Old 10-24-2019   #41
markjwyatt
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Originally Posted by DominikDUK View Post
Plenty of film that do that, Ilford SFX has enhanced red sensitivity, so do the Rollei/Aviphot films. Continous tone ortho films on the other were only available in 4x5 and up.
There is Rollei Ortho 25
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Old 10-24-2019   #42
sepiareverb
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Very glad to see this Ortho in roll film. I shoot a lot of the Rollei Ortho25 and the Silberra iso 50 Ortho was very disappointing. This is an emulsion I know.
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Old 10-24-2019   #43
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Hm, the Ortho has very limited applications: wouldn't use it for portraits because skin tones will be off, and for landscape you have white skies ... the opposite I'm going for. But the idea that I could put the roll of film on reels and develop under red light is intriguing!
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Old 10-28-2019   #44
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So a film that gives results a bit like you've got a green/blue filter stuck on your lens?

Disappointing. I'd hoped for a film that is a bit less sensitive to blue so that clouds stand out a bit.
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Originally Posted by DominikDUK View Post
Plenty of film that do that, Ilford SFX has enhanced red sensitivity, so do the Rollei/Aviphot films. Continous tone ortho films on the other were only available in 4x5 and up.
But doesn't sfx need a red filter to show dark blue skies? I don't know much about Rollei film and it hadn't occurred to me to consider them. Do they need filters to show darker blue skies?

I'd just hoped Ilford were bringing out a film that didn't need filters to show blue in the sky.
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Old 10-28-2019   #45
DominikDUK
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Dark almost black sky maybe not but by using a pyrocatechin based developer you can forego a yellow filter. Silvernitrate is only sensible to blue and ultraviolet light cutting the blue spectrum will result in a very very slow or very very grainy emulsion. Dark near black skies can also be achieved by burning in the sky at the printing stage.
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Old 10-28-2019   #46
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Orthochromatic film is good for shooting in the woods, under the canopy of the trees' foliage in the sunshine. There, you will typically see harsh contrast between light and shadows. Orthochromatic film tends to render the shadows lighter than panchromatic film would, reducing contrast. It's the opposite effect to infra-red film which would render shadows very dark and hence emphasize contrast.

Also, orthochromatic film emphasizes fog and mist—again, the opposite of what infra-red film would do.
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Old 10-28-2019   #47
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Quote:
Originally Posted by DominikDUK View Post
Dark almost black sky maybe not but by using a pyrocatechin based developer you can forego a yellow filter. Silvernitrate is only sensible to blue and ultraviolet light cutting the blue spectrum will result in a very very slow or very very grainy emulsion. Dark near black skies can also be achieved by burning in the sky at the printing stage.
Pyro stain has nothing to do with the spectrum of color at time of capture.

Dark skies are best made with filtration. Extreme burning is harder to control and results in very grainy results. Orange or red filters, and possibly a polarizer if not too wide of an angle, are much better choices for this.

Personally I was really hoping they would release SFX in sheets. I am exactly 0% interested in any of these products.
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Old 10-29-2019   #48
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Orange or red filters [...] are much better choices for this.
To an orthochromatic emulsion, orange (#22, #23) and red filters (#25, #29) are as opaque as infra-red filters (#89B, #88A, #87C) are to you. The strongest you may use on orthochromatic film is deep yellow (#12) which will cost you 2.5 to 3 stops (similar to red on panchromatic film). Medium yellow (#8) will probably be the best choice for landscapes or cityscapes under blue skies with orthochromatic film.
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Old 10-29-2019   #49
DominikDUK
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Quote:
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Pyro stain has nothing to do with the spectrum of color at time of capture.

Dark skies are best made with filtration. Extreme burning is harder to control and results in very grainy results. Orange or red filters, and possibly a polarizer if not too wide of an angle, are much better choices for this.

Personally I was really hoping they would release SFX in sheets. I am exactly 0% interested in any of these products.

No it doesn't but it does flatten the sky contrast with MG Paper at the printing stage, thus imitating the results you'll get when using a yellow filter. The darkness of the sky is also dependant on the saturation of the blue in the sky. A light sky will be a light sky even with a deep red filter a dark blue sky will be darker.
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