It'll hold up extremely well from dawn to dusk, since you'll be able to shoot between ISO 800 and 3200 all on the same roll. You might have convinced me to buy some Ektar for my summer holiday. As it turns out it is at least fairly happy with overexposure. As a result of this, I can be fairly confident in saying that the exposure wouldnt have been nearly as consistent as my first roll. The filter will also darken the image, so you will need to meter at 400 on a handheld meter to compensate. Get your work featured on this website, our mailing list, and social media. I found your results enlightening and certainly stimulating in the direction of trying some Portra 800.Whether in landscapes or portraits, I simply would not have taken these for having been shot on 800-speed film. The 28-70 lens was a little lower-contrast and not quite as high resolution as a lot of the lenses I normally shoot. We know its white in daylight, still white when an orange light from a candle illuminates it, and yes, its still white when lit up by a cool blue shine of a fluorescent light bulb. B&W film should be less problematic. mode, I shifted my sliders away from Green towards Magenta, from Cyan towards Red, and from Blue towards Yellow. Photography light calculator. Ive shot a number of rolls of Portra 800, but they have all been 35mm, all processed the same way by AG Photo Lab, then scanned with my Noritsu LS1100 and post-processed in Lightroom by me, to my eye. demonstrates how its grain behaves and illustrates the impressive 10+ stops of dynamic range: The proprietary Sub-Micron Technology [that] enables 2 stops of extended highlight latitude, so you can follow the action into bright light-in a single shot-without worrying about blown-out details. . They stock Portra 800 here, but also supply something like 200 other films making the website interesting to explore as well as purchase from. So I wanted to know if Portra 800 was just as flexible. But sometimes I run into films I like that are as high as ISO 1600 or 3200. If you can get a fast-enough shutter speed at ISO 400, use that. I scanned the test roll with PrimeFilm XAs using the digital negative technique that ensured no unexpected automatic colour adjustments on top of the scanner data. While the clouds certainly didnt make the sun hotter, the light that it gives off after being filtered through the atmosphere appears bluer. A part of this is no doubt down to the innate image quality of Portra 800. Develop and scan on 16K HDR lasergraphic will be cheap per frame. Its really great to read about your experience with Portra 800 as Ive been using Portra 400 exclusively, rating it at 100 with results Ive been really happy with. I talk more about my colour film workflow here, but I mention this now to highlight the point that there are a lot of variables within the process of shooting film, so really all youre about to read amounts to is a review based on how I personally shoot and have processed this film. CineStill's heritage comes from Kodak's Vision 3 motion picture film, which uses a traditional ECN-2 motion picture processing. Shoot that one at 6400 . (Mind you; I do not mean intentionally seeking out TO shoot in bright sunlight with a high ISO film just to be stubborn. Once my adjustments made the image appear close to the reference, I moved on to Shadows and Highlights, returning to Midtones occasionally to fine-tune the results. This is because the analog gain never changes in the BM cams. As it turns out it is at least fairly happy with overexposure. Thanks for your input! Woah. Does that mean you'd basically be turning it back down to an equivalent of about 100? Night photography, outdoor in available light falls in the EV 3 to 5 range at 100 ISO, let's take EV 4 at ISO 100 as a typical value. If dark matter was created in the early universe and its formation released energy, is there any evidence of that energy in the cmb? Shooting under this subdued light can be tricky. Kodak Portra 800 is quite possibly my favourite colour negative film. And also, like I said, I come across films that I like the look of, but then happen to be of a high ISO with no slower versions. I never knew that and I'm glad if that's the case (always a struggle digitally, even with RAW-flexibility). if(typeof ez_ad_units!='undefined'){ez_ad_units.push([[300,250],'35mmc_com-banner-1','ezslot_7',185,'0','0'])};__ez_fad_position('div-gpt-ad-35mmc_com-banner-1-0');if(typeof ez_ad_units!='undefined'){ez_ad_units.push([[300,250],'35mmc_com-banner-1','ezslot_8',185,'0','1'])};__ez_fad_position('div-gpt-ad-35mmc_com-banner-1-0_1');.banner-1-multi-185{border:none!important;display:block!important;float:none!important;line-height:0;margin-bottom:7px!important;margin-left:auto!important;margin-right:auto!important;margin-top:7px!important;max-width:100%!important;min-height:250px;padding:0;text-align:center!important}, Importantly, at least as far as my workflow goes, I didnt find myself needing to correct colour-shifts much between frames, which to me was a good sign that Portra 800 could hold up to at least a bit of variance in exposure within my workflow without it causing me a headache in the scan and in post. Want more tips on Cinestill and film photography? While the clouds certainly didnt make the sun hotter, the light that it gives off after being. Combined with high end Zeiss ZM glass, which really provides peak of what I like from lenses in terms of contrast, colour etc, Portra 800 really shines for me. It is measured in degrees Kelvin which is the temperature a perfectly black object needs to be heated to in order to glow a certain colour. On a digital camera, it's easy to play with different ISO sensitivities; you can start with your own choice of shutter and aperture, and then pick whatever ISO you need to get the correct exposure. Took me back to shooting Fujicolor 800 on the F4 in the late 1990s. This is another way to let in less light, to work with daylight conditions a bit easier. Depending on how persistent the rain is. Fast Film Speed - ISO 800 and Above. - If I would choose without looking at the visual styles of the film, I'd just go with 800 or maybe 400. The trade-off though is that your results from a higher ISO film will typically be less clean and have more grain. In open shade you will be fine. Mar 21 . Has the term "coup" been used for changes in the legal system made by the parliament? Can I use high ISO film in bright light (without problems)? (You might have seen that why shoot film? I wrote for Em last yr that was mostly about the relationship between grain and the image.) My remark of "there's nothing from keeping me" is to deter answers like "There's no wrong answer, get creative. Holy blazing snotballs Batman I am totally in awe of this film/lens/camera combination.It is such a joy to see how fine, true to colour and forgiving a film can be.This one is going on my bucket list for sure.Thanks HamishTom. I have found Portra 800 pushed one stop is a wonderfully [], [] Portra 800 might well be Hamish Gills favorite color film. Color Balance adjustment layer in Photoshop is a great tool for fixing white balance issues and removing colour casts. I'm sure the camera's meter would indicate whether or not it's overexposed, but even if it doesn't, is that kind of film prone to being overexposed? Earlier or later in the day, you may need to start shooting at ISO 400+. But to a light-sensitive emulsion, these are all different colours. A typical use case was tele action photos without a tripod. 2. A lower ISO value means less sensitivity to light, while a higher ISO means more sensitivity. Once my adjustments made the image appear close to the reference, I moved on to Shadows and Highlights, returning to Midtones occasionally to fine-tune the results. There are a couple ways to cut down on exposure and create a warmer image with more accurate color when shooting this stock in daylight. As Ive written about before on this website, slight overexposure is good way to cheat your way to good results provided the film has the capacity for it. Also, get our famous monthly newsletter you wont regret it!. //