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Re: [OM] Portrait work: Reala or NPS 160??

Subject: Re: [OM] Portrait work: Reala or NPS 160??
From: "John A. Lind" <jlind@xxxxxxxxxxxx>
Date: Mon, 10 Feb 2003 19:45:27 -0500
At 08:09 2/10/03, Joel Wilcox wrote:

You can say that again! I meant just the color accuracy part. Latitude seems infinitely forgiving with Portra in comparison to Kodachrome.

Kinda what I thought . . .

An observation about this thread in general . . .
Each film has its own characteristics although some may be similar to others in at least some respects. No one film "does it all" and that's why there is not only successful competition among the film makers, it's why they offer numerous types. More important than seeking a single film to use is understanding the characteristics of various films and leveraging them to select one that best matches your vision for making specific image(s). I've used Reala for general purpose things with splendid results, including two years ago for some aerial fireworks shooting.

[part about Scala and Ilfo prints for portraiture snipped out]

Any advantages in doing this over just making conventional BW negs, prints, etc.?

Scala 200X has a wider than normal latitude compared to the rest of the E-6 and K-14 world (all of which is in color too), even though it's still noticeably narrower than general purpose B/W negative films, especicially ones like Tri-X. It also renders very smooth mid-tones with excellent gradation and is finer grained than the ISO 200 E-6's . . . it's very nearly as fine grained as Kodak's ISO 100 E-6's.

Ilfochrome has AZO metal-based dyes embedded in the paper, not in the processing chemistry. Combine that with the super-ultra-high gloss finish (makes normal glossy look like matte finish) and you get a print that has a subtle silvery sheen, especially in the mid-tones, that sets it apart from traditional B/W. Properly mounted under glass, you cannot see the print's surface texture from any angle of light and viewing, only the image on it. In addition, Ilfochrome "black" is a very deep black that makes the highest possible density in other print materials look very dark charcoal gray by comparison . . . significantly "blacker" than the deepest black mat materials I've been able to find.

It's what I discovered about the distinctive combination of the two -- an Ilfo printed from Scala -- that has me using it occasionally for portraits. As always, it's what the photographer's vision is for the image that determines whether or not this is desirable.

-- John


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