Bro I’m LOVING the increasing quality on your content!! As someone who speaks to groups of people daily, I think if you make a script and practice it, but ALSO make it more conversational rather than sounding like a script, you would go next level. You’re already a confident speaker, I’m hella excited to see where your channel goes!!!!!
I’m a street photographer based in Bergen County, NJ and am over shooting in the city approx six times a month. I shoot both digital and film and absolutely love your channel! You have some insane talent and I can tell you love what you do. I’m really happy I came across your channel and have been binging! 🔥👍✌️
Awesome shots my dude! Loved the reflection of the broken mirror one especially. Apologies if I missed it in the video but was wondering if you shot these at box speed? This will be the first time I shoot on this film and I usually pull all my color shots between one to three stops depending on the film stock. Yours look lovely and it also looked pretty bright out so if those are at box speed I don’t think I’ll go over one stop if its bright and maybe 2-3 stops if its darker or moody out. Appreciate you/your channel and much love!
Good to see that there is proper chemicals available for the colour cine films :) I have processed lots of e6 films at home via the tetenal 2.5 liter kit and I am used to the many steps and temperature accuracy requirements so cine chemicals would not be a problem for me! Good to see and hear you on the analogue wonderland UA-cam channel!
@@ribsy Yes, it is very good, 1 hour show with great guests :) Fun fact: I am the person that sent Sandeep some freezer stored 120 Ektachrome rolls from as old as 1988 so that picture used on the xpro episode is most likely from one of those 1980s rolls!
Thanks for the video! We need more content on these films using their authentic processing. I am currently making my through a few rolls of 250D being shot at 100
I just have to ask. Why would you shoot this 250 rated film at 100 ISO? It clearly does not require 1 1/3 stops of over exposure to function properly. I'm presumptuous enough to say that I think I know what your answer would be, but I'd rather hear it directly if you want.
@@randallstewart175 I would refer you to the recommendations provided by silbersalz film who sell cine film as to why it is recommended for the best results
I only found your channel a few days ago but loving it. I have noticed that in a lot of your videos you mention how much film & gear costs more in the UK than the US, thats got a lot to do with the EU - basically it's the trade agreements the EU have with non-EU countries that determines how much film for example will cost (theres also VAT as well). You also have to take into account the currency exchange rates between countries, the US dollar might get you more Japanese Yen than the UK pound & the exchange rate between the UK pound & the US dollar might be in favour of the US dollar thus compounding the price difference. Hopefully the UK government will get there trade deal with Japan finished in time for us leaving the EU which could result in a significant price drop in items coming from Japan (cameras, film, lots of good stuff).
thanks for supporting! yea, its seems like it comes down to some basic principles. at this point, its just a given haha. totally agree, a trade deal with Japan would be amazing. cameras would be alot more affordable very quickly!
Another great video man, your results with that combo were beautiful. Expert level stuff 👌🏼 I previously went through a whole bulk roll of 250d that I did in C41 and I'm about to shoot more but in 500t. It would nice to one day try ECN2 to compare!
Hey, I really enjoyed this video, the colors of Kodak motion picture film are incredible when developed properly. But I am curious to know why Cinestill 800T and 50D look so good when developed in C-41 even though they are made from Kodak motion picture stock. And they look incredible when printed too! Do you know why that is the case? Curious to find out!
I think it has to do with exposing the film without the remjet layer in the first place. This causes colour shifts in the entire image which favour c41 processing rather than ecn2. When exposing with the remjet layer on the film and removing it during processing you obvioulsy don't get the shift which causes c41 processing to look weird. The founders of Cinestill said this in the Kodak Podcast if I remember correctly.
hey - def don't know the answer but i agree that the removal of the remjet layer before exposing, plus potentially some additional magic/chemistry makes the base stock suitable for c41, leading to great negatives for scanning and printing. the two end products definitely are not one in the same, especially after being exposed and developed. i do plan to test and compare results between 500t and 800t soon!
I love Vision 3 in proper ECN-2. 250D is probably my favorite, though I'm really feeling the pull to 50D, too. I have been shooting my 250D at 160 and my 500T at 400 ... seems to work out pretty well. Glad this process is starting to catch on!
