I really enjoy your videos. I love your camera selection and now my 35 mm go to is an f6. Medium format a mamiya 645 pro tl and rb67. Now, I develop my film but scan, edit and print digitally. I like a to pull the film about 1/3 to 2/3 stop, with acros, to ISO 80 to get the shadows off the toe for more contrast/ detail in the shadows but then pull it 10% to protect highlights. I can then darken shadows and brighten highlights with plenty of detail at either end. Midtones can then be worked. With 400 hp5 or tmax 400, iso 250 cut development 15%. Since tmax and acros are a bit contrasty, that gives me a flatter negative instead of the baked in contrast so I can adjust to taste without sacrificing image quality that can happen trying to brighten dark shadows or recover somewhat blown highlights. You might try that as a video.
I actually pull a lot of my development and inspect the leader, not the photographs, after development. Depending on the film of course.
Great video! Thanks!
Very nice were did you get that frame
Dunelm Mill. They have nice frames. It was only about £6
Nice video again !
Very interesting video! I had largely dismissed pulling but will definitely consider it now! Also, I honestly reckon you should also put some of your extra negatives on ebay, cause I'd love to buy some and make those prints in my own darkroom, not just cause they're awesome photos but to compare the results myself :)
Keep it up mate!
Thanks Declan. Something to think on. ✌️
I bought 3 bricks of Acros when they discontinued it. I hope the new one (Acros II) is as good. Acros works fine at box speed, but I nearly always shoot it at ISO 50 and develop about 10-15 percent less than at 100. Just like the look better.
I do only wet prints too, have no idea how this might affect scanning.
In bright, contrasty sunlight, like your car pictures, I'd probably go down to 25.
I don't think it pushes well at all, and agree with your commenter: if I need a faster film, I switch to HP-5.
If you want to scan Acros, keep it at the boxspeed. You can easily pull the film by manually adjusting the levels on preview scans before making a final decision. That's how I always do it anyways.
As the late Barry Thornton states in his book " Elements " for ultimate quality half the box speed of the film and develop in Ilford Perceptol 1+2. You have gone some way to prove this point.
I agree except I prefer XTOL.
@@kamaksi24 Absolutely nothing wrong with Xtol, I have 10ltrs. of the stuff but lately I have been using old Microdol-X and the results are great. I have thrown away 2 bottles of Ilfosol 3, I hate it.
mamiyapress I can honestly say I have never used microdol, so you could be right. For now I will use XTOL till it’s time for the next round of supplies.
mamiyapress not always the case. The best quality will always be what is the minimum exposure over FB+F. For some films that is half, others it a quarter speed, and a few popular films are right on the money. It’s best to pick a favorite, run a few simple tests and stick with the emulsion until you master it. Cheers!
@@Ethaningramphoto you mean minimum exposure for dmax of the fog and base?
Hello. Great video.i was wondering if the same process on shooting the film will work on 15 year old roll of black and white. Tyanks
Depends how the film has been stored over that time. Should be fine if it's a quality film and been stored in a fridge or a freezer. I have films here in the fridge from 2009 (AGFA APX 100) and they work fine.
Do you have a link to the Rembrandt video that you were referencing in the video?
Damn, thanks for reminding me!
Nice. How did you cut the film to develop as push and pull. Just an estimate?
Clear explanation. I just need to put this on repeat to make sure it is carved in my head now! Thank you. Stupid question from beginner : at what shutter speed do we start seeing motion blur? (I had 1/3rd of my roll unusable as my kids or my wife just "walked" and I captured the motion and not the moment...). I shoot with 35mm and 50mm lens usually (no tripod). Thank you
It all depends on the subject and also how steady you can hold a camera handheld JD. People walking at normal pace in the street I wouldn't go less than 1/125th. There may be some motion blur, so 1/250th would be a safe bet if you want to freeze the walker more. And at 1/250th a fast car would render with motion blur. Portraits at 1/60th I make sure my subject is very still! 1/125th is a safe bet for my window light portraits. So I'd say anything under 1/125th is risking motion blur on most moving subjects. Saying that, it can look effective and real.
@@ShootFilmLikeaBoss thank you for taking time to respond. I will try with those shutter speed in mind with my next roll 😁👍
Great video
Thanks Katherine!
