Question:
To the group, Newbie Question I recently shot a Roll of Fuji Reala 100, and just loved the clarity. (My old Run of the mill Kodak Gold 200 is no comparison) Now I know what a 35mm is capable of !!! My question: How/if can I use it at 200 speed? What are the steps? I have a Nikon N65 with DX coding ONLY, but some have said that adjusting exposure values, could provide similar compensation to "pushing". So what do I do? What are the specific steps? In a lower light situation for pushing ISO100 to 200 do I: – Shoot in lower light and adjust the EV + or – 1? – Use the Flash? – How do I develop it? As Rated? (Tell them nothing?) Tell them I shot it at + or – 1? Tell them to compensate + or – 1 Is what I am trying to do even viable? Thanks for any help. Ken
Response:
You set minus one as your exposure compensation, thus under-exposing by one stop (equivalent of going from a 100 to a 200 speed film) Shoot all shots on the roll with this compensation. If you have to do further compensation, you must remember to re-set to that minus one afterward. When you have the film processed ask for a "one stop push" (again from 100 to 200). You should actually check before you shoot and make sure there is a lab in your area that can do this for you. — http://home.nc.rr.com/tspadaro/ The Camera-ist’s Manifesto a Radical approach to photography. Or thrill to sights you’ve never seen before all that often Chapel Hill artist Tony Spadaro’s Home page http://tspadaro.homestead.com/Home.html
– Hide quoted text — Show quoted text – To the group, Newbie Question I recently shot a Roll of Fuji Reala 100, and just loved the clarity. (My old Run of the mill Kodak Gold 200 is no comparison) Now I know what a 35mm is capable of !!! My question: How/if can I use it at 200 speed? What are the steps? I have a Nikon N65 with DX coding ONLY, but some have said that adjusting exposure values, could provide similar compensation to "pushing". So what do I do? What are the specific steps? In a lower light situation for pushing ISO100 to 200 do I: – Shoot in lower light and adjust the EV + or – 1? – Use the Flash? – How do I develop it? As Rated? (Tell them nothing?) Tell them I shot it at + or – 1? Tell them to compensate + or – 1 Is what I am trying to do even viable? Thanks for any help. Ken
Response:
Can’t remember if it was in this NG, or in a book or magazine, but, if you just ask for a "1-stop push" you might not get 100 to 200, depending on the lab? eg. maybe 160, or so? Have you heard of this, or am I thinking of something else? – Hide quoted text — Show quoted text – You set minus one as your exposure compensation, thus under-exposing by one stop (equivalent of going from a 100 to a 200 speed film) Shoot all shots on the roll with this compensation. If you have to do further compensation, you must remember to re-set to that minus one afterward. When you have the film processed ask for a "one stop push" (again from 100 to 200). You should actually check before you shoot and make sure there is a lab in your area that can do this for you.
Response:
My lab seems to do a full stop – but not all films push to the same degree. Sometimes it’s better to expose at less than a full stop under and still process for one stop. I shoot Elite 200 at 400 and 800 for one and two stop pushes, but many others set it to 320 and 640 for the same push – so the way one meters has a lot to do with it too. — http://home.nc.rr.com/tspadaro/ The Camera-ist’s Manifesto a Radical approach to photography. Or thrill to sights you’ve never seen before all that often Chapel Hill artist Tony Spadaro’s Home page http://tspadaro.homestead.com/Home.html
– Hide quoted text — Show quoted text – Can’t remember if it was in this NG, or in a book or magazine, but, if you just ask for a "1-stop push" you might not get 100 to 200, depending on the lab? eg. maybe 160, or so? Have you heard of this, or am I thinking of something else? You set minus one as your exposure compensation, thus under-exposing by one stop (equivalent of going from a 100 to a 200 speed film) Shoot all shots on the roll with this compensation. If you have to do further compensation, you must remember to re-set to that minus one afterward. When you have the film processed ask for a "one stop push" (again from 100 to 200). You should actually check before you shoot and make sure there is a lab in your area that can do this for you.
Response:
This intrigues me. I’ve tried many films from Agfa, Kodak, Fuji and Ilford and I find that Kodak Gold 200 works best for me. A few people recommended I should try Fuji Reala, so I did. I really don’t see what the fuss is all about. To me the prints I got from Reala seemed really lifeless. For a 36 exp. film that cost 60% of the cost of 3 rolls of 24 exp. Kodak Gold, I can really say "This ain’t no party, this ain’t no disco" to Reala.