Great video. I put your ez400 in my MX and took four shots then found an Italian festival is coming to Lancaster with Ferraris and Ducatis, so much red. So, the ez got swapped to my surprisingly capable and frankly brilliant, pocket Ricoh 500RF (I would love to see a review of budget range finders) and my can of vision 250D has gone in my MX. Your video inspired me to go and shoot. Now, I have RPX400, FP4 & TMax 100 for my Yashica mat, could you advise which film will capture the flavour of Italy? I have shot the Ricoh but not the others
I'm glad you got to see and show this with the proper process. And, more than anything, I love your development bottles. Are those available from B&H? LOL Nice job. (I have some lemonade bottles with the flip cork thingy! The right gear is critical (and personal!). Thanks great job.
Last question 😂. When you are scanning do you use any preset to get you close to the look you like? Like negafix or negative lab pro preset? I read somewhere that the portra profile works well as a starting point.
@@ribsy thanks you did an awesome job from scratch. I imagine it would also help you watch some films that were shot on 250D to get an idea of the color pallet.
Nice breakdown, Ribs. You even tested the printing. Important tip I think you didn’t mention: this kit doesn’t come with stop bath. You’ll need to buy white vinegar so you can mix that up. Also, I’ve found amber growlers help with keeping up temperatures and simplifying your heating stage to a single bath. By the way, is it possible to increase saturation on your color prints or maybe try a more saturated type of paper? I have not ventured into color darkroom printing yet but that may be an option for you to get the bolder red you want.
hey! correct, no stop bath. i used vinegar as instructed. i have been recycling wine bottles since we have so many at my apt ... 😂 I def need to try different paper. although, it was nice to use the same as i usually do, because i know how it functions and have a "control group" of sort. nonetheless, i agree, def want to print on different papers to see what happens.
great! yea, give the real stuff a try. my bet is you will notice a difference. exposing the image through the remjet makes all the difference, thus C41 can't undo that.
maybe one of the one hundred previous comments has mentioned this but in regards to the blue cast in printing I believe using printing filters would compensate in the same way that an 85/85a/85b on your lens would correct color temperature shooting tungsten film in daylight. I have no experience with this and am totally guessing but my first hunch would be to check out ilford multigrade enlarger filter 0 or a kodak polycontrast filter. thanks for sharing your results btw! subscribed!! :)
My lab here in Atlanta "Dunwoody Photo" sends all ECn2 films straight to Kodak Film Lab Atlanta so I quit shooting all 35mm Kodak photo color films. I love the results of shooting Ecn-2 films and having them actually developed in ECN-2 formula. What I did hear was that because of the rem-jet layer I believe you're supposed to overexpose a bit because you lose a stop with that layer. Im not sure if that's true, but I do find that when exposing my 200t at ISO 200 sometimes the shadows can be a bit muddy. So I've been leaning into overexposing by 1 stop because the vision 3 film handles highlights super well and I don't really like too much grain and muddiness in the shadows.
Nice! I'd heard that the ECN-2 films don't look great for stills since they're made to be copied onto a film positive as you mentioned. But it seems like it scans really well. I want to try some of the 50D in the summer sun. Keep up the good work man!
Hey! You are def correct that these films are meant for copying. However, all the of the modern Hollywood shoots do get scanned at one point or another. So I think the modern version of ecn2 was probably updated to allow for good scanning. I think my first attempt went well 😀
I think most of the bad looking stills images shot with vision 3 are from people using c41 processing. I think it looks pretty bad in c41 I don’t like cinestill much either (I know it’s vision 3 with the remjet removed).
I love this guy's work. His videos are always professional. Yes. Films used in professional photography have a softer gradation of color transitions. So it is necessary for correct tone reproduction. Because in professional cinematography there is a lot of copying of the image before we see the final picture of the shooting on the movie screen.
Enjoyed this one Ribs. I have a 400ft roll of the stuff in my fridge. I was gonna x process it but you have convinced me in to deving it properly :-) Cheers bud :-)
thankful for your test - got me sold on investing in QWD today hahaha If I can ask, what's the typical shelf life of your mixed solution and do you have to mix all the powder at once to make the 1L of solution or does it have instructions for creating less working solution at a time??
if you plan on shooting a bunch of vision3, then i def recommend getting a kit! otherwise, it will add more "stuff" to your kit. i can't handle too much stuff! haha
I like this film more than i do portra 400. I can buy 5 roles with 36+ exposures (it gets kinda random bc its just from a person who is selling their excess bulk load) for £36, and development i can send it off and get it developed for £16.50-£20 (depending if ive shot anything that i really feel like i want to print out in a2, i can get the premium scanning which costs £20, regular costs £16.50). Even though ecn-2 is more expensive, and im not bulk loading myself, or developing at home. Its still gonna be way cheaper than portra 400, which is widely considered one of the best film stocks. £23.70 is roughly how much i would pay to buy a roll, and for a standard develop and scan. Portra 400, currently costs £24.95... it can cost around £38 to do the whole process. Its a crazy price difference, for what i would personally consider better photos.
