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11-13-2011, 04:22 AM   #136
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QuoteOriginally posted by tuco Quote
Nice IR shots. Yeah, good ol' HIE was a unique IR film. I liked you could get by with a deep red instead of an IR filter with it. And its highlight flare, which looks like grain migration without that anti-halation backing, was a unique characteristic.
Yes, the halation on HIE is the thing that can't really be reproduced digitally, the effect comes from the very brightest highlights. Just adding glow in digital doesn't get there since the dynamic range has gone. This one is the Rokkor 24mm, HIE, developed in HC110 dilution B.



11-13-2011, 04:59 AM   #137
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Excellent halation there, yes, a very old fashioned look... is there a current film with a lacking or weak anti-halation thing? Also, that Rokkor 24 is On My List (though I just detoured for a second adaptall 24)...
11-13-2011, 06:25 AM   #138
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QuoteOriginally posted by karma mechanic Quote
Yes, the halation on HIE is the thing that can't really be reproduced digitally, the effect comes from the very brightest highlights....
I've run into a similar effect (though not as pronounced) using PanF+.


Yashica MAT 124G, Ilford PanF+, Rodinal 1+50, 11 minutes

Went back to the same scene some time later, using different film but in similar lighting conditions, and it came out entirely flat. I don't understand the technical points here.
11-13-2011, 09:01 AM   #139
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The effect is caused by light hitting the emulsion but also scattering off the main body of the film base and going back through the emulsion again. A very bright highlight can have vastly more brightness than the bright parts of the scene, think of reflections of the sun. A digital sensor photosite just maxes out so there is no 'spreading' of the highlight to independent adjacent sites.

It would happen with all films but nearly all of them have a layer behind the emulsion that absorbs the light. Infrared wavelengths in particular aren't absorbed by many of the normal materials and the light tends to 'spread' around the highlights. With HIE you can expose the whole film by rewinding and opening the back of the camera - the light will enter the end of the film and bounce all the way down it (a bit like in an optical fibre). Maybe PanF+ has a weaker anti-halation layer than some - due to its nature it may also be a much thinner emulsion. Perhaps PanF+ is more sensitive to IR as well.

11-13-2011, 09:22 AM   #140
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ilford 100



ilford 400

11-13-2011, 10:23 AM   #141
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Zimsculpt at the VanDusen Botanical Gardens. (Pentax KX and Ilford HP5.)
Processing and low res scans were done by the photo lab.


K50/1.4 with a red & polarizer filter:



FA43/1.9 with a polarizer filter:



FA43/1.9 with a polarizer filter:



Phil.
11-13-2011, 11:36 AM   #142
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Pentax MX with 50 1.4
Negative scanned 5 times (-2, -1, 0, 1 and 2 EV steps) and then tonemapped.
HDR cutting edge in digatal photography??? No way, we analogue guys can also do it
11-13-2011, 12:26 PM   #143
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QuoteOriginally posted by Macario Quote
Pentax MX with 50 1.4
Negative scanned 5 times (-2, -1, 0, 1 and 2 EV steps) and then tonemapped.
HDR cutting edge in digatal photography??? No way, we analogue guys can also do it
Not sure if you really gained anything by that "HDR" attempt. I suppose it helps when your scanner can't grab everything on the negative.

11-13-2011, 12:34 PM   #144
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QuoteOriginally posted by tuco Quote
I suppose it helps when your scanner can't grab everything on the negative.
Or, when the scanner can optically get it all, but the scanner software only produces 8 bit files. An extra scan at different analog settings (e.g. gamma) might allow a blend that avoids posterization effects.
11-13-2011, 01:35 PM   #145
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QuoteOriginally posted by Sluggo Quote
I've run into a similar effect (though not as pronounced) using PanF+.

Went back to the same scene some time later, using different film but in similar lighting conditions, and it came out entirely flat. I don't understand the technical points here.
That glow is also a factor of the developer. Edges of really dark areas adjacent to very abrupt bright areas can have some unused developer molecules diffuse into the higher exposed areas during film development causing grain migration and a "glow".

I think some of that is going on in this shot but it also has some lens flare making it harder to tell.




Pentax 6x7, 165mmm LS, 100 Acros


Last edited by tuco; 11-13-2011 at 01:49 PM.
11-14-2011, 06:20 AM   #146
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neopan 400 @800, Nikon FE Nikkor 35/2, two frame panorama
11-14-2011, 11:02 AM   #147
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Efke 100 in Fomadon Exel (Xtol clone), Yashica 44 TLR... I'm reminded I have 2 more rolls of the Efke, but I can't find my scanner!
11-14-2011, 03:58 PM - 1 Like   #148
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Argoflex E TLR, Plus X 125
11-14-2011, 10:14 PM   #149
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QuoteOriginally posted by Nesster Quote


Fomapan 200 / D-76 / MX / M50/1.7
Impressionistic. Did you develop special to get that grain from 200 film?
11-14-2011, 10:25 PM - 1 Like   #150
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A shot from a prior trip to Ruby Beach that didn't make the first cut. I waded through knee-deep water in between waves to get to this spot. I didn't level the tripod, apparently. I had to straighten the image and the crop cut off a bit too much on the left I think.





500C/M, 80mm, Acros, NDX8 filter, 45 seconds


Last edited by tuco; 11-20-2011 at 08:53 PM.
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