Love your vids!!....A question for anyone out there. Could you just shoot at box speed use your exposer compensation dial to over/under expose as you wish then develop normally to get similar results as pushing or pulling film?
No, to push you need to underexpose, over develop. Pull, overexpose, under develop. If you develop normally with over exposed or under exposed frames they will be over /under exposed.
@@ShootFilmLikeaBoss Thanks a lot for your reply. I am recently getting back into film. It can be a bit confusing about pushing and pulling film which also relates to the amount time one processes the negative. As oppose to overexposing/underexposing the negative. A lot people on RUclips fail to make that distinction making it a bit confusing to newbies. Thanks again!
@@ejacks3 you will hear some people shooting at box speed, some shooting half box speed like "I rate Hp5 at 200 instead of 400" that's nothing to do with pushing or pulling. They develop normally and the speed they rate the film at works best for their personal development process. To find your ideal speed for any particular film you have to test a roll with your normal development (Google *testing a films true speed) And then there is pushing and pulling a totally different process.
A really informative video, Roger. I've been meaning to ask for while, how you bought/made the metal strips that you use to weigh your paper down ? It looks like you've wrapped some tape around, but what where they originally ?
Angle brackets from DIY store. I put electrical tape on them as they can rust 😀
It was meant to break... ironically, your Buddha has yīnyáng 'written' all over it ;). Beautiful print, no matter the DMAX omission :)
Cheers sjoot. Good point by Lucas though.
I have always set my camera on whatever the film asa was. always wondered about how it would look pushed or pulled, I have hear about it never saw a comparison like that . I 'll try that next time I think, when i have time , Now the dog has to have the metal plate taken back out of her knee because it is separating . another 600 dollars. and on top of that my wind lever on my CE-5 stripped out. so be gentle with yours.!
Poor doggy! He must be exhausted... Thanks for the chinon info!
How did you manage cutting the film into thirds in the dark? I know you couldn't have been very accurate, did you just estimate thirds after pulling the film from the cannister?
Yes Steve.
Question - did you use a 2.5 grade filter for all 3 prints?
I can't remember now. I use a 2.5 grade always to start printing. And change if I need to, hopefully without change though
New Acros v2 coming out in a few days! petapixel.com/2019/11/13/fujifilm-neopan-100-acros-ii-arriving-nov-22-in-35mm-and-120-formats/
Great video thanks
I’m still struggling to understand this
If you need more light say, why not just set the shutter speed slower? The metre will say you’re over exposing but is that not exactly what happens by tricking the camera to think it has a different iso film, then using a slower shutter to bring the metre up?
Or if you need a faster shutter why not just use a faster shutter and know that the shots going to be underexposed. Just the same result as pushing anyway right?
It seem like over or under exposing your photo then in the developing stage, fixing this..is what creates the look? Not tricking the camera into what iso it uses.
I’m guessing it’s so you can use the metre correctly? Even though the shot will not be properly exposed
Confusing! 😅
Whether you over expose or under expose you need to compensate in the development or your negs will be just that. And an under exposed negative is a pain to make good. I can't remember the contents of the video Alex. Of course if you're scanning film Photoshop can get you around these exposure issues better than actual printing.
Picture should be titled "Buddha" by Arthur Ed..:):)
Ha ha
Very nice! :)
Shooting Acros 100 at the moment. Unintentionally buggered it up by misloading the film and having to reload it ten shots in in my darkroom (really a boiler cupboard). I presume that I really should pull development on the possibility of light leaks, may just adjust ASA to 25, probably leave everything alone and hope for the best, if it turns out pants I'll call it art!
Keep telling yourself you've made it up to the missus for smashing the head....it will still turn up in an argument 10 years later :-)
Ha ha it's water under the bridge now.
I think the broken Buddha is more interesting - so, i reckon you broke it deliberately ;)
I'd have been very lucky make it brake the way it did.
You have to call the head "Arthur" now... Because he's 'arf a head :-D
See my latest video using the same Buddha. Dropped it again!!
Sell that print for enough money so you can buy a good quality easel. I do like the pulled print better.
It's unlucky to be superstitious! 😃
Ha ha
Clicked on the Ebay link, received an error. Love the videos! Thanks so much. Maybe the money from the sale can replace your wife's Budda? Thanks again.
I can make a reprint if you like it Jim. Email me.