@@irsan949 Those are prints, not processed negatives. There's a difference between a developing process (which is what people are referring to 90% of the time when they talk about 'processing' film) and a printing process. He didn't process the film itself in RA-4, he's simply made prints from it in RA-4.
Are you sure you couldn't have gotten a better print of the back of the Chevy with a change in filtration? Looks too cyan to me. Cyan being the opposite of red.....
i did various test prints on this one and i just couldn't find a happy medium. the print always looked washed out and lacked contract. thus the red never popped
Hi man I kinda curious why my kodak 250D results are mostly with greeny tone, and I'm surprised how good your result was! Yours more like Kodak I would say, and no greeny tone at all. Is it because of the Remjet ? or QWD ? since I developed it at a lab, not by myself.
hmmm i'm not sure at all. haven't had that issue with mine as far as i know. check out my Sicily video, that has a bunch more of 250D shots ua-cam.com/video/Q9Lsu1BsrH8/v-deo.html
Hi. I've just got my first roll of this film from the lab and it also has some greenish tone on the most of shots. Have you figured out the reason for this. Thanks in advance for your reply.
@@MarekKrassus I already got the answer. So apparently the greenish tone could possibly be from an expired cinema film, but also it could be due to bad development in the lab. Hope this helps
Hey great video! Im new to film and if anyone could explain what is the best time to use vision 3 250d. Is it just in daylight or can it be used in low light or artificial light situations? Is this film cheaper when bulk rolled and developed than lets say portra 160 (its around 16€ for a roll and to develop it where i live). I plan to buy 250d and any insight would be great. Thanks
hey - 250d is best for daytime. 500t is the good one for low light. both are part of the vision3 product line. in terms of cost, it all depends. vision3 requires an upfront investment if you plan to bulk roll and develop yourself. the upfront investment is good for many rolls though. over time, it definitely will be cheaper 😊
Fully agree that ECN2 really seems to draw out everything from these Kodak films. Much better than C41. I've been using the Bellini kit. No problems with it , results have been great. Even with Fuji Eterna, which is well passed its sell by date. Hopefully see you on a film walk or in Brick Lane again soon. Cheers.
Just ordered 250d two rolls for my first film camera got in about 20 years. Was $26 with shipping. P.S. Konica camera got older then me but near mint condition.
I began printing colour on CP5 processed fibre base Ektacolor Commercial paper in 1970. Colour negs are low gamma and push processing increases mask density without giving more shadow detail. Therefore, colour paper is high contrast, equivalent to B&W grade 4; so both exposure and filter settings are very fine balance. I could guarantee to get better more saturated prints of the car shot in this video, with a more accurate filter pack and maybe some dodging. Those 2 prints look a bit off to my eyes...
Why did you get this expensive ecn-2 kit? You have to start looking into the Bellini ECN-2 kit. In Europe it's around 30€ which is a lot cheaper then ordering expensive chemicals from the US. Quick Google search show's me that this kit is sold in the UK by Nik & Trik.
hey! i actually got hooked up - they sent it to me since they thought i'd put it to good use 😊 I am aware of the Bellini kit and plan on trying it at some point. I def see that it is much cheaper. No clue how well it works though.
@@ribsy I tried the Bellini C41 kit and love it. They separate the bleach and the fix. So you get an extra step but I think the result were better (read more constant) over the rolls that I developed. I'm planning on buying a 100ft bulk roll of vision3/250D 😉. So I think the next order will include a Bellini ECN-2 kit.
Oh. My. GODTHISISBEAUTIFUL!!!!!!!!!!!! I can't seem to find 35mm Vision 3 in Europe, so if anyone here knows where to get it, I would be very grateful for the information!
@@ribsy upon further research, I don’t think there is a single lab in japan that does ECN2 for medium format. For 135, only 2 labs in the country can do it for 11000 yen😂.
