Ektar 100 120

[Eric Myrvaagnes]

I seem to have that reversed as the B9180 does a nice job of agitating me during those 12 minutes.

I have a simple solution for that, too (and just as useful as most of my solutions.) Just load your B9180 into Photoshop. Then, from the Image menu choose 'Invert'. That should have you agitating the printer instead of the other way around.

By golly: I should collect all my useful tips in a book!

[BlasR]

Of course I am. I've just gotten tired of all the usual Deardorff vs. Minox battles around here.

Cheers,

Eric

Wow, EricM getting tired.   ohh

Age is something the we can't avoid,

 I will be alive until the day I die, and I will never die, so I will be alive all my life

Blas

[BernardLanguillier]

Of course I am. I've just gotten tired of all the usual Deardorff vs. Minox battles around here.

A lot remains to be done though...

Cheers,
Bernard

[daleeman]

I have always preferred the French chocolate. Michel Cluizel 99% is perfect for the job.   

Eric


P.S. It was only during the last few years of my film photo career that I began to appreciate even the value of developing film. Gently slipping the bottom sheet up onto the top of the stack and jiggling the tray gently, and then repeating for sometimes up to 15 minutes in total darkness: one can learn patience, and do some good meditating. Digital has no procedure that is the psychological equivalent of developing film.

This is so true. Darkroom photographers will always have a longer life span and lower blood pressure. Great meditation and even if I can coin a phrase "Post Visualization" something that happens in the dark when a photographer sees what happened in total darkness.

I've miss treated a negative before but never had one system crash.

[Pedro Kok]

Though I've yet to drum scan my Ektar 120 rolls, my experience with dirt-cheap Noritsu minilab scanning has been outstanding. Perceptibly finer grain leads to what I believe is a less intrusive noise reduction process. There is also less color casts from the direct scan, which leads to easier Photoshop post-processing. I regularly use Fujifilm Pro 160S, Kodak Portra 160VC, and in the past Fuji Reala. After shooting only two rolls of Ektar, I've found my favorite color negative.


Here are some samples, which have very minimal to no color correction:









Pedro Kok

[SecondFocus]

Pedro,

Excellent!

[Gary Yeowell]

Same here Pedro, my usual film is Portra 160/400/NC/VC with a little Fuji 160s and 400h thrown in. Got my first rolls shot this week with Ektar in my Mamiya 7 and just scanned them with my Imacon and i'm very impressed, unbelievably grain free and lovely colour!  for certain work this will be an amazing combination. Mamiya 7 with Ektar is as grain free in my Imacon as 5x4 with 400NC.

Gary.

[DanielStone]

very nice pedro. the 1st almost looked like an architecture documentary shot for a mag.


-Dan

[rolleiflexpages]

how does the Ektar 100 compare to Portra 160 VC? Does one notice differences? Is the contrast of the Ektar 100 not excessive?

[SecondFocus]

Of course it is a matter of personal preference and what you are shooting. Prior to the Ektar I was primarily shooting 160VC. However I do like additional saturation and contrast of the Ektar so I have been shooting more of it lately. It is not like the "UC" that Kodak had some time back which I did find excessive. I do sometimes prefer the 160VC because of the convenience of having it in 220 rolls.

how does the Ektar 100 compare to Portra 160 VC? Does one notice differences? Is the contrast of the Ektar 100 not excessive?