The New Orleans French Quarter at Night with CineStill 800T Film

CineStill 800T is a relative newcomer to the film market. It’s a tungsten light-balanced film that I mentioned in an earlier post. At that time I had some problems with it, which were related to underexposure in night shots. So a few days and nights in the French Quarter in New Orleans provided a good opportunity to reassess this film. As before, I asked the airport security people to hand-check the film rather than putting it through the X-ray machine, which would fog it, especially when I planned to push it in development.

Like the other CineStill film (50D), this one is based on film produced for the motion picture industry, and has had its anti-halation backing pre-removed so that it can be processed in C41 chemicals.

This time I had it pushed two stops during processing and shot at 1/60 s and f/1.4 on my Summilux 50 mm lens. I kept those exposure settings for the whole roll. The lighting was very difficult to meter with a wide range of brightness ranging from stage spotlights to complete blackness, so I just left the camera on the settings mentioned and took photographs. I’m pleased with how they turned out. This is a film that can make for some dramatic shots especially in an environment like the French Quarter at night with a lot of bright, colorful lighting. One thing to be aware of is the strong halation effect, visible around bright lights as an orange glow. It looks a bit like lens flare, but it’s caused by the removal of the anti-halation layer, which allows light to pass through the film and bounce back off the back pressure plate of the camera. In these kinds of photographs, it can add to the dramatic effect of the scene.

Click on the images for larger versions.

Thanks for reading!

Shooting black-and-white film in Maui

A winter vacation in Maui, Hawaii, was a great opportunity to try out some different films. I packed two B&W films that I hadn’t used extensively before: Ilford Pan F Plus 50, and Ilford Delta 3200, as well as a number of color films that I’ll write about later. These films are at two extremes of usual film speed, and I wanted to see how they worked out.  A word of caution to visitors to Maui: bring your own film! The only film you can buy there is sold in drug stores and is in very limited selection. All I could find in the Walgreen’s store near our hotel was Fujifilm Superia ISO 200 and 400 in 35 mm rolls. I called a store that claims to be a professional photo place on the island, but they carry no film at all. Plan ahead!

Let’s start with the Ilford 50. This is a slow speed (ISO 50), fine grain film that allows for high image quality. The weather in Maui was generally really good when we there with plenty of sunshine along the coastal regions, so I was hoping for some good things from this film. The camera and lens were a Leica M-A and Summilux 50 mm f/1.4 aspherical lens, and I used this film with a K2 (yellow) filter to optimize contrast. The M-A does not have a built-in light meter, so I metered with Sunny 16 in daylight, or with a Sekonic L-478D in shade, allowing one stop to compensate for the filter absorbance. Processing and scanning were done at Richard Photo Lab.

Ilford Pan F Plus 50
I really like this one. It gives great detail, very clean and crisp, with minimal, if any, grain at reasonable enlargement. If you click one of these images below, there is really no grain apparent even at the highest magnification, and I have not uploaded the highest resolution files. The tonal range is excellent, with good mid-tones. All in all, a really fantastic film.

(These were shot at about f/8-f/11 at 1/50 s. Click to enlarge images).

In shade, the results are also very acceptable to my eye. These were shot at f/1.4 or 2.0, allowing also for the bokeh of the lens to become apparent.

Ilford Delta 3200
At the other end of the speed range is Ilford Delta 3200. It’s a bit confusingly named because the ISO is not 3200, but more like 1,000.  However, it can be used over a really wide range of ISO, some say up to 6400 with push processing. For this roll, I assumed an ISO of 1,000, and set the shutter speed to 1/1,000 (the fastest on the M-A) and used Sunny 16 again in daylight or the Sekonic in dim light. It was developed without any push/pull. When I was carrying this film through the airport, I asked for a hand inspection of it at the TSA checkpoint so as to avoid putting it through the X-ray machine, which may fog a film this fast. They allow for this if your film is rated ISO 800 or faster, as far as I know. Never put film in checked baggage; apparently the radiation is much stronger and it can fog even slower film.

Delta 3200 film has significant grain, but it’s not all that bad in the final image. In daylight, low contrast settings, the grain creates a kind of softness that can be quite atmospheric, although I think it’s an effect that is best if used sparingly

But this belle de nuit really comes alive as the sun goes down! It gives really rich blacks and reasonable mid-tones and highlights for such a fast film used in low light.

(Click to enlarge images).

These are two very different films and with their own distinctive looks. They represent the ends of the range of ISO of commonly used film (with many great films between these extremes). Both have their strong points and you pick the right film for your application, anticipated light conditions, and desired “look”.

Thanks for reading!