Here we go again dude sorry :) Half box speed please! !!!!!!!! It's impossible to fail if you overexpose it!!! You've got to really over cook it's nuts off to destroy the highlights! ! Once you scan it compress the levels then you can get all the details in the blacks you want!! But if you underexpose it even shooting it at box speed you'll be disappointed. And you'll get the wrong impression and think it's crap! Point your camera into the shadows and take a reading!! You will always be shooting at about 60th to 125th at half box speed in daylight!! Of course this limits your focal lengths but this is film it's art and one must suffer for your art right!!! That chevy! Shot stick the camera right in the shade under the back of the car! I just know it would have said 30th to a 60th at 2.8!! Lock that in and back away recompose and shoot !! Scan compress levels and the entire image will appear!! I promise you! Be brave!! Digital would shit a brick! Not film !!
yea when in doubt, overexposing is def the move. with that said, i've never really had issue exposing at box speed, in daylit areas. totally agree when moving into deep shadow or indoors hahaha i like the "digital would shit a brick! not film" 😂💪🏽
@@ribsy Hi I only keep making the same kinda comments because it's not really clear to those that that have not shot film before! It's so easy for them to have a bad experiance and never try it again! All this subject matter you are putting out has to be a good thing and I like what you do! However lol here it comes :) you knew there would be a but! ! I think you you underexpose all your shots! I've mentioned a couple of serious pros in a few of my comments they never get it wrong!! This current crop of film shooters on youtube are not mentioning these guys!!! Because they don't know about them. People need not suffer as those that have gone before us have made the mistakes for us !! C41 ecn2 film has to be overexposed! True b&w be a little more careful!! Once again for those that don't know links below! canlasphotography.blogspot.com/?m=1 www.johnnypatience.com/the-zone-system-is-dead/ www.tanjalippert.com/ josevilla.com/ These people are the best in the world and folks like this don't bother with youtube because they are out doing it no time to talk about doing it!! Hope the links help and keep up the good work dude ! Question why you living in the UK??
@@blackwingvisuals5017 Totally agree with you: on neg film, ALWAYS expose for shadows, and reversal film, always expose for highlights!! When metering, it's invercone for tranies and reflected light metering for neg film. If you want more grain on colour neg, under-expose; but it's better to get the exposure right and have decent colour. I print with a condenser enlarger and halogen point source light bulb. Try it!!
Bro I’m LOVING the increasing quality on your content!! As someone who speaks to groups of people daily, I think if you make a script and practice it, but ALSO make it more conversational rather than sounding like a script, you would go next level. You’re already a confident speaker, I’m hella excited to see where your channel goes!!!!!
thanks! i appreciate the feedback. i'm looking to strike a balance between production and efficiency. it's a lot of work! haha 💪🏽
Excellent video bro!! I wasn't expecting the print test at the end.. nice bonus content :)
thanks for watching! of course - i love to print 😊
I’m a street photographer based in Bergen County, NJ and am over shooting in the city approx six times a month.
I shoot both digital and film and absolutely love your channel!
You have some insane talent and I can tell you love what you do.
I’m really happy I came across your channel and have been binging! 🔥👍✌️
hey! thanks for watcing - glad you like the content 😊
Awesome shots my dude! Loved the reflection of the broken mirror one especially. Apologies if I missed it in the video but was wondering if you shot these at box speed? This will be the first time I shoot on this film and I usually pull all my color shots between one to three stops depending on the film stock. Yours look lovely and it also looked pretty bright out so if those are at box speed I don’t think I’ll go over one stop if its bright and maybe 2-3 stops if its darker or moody out. Appreciate you/your channel and much love!
I think I shot at 250
This film looks so good when processed in the intended chemistry. That shot of the cat is money!
Yea!
Good to see that there is proper chemicals available for the colour cine films :)
I have processed lots of e6 films at home via the tetenal 2.5 liter kit and I am used to the many steps and temperature accuracy requirements so cine chemicals would not be a problem for me!
Good to see and hear you on the analogue wonderland UA-cam channel!
Yea! I was very pleased to see my images properly developed via ecn2. I found the images to be nice and vibrant.
Hope you enjoyed the AW show!
@@ribsy Yes, it is very good, 1 hour show with great guests :)
Fun fact:
I am the person that sent Sandeep some freezer stored 120 Ektachrome rolls from as old as 1988 so that picture used on the xpro episode is most likely from one of those 1980s rolls!
Thanks for the video! We need more content on these films using their authentic processing. I am currently making my through a few rolls of 250D being shot at 100
thanks! agreed! such underutilized films and not tons of info out there about them. i'm gonna do my best 😊
I just have to ask. Why would you shoot this 250 rated film at 100 ISO? It clearly does not require 1 1/3 stops of over exposure to function properly. I'm presumptuous enough to say that I think I know what your answer would be, but I'd rather hear it directly if you want.
