The inappropriate film quandary

[Ken Ford]

One thing that has been driving me nuts lately is deciding what default emulsion to keep in my M6 24/7. Of course, this isn't anything new - but it's a much greater problem for me with my RF than it ever was with my Nikon SLRs.

The issue: I prefer Tri-X, but I also often shoot XP2 Super or BW400CN since my darkroom is still in boxes and I'm lazy. Great films, no problem - right?

Wrong. Leica photography (to me, anyways) involves moderate apertures and selective DOF, not f/11 or f/16 in most cases. I really don't want to be restricted to 1/1000 at f/11 on sunny days. And if I preload a 100 speed film, I'm screwed when I try and shoot nightscapes. The constant switching of film is driving me batty - I almost always have a few half finished rolls in my bag.

I've considered getting a high quality ND filter to deal with the issue. A two stop reduction would do it.

Does anybody else struggle with this?

[back alley]

what are you rating the xp2 at ken?

when i use it i rate it at 200 or so and prefer those results.

the real answer is a second body, one with 100 and the other with 400 speed film.

joe

[Nick R.]

Besides neutral density filters, you can try a K11, yellow, or 25a, deep red. I've had good results using the chromogenics with these.

Like Joe, I keep two identical cameras with different films in each, but still, I usually wind up with the film I want to use in neither.

[FrankS]

Ken, I'm afraid you've just identified the need for a second camera for yourself. It's the thin edge of the wedge!

[BillRogers]

I shoot film in a rangefinder camera for fun, but I rely on my Nikon D-200 for day-to-day photography. The best of both worlds!

[dadsm3]

For me it's three for goddsakes.....M3's with Tri-X and Tmax100, and the M6 with Portra VC160. User M3's are cheap now, and I hate changing films.....

[Biggles]

Originally Posted by Ken Ford

Does anybody else struggle with this?

Yes, sometimes.

I've considered getting a high quality ND filter to deal with the issue. A two stop reduction would do it.

That's more or less how I handle it. I always have Neopan 1600 loaded, and on sunny days I usually have a 2-1/2 stop neutral density filter with me, a gift from a kind member here. Turns my 1600 into, uh, 320, I think. Thank Dog for through-the-lens metering.

(Furrows brow.)

Geez, if I used it with Neopan 400, I think it would stop time altogether.

[clintock]

CL or Bessa time!

[Gabriel M.A.]

Originally Posted by Ken Ford

I've considered getting a high quality ND filter to deal with the issue. A two stop reduction would do it.

Does anybody else struggle with this?

Yes, it's a problem during daylight when you're stuck with a high ISO film in the camera. That's also why I learned to change the rolls mid-frame (in Leica cameras! ), but I've had a couple of accidents (double-exposed frames) when I have more than a couple of rolls in the queue.

That's also why I always carry a few ND filters. They're 0.9x (three stops) from B+W. They work great. The only problem is when shooting slides, you have to compensate for some strange cast that comes up if you underexpose. But that's not going to be your problem if you're shooting B&W.

I also carry a mid-yellow filter (B+W also); that already is a stop, stop and a half. When it gets really tough, and I really want that shallow DOF, I just stack them up. Not pretty, but it works. Careful with strong direct sunlight hitting the filters if you don't have MRC (multi-resistant coated) from B+W.

This way, an ISO 400 film I can think of in terms of ISO 50 (do not change the speed dial!!). Very helpful too even with ISO 100 film, you can bring that speed down to 1/250 - 1/500 in midday outside for f/1.4 - f/2

[SolaresLarrave]

I'm not particularly crazy about ND filters... even though they don't do anything to color or contrast (at least in my experience).

For cases like this, Ken, it helps having two bodies... or just keep ISO 200 film in the camera. It's fast enough for certain things, and slow enough for other kinds of shots.

Heck, you really need that M3, Ken!

[Biggles]

Originally Posted by clintock

CL or Bessa time!

Even though it's light enough, I think a CL's a bit too opaque to use as a neutral density filter.

[BillRogers]

Let's see - shooting 1600 film with a 2.5 stop ND filter. File under "Things that make me go hmmmm ..."

[Biggles]

I tend to shoot a lot of interiors; barrooms, museum galleries, that sort of thing. Thus the 1600-speed film as a default, unfiltered. When I step outside on a sunny winter day and see a shallow depth-of-field picture waiting to be taken, though, the filter comes in handy.

[ferider]

400 or 800 ASA and ND4 or ND8 filters let you get through most situations. ND8 filters do generate a color cast, ND4 less. Hoya HMC or B+W Pro filters to avoid flare. A second body might help - but then maybe not, because you might want to use it for different viewfinder mag (M3?) or different lenses.

Roland.

[Ken Ford]

I'm glad that I'm not alone!

Joe - I do rate XP2 Super at 200, but I'm finding I prefer BW400CN (and it's easier for me to find). I rate the BW400CN at 400; I've traditionally rated Tri-X at 320. This is the film that stays in the camera day to day; I do use other films on occasion, but not for everyday carry.

I think a good B+W MC ND is a good short term solution. Francisco - an M3 won't help me here, I wouldn't be likely to carry it with the M6. Maybe a second M6 is the answer!

[Biggles]

Originally Posted by Ken Ford

Maybe a second M6 is the answer!

A fiscally ruinous answer, perhaps, but definitely the smartest option from a muscle-memory standpoint, especially if you do a lot of street or candid. Two the same means never turning the shutter speed dial the wrong way out of habit.

...Said the man with a second CL body on its way in the mail. Redundant systems are boring, but they do work.

[Trius]

Originally Posted by Nick R.

Besides neutral density filters, you can try a K11, yellow, or 25a, deep red. I've had good results using the chromogenics with these.

Like Joe, I keep two identical cameras with different films in each, but still, I usually wind up with the film I want to use in neither.

I agree with this as the "best" strategy for me ... and I can add the yellow-green filter is essential in my kit and it works well with the chromogenic b&w films.

[Ken Ford]

Originally Posted by Biggles

A fiscally ruinous answer, perhaps, but definitely the smartest option from a muscle-memory standpoint, especially if you do a lot of street or candid. Two the same means never turning the shutter speed dial the wrong way out of habit.

...Said the man with a second CL body on its way in the mail. Redundant systems are boring, but they do work.

You know, I've been hanging around Leica nuts too long. The idea of buying another $1200 camera doesn't seem at all outrageous anymore!

Realistically, I'd be better served by saving the money I'd spend for a second M6 for a 28 Cron or a 75 Cron. After those two, maybe.

I am much more likely to by an M3 DS to dedicate for use with my older Leica glass. Then I'll need a second ND filter!!!

[aprea]

what are you guys babbling about. just go and take some pictures.

[Ken Ford]

Originally Posted by aprea

what are you guys babbling about. just go and take some pictures.

Huh? Did you even read the original post?

[retrocam]

I usually have a yellow-green and yellow-orange filter on hand for B/W. Then I bring ND filters when using coloured films.

What I'd like to try though is to use two M bodies for b/w. So, one M body will be for normal contrast scenes and normal development; and then the other for high contrast scenes and reduced development.

[peter_n]

Ken I use ND filters but I also use bulk film. Have you thought about rolling your own? Apart from being fun it saves $$$ and you're in total control of the number of frames in your cassette. Works for me.

[Ken Ford]

I've rolled enough bulk to wear out a half dozen loaders! (Well, at least three or four.) I don't bother anymore...