– Hide quoted text — Show quoted text – To the group, Newbie Question I recently shot a Roll of Fuji Reala 100, and just loved the clarity. (My old Run of the mill Kodak Gold 200 is no comparison) Now I know what a 35mm is capable of !!! My question: How/if can I use it at 200 speed? What are the steps? I have a Nikon N65 with DX coding ONLY, but some have said that adjusting exposure values, could provide similar compensation to "pushing". So what do I do? What are the specific steps? In a lower light situation for pushing ISO100 to 200 do I: – Shoot in lower light and adjust the EV + or – 1? – Use the Flash? – How do I develop it? As Rated? (Tell them nothing?) Tell them I shot it at + or – 1? Tell them to compensate + or – 1 Is what I am trying to do even viable? Thanks for any help. Ken
Response:
Well, 3 rolls of 24 is 72 exp so all things being equal, which they’re not, Reala should ideally cost only 50% of Gold. However, 1 roll of 24 costs $US 6.99, while 1 roll of 36 costs $US 8.99 to process. So we can subtract the 8.99×2 from 6.99×3 which puts Reala 2.97 into the black. Minus, of course, the actual 10% original cost. Now we come to the tax difference between 3 rolls and 1; but since I don’t believe there is a pencil sharp enough to unravel the mysterys of why they consistantly come out ahead, I’ll just write it off to breakage. Bob Hickey PS: Disregard all the above.
Response:
Even on Tuesdays? – Hide quoted text — Show quoted text – Well, 3 rolls of 24 is 72 exp so all things being equal, which they’re not, Reala should ideally cost only 50% of Gold. However, 1 roll of 24 costs $US 6.99, while 1 roll of 36 costs $US 8.99 to process. So we can subtract the 8.99×2 from 6.99×3 which puts Reala 2.97 into the black. Minus, of course, the actual 10% original cost. Now we come to the tax difference between 3 rolls and 1; but since I don’t believe there is a pencil sharp enough to unravel the mysterys of why they consistantly come out ahead, I’ll just write it off to breakage. Bob Hickey PS: Disregard all the above.
Response:
No; Tuesday is a far more more complex calculation, as Tuesday is sale day at Target and K-Mart, when it falls on a holiday week. Although the astute shopper will use the 10% discount as an indication of what film people are buying, and buy the other brand. It must be better or it too would be on sale. Note too, the stack of AOL CDs at every checkout counter, promising 14 free days of service, $75 free merchandise if one accepts an absolutely free Target credit card through AOL, which comes, of course, with a free subscription to AOL magazine, and a never ending opportunity to meet new people thru the telemarketing groups buying this information. Life is good. Bob Hickey
Response:
I’ve tried many films from Agfa, Kodak, Fuji and Ilford and I find that Kodak Gold 200 works best for me. A few people recommended I should try Fuji Reala, so I did. I really don’t see what the fuss is all about. To me the prints I got from Reala seemed really lifeless.
What kind of lab and what type of paper? To see the difference between Gold 200 and Reala, you would need to make 8×12 prints. The difference is very evident in 20×30 enlargements. However Reala is hard for many labs to print. If you can find an Agfa minilab using Agfa Prestige paper, I can almost guarantee good results. — Boycott talking smegheads, get your daily spin from http://bartcop.com !
Response:
….<cut…. Is what I am trying to do even viable? It may be viable, but I would not want to do it personally. Only possible reason to do something like this, check that, can’t think of a ‘good’ reason to push Reala to 200(film’s latitude already there)??? MOF, not fond of any 200 speed stuff with so many excellent 400 speed films out there – many rivaling the grain index of 100 speed stuff! That said, it is helpful if your camera allows you to mid-roll rewind and change film……. Shoot’em up, pushed, pulled, lens cap on, Agfa, Fuji, Kodak and all the rest will love you for it!! Jim
Response:
What kind of lab and what type of paper?
I think it was a Kodak lab with the Royal Gold paper – but I could be wrong. To see the difference between Gold 200 and Reala, you would need to make 8×12 prints. The difference is very evident in 20×30 enlargements. However Reala is hard for many labs to print. If you can find an Agfa minilab using Agfa Prestige paper, I can almost guarantee good results.
Well, thanks for the advice. Maybe I’ll try it again soon. But why would it be difficult for many a lab to print?
Response:
However Reala is hard for many labs to print. If you can find an Agfa minilab using Agfa Prestige paper, I can almost guarantee good results. Well, thanks for the advice. Maybe I’ll try it again soon. But why would it be difficult for many a lab to print?
Olive negative mask, low contrast, high saturation, Fuji instead of Kodak dyeset, not designed primarily for compatibility with Kodak film channels, etc. — Boycott talking smegheads, get your daily spin from http://bartcop.com !
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