@@randallstewart175 I would refer you to the recommendations provided by silbersalz film who sell cine film as to why it is recommended for the best results
I only found your channel a few days ago but loving it. I have noticed that in a lot of your videos you mention how much film & gear costs more in the UK than the US, thats got a lot to do with the EU - basically it's the trade agreements the EU have with non-EU countries that determines how much film for example will cost (theres also VAT as well). You also have to take into account the currency exchange rates between countries, the US dollar might get you more Japanese Yen than the UK pound & the exchange rate between the UK pound & the US dollar might be in favour of the US dollar thus compounding the price difference. Hopefully the UK government will get there trade deal with Japan finished in time for us leaving the EU which could result in a significant price drop in items coming from Japan (cameras, film, lots of good stuff).
thanks for supporting! yea, its seems like it comes down to some basic principles. at this point, its just a given haha. totally agree, a trade deal with Japan would be amazing. cameras would be alot more affordable very quickly!
Another great video man, your results with that combo were beautiful. Expert level stuff 👌🏼 I previously went through a whole bulk roll of 250d that I did in C41 and I'm about to shoot more but in 500t. It would nice to one day try ECN2 to compare!
thanks! agreed -- i do plan on comparing the two soon and seeing what the major differences are via each recommended process
Hey, I really enjoyed this video, the colors of Kodak motion picture film are incredible when developed properly. But I am curious to know why Cinestill 800T and 50D look so good when developed in C-41 even though they are made from Kodak motion picture stock. And they look incredible when printed too! Do you know why that is the case? Curious to find out!
I think it has to do with exposing the film without the remjet layer in the first place. This causes colour shifts in the entire image which favour c41 processing rather than ecn2. When exposing with the remjet layer on the film and removing it during processing you obvioulsy don't get the shift which causes c41 processing to look weird. The founders of Cinestill said this in the Kodak Podcast if I remember correctly.
hey - def don't know the answer but i agree that the removal of the remjet layer before exposing, plus potentially some additional magic/chemistry makes the base stock suitable for c41, leading to great negatives for scanning and printing. the two end products definitely are not one in the same, especially after being exposed and developed.
i do plan to test and compare results between 500t and 800t soon!
good question! see my response below 😊
7:00 Kodak vision 3 and the ECN2 process were made for digital scanning not printing. Color negative and c41 process give better prints.
yup
did you do any digital work to those shots you showed us or is that how they are straight from the negs? those reds pop so sweet
hey! yes they are 😊. I did nothing to those negatives other than convert the scans in negative lab pro.
@@ribsy oh wow! they really do come out good
I love Vision 3 in proper ECN-2. 250D is probably my favorite, though I'm really feeling the pull to 50D, too. I have been shooting my 250D at 160 and my 500T at 400 ... seems to work out pretty well. Glad this process is starting to catch on!
Yea it really is nice! I haven’t tried 50D yet but that is def up next. I’ve heard great things about it 😀
Great video. I put your ez400 in my MX and took four shots then found an Italian festival is coming to Lancaster with Ferraris and Ducatis, so much red. So, the ez got swapped to my surprisingly capable and frankly brilliant, pocket Ricoh 500RF (I would love to see a review of budget range finders) and my can of vision 250D has gone in my MX. Your video inspired me to go and shoot. Now, I have RPX400, FP4 & TMax 100 for my Yashica mat, could you advise which film will capture the flavour of Italy? I have shot the Ricoh but not the others
Give ektar a try
I'm glad you got to see and show this with the proper process. And, more than anything, I love your development bottles. Are those available from B&H? LOL Nice job. (I have some lemonade bottles with the flip cork thingy! The right gear is critical (and personal!). Thanks great job.
Haha thanks
Amazing quality of video and photos!!!
much appreciated! thanks 😊
Last question 😂. When you are scanning do you use any preset to get you close to the look you like? Like negafix or negative lab pro preset? I read somewhere that the portra profile works well as a starting point.
Nope no preset
@@ribsy thanks you did an awesome job from scratch. I imagine it would also help you watch some films that were shot on 250D to get an idea of the color pallet.
