It reminds me of Ilford XP2. A C41 B&W film. When you overexpose it,
it gets more aggressively grainy or gritty. I read a couple of reviews
on this film and everyone is overexposing it and then remarking about
the grain. Well? Duh. But it looks like in order to keep the shadows
from blocking up (like Ektar does), you have to overexpose it a bit.
So it's a tradeoff. I think de-rating the film by an entire stop might
be too much, but 2/3 might be the sweet spot. In flat, low-contrast,
Shooting it at rated speed would punch the lows while keeping the
grain in check. Overexposing means that we are pushing the bulk of the
tonal scale into the shoulder. (Or toe, depending on which way you are
interpreting it).
However, all that said... There is a type of scene that I am highly
intrigued. Dusk/Dawn. I'm wondering what will happen to the magenta
channel during a time exposure. In that half-hour after sunset when
the high-atmosphere clouds/ice crystals start to glow red, orange,
etc., the ONLY film or imaging system I've ever personally used which
captures those colors is Provia.
AG Schnozz
On Fri, Jul 18, 2025 at 12:46 PM MICHAEL GORDON via olympus
<olympus@xxxxxxxxxxxxxxxxx> wrote:
>
> AG writes: Hmm. Konica film color palette perhaps?
>
> Thanks for commenting. I thought at least super XG had a bit of cyan tint in
> skies. This new film has no orange mask like Kodak aero color. It does
> scream analog somehow. It would take an expert scanner like yourself to get
> the most out of this new stock I think— at least until some software has some
> soft profiles for it.
>
> Mike
> --
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