M7 + 250D processed in C-41. Definitely requires more post editing of colors. Also shot the roll @ 200 and now realize that if processed in C-41 that's overexposing too much.
I continue to love the moodiness of Fomapan 400; the 120 rolls now come in a cool retro packaging. These are from my latest roll of 35mm Fomapan 400, shot on my Minolta XD at EI 200, in and around our house. One of my favorite essays of all time is "In Praise of Shadows," by Jun'ichirō Tanizaki, written in the early 1930s; I was thinking of it while I took most of these.
geekcop wrote:
I have two rolls in 120 of the Fomapan that I want to shoot at 800 and 1600 to see how they perform. Yours look good at 200 too.
I've never tried pushing Fomapan; I remember reading in one of the reviews that it wasn't recommended but I have seen some pushed shots that looked fine to me. I look forward to seeing how yours come out!
I almost always shoot it at EI 200; it's not really a 400 film. I've shot it at 400 and 320 and it usually looks underexposed; 200 feels just right to me. It certainly is gray and grainy, but I don't mind.
geekcop wrote:
I have two rolls in 120 of the Fomapan that I want to shoot at 800 and 1600 to see how they perform. Yours look good at 200 too.
I've shot a couple short rolls of 35mm at 800. I think the results are fun, but it definitely looks nicer (to my eye) shot at 200. Foma 400 is such a wonderful, vexing, amazing, terrible film. I love it (today, at least).
I'd be curious to see how it works pushed in 120.
Jenny by Jim Fischer, on Flickr
Leica M7, Zeiss 35mm f/1.4 ZM, Fomapan 400 @ 800, Xtol 1:1.
Selfie by Jim Fischer, on Flickr
Leica M7, Voigtlander 50mm f/1.5 Nokton VM V2 SC, Fompan 400 @800, Xtol 1:1
These are gorgeous Brad! I’m scared to use my Minolta Autochord. It’s new, just no box.
bjhurley wrote:
I continue to love the moodiness of Fomapan 400; the 120 rolls now come in a cool retro packaging. These are from my latest roll of 35mm Fomapan 400, shot on my Minolta XD at EI 200, in and around our house. One of my favorite essays of all time is "In Praise of Shadows," by Jun'ichirō Tanizaki, written in the early 1930s; I was thinking of it while I took most of these.