Ah so excited for the results! So glad it turned out great!
yup! same. vision3 did NYC well
Nice breakdown, Ribs. You even tested the printing. Important tip I think you didn’t mention: this kit doesn’t come with stop bath. You’ll need to buy white vinegar so you can mix that up. Also, I’ve found amber growlers help with keeping up temperatures and simplifying your heating stage to a single bath.
By the way, is it possible to increase saturation on your color prints or maybe try a more saturated type of paper? I have not ventured into color darkroom printing yet but that may be an option for you to get the bolder red you want.
hey! correct, no stop bath. i used vinegar as instructed. i have been recycling wine bottles since we have so many at my apt ... 😂
I def need to try different paper. although, it was nice to use the same as i usually do, because i know how it functions and have a "control group" of sort. nonetheless, i agree, def want to print on different papers to see what happens.
Nice, I’ve been playing with the ecn-2 prewash and the unicolor c41 chems for my 800t. Really considering an ecn2 kit.
great! yea, give the real stuff a try. my bet is you will notice a difference. exposing the image through the remjet makes all the difference, thus C41 can't undo that.
maybe one of the one hundred previous comments has mentioned this but in regards to the blue cast in printing I believe using printing filters would compensate in the same way that an 85/85a/85b on your lens would correct color temperature shooting tungsten film in daylight. I have no experience with this and am totally guessing but my first hunch would be to check out ilford multigrade enlarger filter 0 or a kodak polycontrast filter. thanks for sharing your results btw! subscribed!! :)
Welcome!
My lab here in Atlanta "Dunwoody Photo" sends all ECn2 films straight to Kodak Film Lab Atlanta so I quit shooting all 35mm Kodak photo color films. I love the results of shooting Ecn-2 films and having them actually developed in ECN-2 formula. What I did hear was that because of the rem-jet layer I believe you're supposed to overexpose a bit because you lose a stop with that layer. Im not sure if that's true, but I do find that when exposing my 200t at ISO 200 sometimes the shadows can be a bit muddy. So I've been leaning into overexposing by 1 stop because the vision 3 film handles highlights super well and I don't really like too much grain and muddiness in the shadows.
interesting. i'll have to try it
Nice! I'd heard that the ECN-2 films don't look great for stills since they're made to be copied onto a film positive as you mentioned. But it seems like it scans really well. I want to try some of the 50D in the summer sun. Keep up the good work man!
Hey! You are def correct that these films are meant for copying. However, all the of the modern Hollywood shoots do get scanned at one point or another. So I think the modern version of ecn2 was probably updated to allow for good scanning. I think my first attempt went well 😀
I think most of the bad looking stills images shot with vision 3 are from people using c41 processing. I think it looks pretty bad in c41 I don’t like cinestill much either (I know it’s vision 3 with the remjet removed).
I love this guy's work. His videos are always professional. Yes. Films used in professional photography have a softer gradation of color transitions. So it is necessary for correct tone reproduction. Because in professional cinematography there is a lot of copying of the image before we see the final picture of the shooting on the movie screen.
thanks for watching
Yo the results are amazing!!
thanks! very happy with them
Nice, I see that you did the comparison. Well done!
Yea!
Enjoyed this one Ribs. I have a 400ft roll of the stuff in my fridge. I was gonna x process it but you have convinced me in to deving it properly :-) Cheers bud :-)
thanks for watching 😊 oh yea, if you have tons of it, def get yourself an ECN2 kit. totally worth it for your usecase
Did you use any Filters shooting during Daylight?
nope! the 250D is daylight balanced, so i felt no need
thankful for your test - got me sold on investing in QWD today hahaha If I can ask, what's the typical shelf life of your mixed solution and do you have to mix all the powder at once to make the 1L of solution or does it have instructions for creating less working solution at a time??
if you plan on shooting a bunch of vision3, then i def recommend getting a kit! otherwise, it will add more "stuff" to your kit. i can't handle too much stuff! haha
I like this film more than i do portra 400. I can buy 5 roles with 36+ exposures (it gets kinda random bc its just from a person who is selling their excess bulk load) for £36, and development i can send it off and get it developed for £16.50-£20 (depending if ive shot anything that i really feel like i want to print out in a2, i can get the premium scanning which costs £20, regular costs £16.50).
Even though ecn-2 is more expensive, and im not bulk loading myself, or developing at home. Its still gonna be way cheaper than portra 400, which is widely considered one of the best film stocks.
£23.70 is roughly how much i would pay to buy a roll, and for a standard develop and scan. Portra 400, currently costs £24.95... it can cost around £38 to do the whole process.
Its a crazy price difference, for what i would personally consider better photos.
This ECN process is interesting man, and the 250D really scans well. Buddy was super slumped on the train tho, I hope he aint miss his stop !
yea man - plan on doing more to see how 250D holds up in different situations. mans was KO'd he def rode the train back and forth multiple times 😂
Will you kindly share how you develop that film in RA-4, time/temp/dilution?
I didn’t develop in RA4. I used ECN2 chems there
I see at minute 0:19 there's sample photos developed in RA-4.
@@irsan949 Those are prints, not processed negatives. There's a difference between a developing process (which is what people are referring to 90% of the time when they talk about 'processing' film) and a printing process. He didn't process the film itself in RA-4, he's simply made prints from it in RA-4.
@@tlatosmd ah I see,.. I guess I misunderstood by thinking that was result of 'film developing' and not 'printing process'
Are you sure you couldn't have gotten a better print of the back of the Chevy with a change in filtration? Looks too cyan to me. Cyan being the opposite of red.....
i did various test prints on this one and i just couldn't find a happy medium. the print always looked washed out and lacked contract. thus the red never popped
About your printing it looks like it had a bit of a green cast. Couldn’t you just correct that out with your color head on your enlarger?
Yea probably
Yesss !
😊
Hi man I kinda curious why my kodak 250D results are mostly with greeny tone, and I'm surprised how good your result was! Yours more like Kodak I would say, and no greeny tone at all. Is it because of the Remjet ? or QWD ? since I developed it at a lab, not by myself.
hmmm i'm not sure at all. haven't had that issue with mine as far as i know. check out my Sicily video, that has a bunch more of 250D shots ua-cam.com/video/Q9Lsu1BsrH8/v-deo.html
@@ribsy thanks for the reply! Maybe I'll observe and find something out of your video!
Hi. I've just got my first roll of this film from the lab and it also has some greenish tone on the most of shots. Have you figured out the reason for this. Thanks in advance for your reply.
@@MarekKrassus I already got the answer. So apparently the greenish tone could possibly be from an expired cinema film, but also it could be due to bad development in the lab. Hope this helps
@@zz-kn3nj Thank you. I'll try another lab and source of the film stock. Still eager to experiment with this film.
Have you tried the CineStill CS2?
i haven't!
Where do you get your Kodak Vision3 film?
I usually buy online - ebay for example
Hey great video! Im new to film and if anyone could explain what is the best time to use vision 3 250d. Is it just in daylight or can it be used in low light or artificial light situations? Is this film cheaper when bulk rolled and developed than lets say portra 160 (its around 16€ for a roll and to develop it where i live). I plan to buy 250d and any insight would be great. Thanks
hey - 250d is best for daytime. 500t is the good one for low light. both are part of the vision3 product line.
in terms of cost, it all depends. vision3 requires an upfront investment if you plan to bulk roll and develop yourself. the upfront investment is good for many rolls though. over time, it definitely will be cheaper 😊
Fully agree that ECN2 really seems to draw out everything from these Kodak films. Much better than C41. I've been using the Bellini kit. No problems with it , results have been great. Even with Fuji Eterna, which is well passed its sell by date.
Hopefully see you on a film walk or in Brick Lane again soon.
Cheers.
yea im a fan! especially on nice well lit days. hope we can get out soon!
Great video! thanks for the insights
Thanks for watching 😃
Good stuff!
Thanks!
Dude, what is the name of the instrumental in the second part of the video, this shit is insane!!?
oh thats a beat that my friend made
@@ribsy He's good! (and I know what I'm talkin about, I've been producing beats for almost 25 years)
Ask him if I can download it somewhere. It would be good in my ears when I go running.
If you can, get the Tungsten versions, shoots at night, develop in ECN-2, enjoy the magic....
yea already have some. i ruined it though in my first try - my developer was dead ...
do you ever overexpose 250D by a stop?
nope! exposed at 250 😊
Can I use this film on a kodak star 675? in brazil we call "saboneteira"
not sure what 675 is
Are QWD still going?
i don't know
Just ordered 250d two rolls for my first film camera got in about 20 years. Was $26 with shipping. P.S. Konica camera got older then me but near mint condition.
Enjoy!
I began printing colour on CP5 processed fibre base Ektacolor Commercial paper in 1970. Colour negs are low gamma and push processing increases mask density without giving more shadow detail. Therefore, colour paper is high contrast, equivalent to B&W grade 4; so both exposure and filter settings are very fine balance. I could guarantee to get better more saturated prints of the car shot in this video, with a more accurate filter pack and maybe some dodging. Those 2 prints look a bit off to my eyes...
sounds interesting
what if print it from digital scan?
thats good too. all printing is worth it
Why did you get this expensive ecn-2 kit?
You have to start looking into the Bellini ECN-2 kit. In Europe it's around 30€ which is a lot cheaper then ordering expensive chemicals from the US.
Quick Google search show's me that this kit is sold in the UK by Nik & Trik.
hey! i actually got hooked up - they sent it to me since they thought i'd put it to good use 😊
I am aware of the Bellini kit and plan on trying it at some point. I def see that it is much cheaper. No clue how well it works though.
@@ribsy I tried the Bellini C41 kit and love it. They separate the bleach and the fix. So you get an extra step but I think the result were better (read more constant) over the rolls that I developed.
I'm planning on buying a 100ft bulk roll of vision3/250D 😉. So I think the next order will include a Bellini ECN-2 kit.
Awesome - hit me up on IG and let me know how it goes 😀
Oh. My. GODTHISISBEAUTIFUL!!!!!!!!!!!! I can't seem to find 35mm Vision 3 in Europe, so if anyone here knows where to get it, I would be very grateful for the information!
Check eBay! Should be easy to find
👏
thanks
I was just given a 100 foot roll of this film, dropped in my lap...BOOM !😀
oh helllll yeeaaaa
@@ribsy Oops! 400 foot roll !...😁
i looked for a lab that can do ECN-2 in my country....80 USD a roll...
lol what!??!
@@ribsy upon further research, I don’t think there is a single lab in japan that does ECN2 for medium format.
For 135, only 2 labs in the country can do it for 11000 yen😂.
So the money you save on the film you have to invest on the development and you can't really make prints from it? I'll stick to BW and C41.
ECN-2 developers is way better than C-41, in fact you can even get better using ECN-2 developer for the "normal" film
yea no question. i knew that would be the case but it took me a while to get some chems
Here we go again dude sorry :)
Half box speed please! !!!!!!!!
It's impossible to fail if you overexpose it!!! You've got to really over cook it's nuts off to destroy the highlights! ! Once you scan it compress the levels then you can get all the details in the blacks you want!! But if you underexpose it even shooting it at box speed you'll be disappointed. And you'll get the wrong impression and think it's crap! Point your camera into the shadows and take a reading!! You will always be shooting at about 60th to 125th at half box speed in daylight!! Of course this limits your focal lengths but this is film it's art and one must suffer for your art right!!! That chevy! Shot stick the camera right in the shade under the back of the car! I just know it would have said 30th to a 60th at 2.8!! Lock that in and back away recompose and shoot !! Scan compress levels and the entire image will appear!! I promise you! Be brave!! Digital would shit a brick! Not film !!
yea when in doubt, overexposing is def the move. with that said, i've never really had issue exposing at box speed, in daylit areas. totally agree when moving into deep shadow or indoors
hahaha i like the "digital would shit a brick! not film" 😂💪🏽
@@ribsy Hi I only keep making the same kinda comments because it's not really clear to those that that have not shot film before! It's so easy for them to have a bad experiance and never try it again! All this subject matter you are putting out has to be a good thing and I like what you do! However lol here it comes :) you knew there would be a but! ! I think you you underexpose all your shots! I've mentioned a couple of serious pros in a few of my comments they never get it wrong!! This current crop of film shooters on youtube are not mentioning these guys!!! Because they don't know about them. People need not suffer as those that have gone before us have made the mistakes for us !! C41 ecn2 film has to be overexposed! True b&w be a little more careful!! Once again for those that don't know links below! canlasphotography.blogspot.com/?m=1
www.johnnypatience.com/the-zone-system-is-dead/
www.tanjalippert.com/
josevilla.com/
These people are the best in the world and folks like this don't bother with youtube because they are out doing it no time to talk about doing it!! Hope the links help and keep up the good work dude ! Question why you living in the UK??
@@blackwingvisuals5017 Totally agree with you: on neg film, ALWAYS expose for shadows, and reversal film, always expose for highlights!! When metering, it's invercone for tranies and reflected light metering for neg film. If you want more grain on colour neg, under-expose; but it's better to get the exposure right and have decent colour. I print with a condenser enlarger and halogen point source light bulb. Try it!!