Huge Prints From 35mm Film
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- Опубліковано 16 лют 2022
- You can make very big enlargements from 35mm film as I show in this video.
All it takes is a bit of care and attention . . oh, and a good lens coupled with an exceptional film!
Equipment Used
Nikon FE and 200 f/4, 28 f2.8 and 135 f/3.5 Ai Nikkors
Velbon 665 tripod
Adox CMS 20 II in Adotech Developer 1:14
Preview App
Mark II Artists Viewfinder (iOS only on the App Store)
Vlogging Equipment
GoPro Hero 7
iPhone 12Pro
Etsy Shop
steveonionsphoto.etsy.com
Contact Details
Email: steveonions1@gmail.com Twitter: Steve_ONions / steve_onions Instagram: steveonions1 / steveonions1
I knew the Adox CMS 20 film was supposed to have fine grain, but that comparison was an eyeopener!
It has a very high resolution film since it is based on archiving micro film :) According to Henning Serger, Ilford PAN F+ is 110 130 Lp/mm while Adox CMS 20 II is 240 - 260 Lp/mm. Of course the higher resolution the lens is to take advantage of this, the better.
When I was earning my keep with a camera, something I gave up about 12 years ago as I couldn't be bothered with digital, nobody was fussed about grain, the bigger the print the further you stood from it ...... grain was a given and I almost never saw people leaning in to eyeball prints from close-up ..... I used everything from half-frame up to 10x8 but even using Tri-X 35mm we'd print up to A1 ..... and I never got negative feedback from a client, Obsessing about extreme resolution when the image was being used slightly cropped on a magazine cover would have been thought mad.
Iit's good to have modern materials and equipment ..... but look at all the classic photographs from the 1920's onwards that were shot on old-school film and I feel there's too much emphasis on "technical" qualities rather than traditional "picture-making" ones.
But that's just my tuppence worth.
Whilst the Adox film shown here is technically very capable I do not see it taking a place in my camera bag. I enjoy the film look and shoot a lot of 400 speed materials which I like printing in the darkroom. That said, I can see some situations in which the Adox film would be a great option.
Finally I found a solution for my dust problems. Scan your film several times (at least 3 times). Between each scan clean it with air or what ever. Yes you will still have dust. But it is ALWAYS on a different spot. Then but the images into hugin (freeware). Align them as "align image stack" and then simply select "output" --> "user defined output sequence" --> "median of stack images". And your dust is simply gone :-D yihaaa!!!!
Sounds like a good option, I used to use the Hugin software years ago too.
A bloody brilliant video, gob-smacking results, very interesting possibilities. So thanks for doing the work, well worth the effort.
I agree with every single point that you discussed. To get a decent result from CMS 20 II, every technical aspect of the process has to be perfect. Kudos to you and high praise for the 50 year old Nikkor lenses. The analogy of CMS 20 II to the good old transparency, in terms of exposure placement tolerance, is also quite valid. My own experience also shows that the film has at best 5 stops of dynamic range. I also think that the ' normal ' development times for the Adotch IV developer yield negatives that are more like an N+1 development. In a scene with around 5 stops of luminance, if the shadows were placed on a zone III, the highlights tend to be blown out, so rating the film at iso 10 or 12 and giving the appropriate development time is the way to go. I think that the spectral response curve of CMS 20 II shows high sensitivity to blue, yellow and red portions of visible light spectrum, with a dip in the green/cyan region, perhaps one of the reasons that it has rendered the Liver Building quite light compared to the Pan F. Superb demonstration. Thank you.
I agree with every single point.
Good point on the spectral sensitivity. It does feel like 5 stops is about the limit and I’d also go with something like EI 8 next time (and still do a +1 frame).
@@SteveONions Can't imagine what it delivers with a 4X5 neg on a very still day.
Thanks a lot for all your work that went into this very nice and very convincing demonstration! Nothing more to say than: amazing.
Simply amazing results! I will have to give this film a try. Can't imagine how large the 4x5 could go! Great video, Steve. Cheers!
I just shot some Adox CHS 100 sheet film and I love the results! Will definitely be trying some more of their films, the tones are so good! Thanks for the video!
Thanks for sharing the contrast and comparison of two films. And the typewriter-like text is very cool indeed. Nice touch Steve
Thank you 😊
Thank you Steve, so informative! Best Jan.
Great video. Thanks
Thank for all of the useful information!
Great presentation, as usual.📸
Thanks Joel.
I am very interested in trying both of these films - thank you for another incredibly instructional video. Always entertained, always learn something! Cheers
Glad to help 🙂
amazing content steve. thanks for sharing
Pretty amazing, I'm going to try this film for sure.
Yet another excellent educational and entertaining video; thank you Steve.
You’re welcome Roy 😊
Great job with the whole process of shooting, developing, scanning and printing the frame!
I have two cms 20 II rolls in the freezer so I can try out the film for myself!
Give it a go Sina, just treat it like a slow slide film.
One of your most interesting and informative videos ever. Best wishes!
Thanks John.
Fantastic - thanks - lots to learn always with film 👍
Thanks Ivor.
Thank you for your comparison! Now it's up to ADOX CMS20 !
Man Steve, you are such a rockstar! Well done! 🏆
Thanks 😀
Another great video Steve. I've been using CM20 II for a couple of months (I used the original CMS20 in MF many years ago) and agree with everything you say about sharpness, and the difficulties. I rate it at 6 ISO and I'm gradually working through why it can sometimes get staining. But I love this film.
EI 6 sounds better Steve, it hates underexposed and excessive contrast.
Must give it a try. .Amazing the difference in sharpness..
Wow! Now that is an incredibly fine grain for 35mm. Ditto on the 120... I would love to try a roll. 👍
Love the video!🎉
Stunning results 📷👏❤️❤️
Thanks Paul.
I love comparisons like this, please do more :)
I’ll try 😊
@@SteveONions Thank you, Steve.
Careful exposure and even more delicate development with these slow films. Reminds me of late lamented Agfapan 25, indistinguishable from 5 x 4 on a decent 120 camera. I have the same 135mm 3.5 AI Nikkor, and it doesn't stand scrutiny with the latest lenses. Interesting to see what a modern Canon L-lens or Sigma Art would achieve. Great test, Steve.
A modern lens would be great, wish I had one 🙂
I've never heard of the film until I saw your fine video. Reminds me of the old Kodak Tech pan.
Really a great eye opening vid... I have used Pan F but never ADOX.... I think I may be a fan... Great Job
Thanks Randy.
Impressive results!
Thanks Walter.
I remember the very good Agfapan 25 and Kodak Technical Pan :)
Agfapan 25 was awesome. Miss it
That was amazing
Nice job with this film. I have several rolls saved up in the freezer including a roll of 120 expired in 2018. Ive been waiting until I thought my skill level was worthy and the developer was available again. Going to start using it now as I found a bottle this week.
Hope it goes well Mike, it would be good to see the 120 version reintroduced at some point.
Really love the scenes on the Mersey. Liverpool is so photogenic.
I love it too Ian 😊
very cool
Super interesting Steve! I like Pan F a lot but have had similar experiences to you regarding grain. TMAX 100 is a step up from both Pan F and Delta 100. Another film I’ve tried that compares very very closely to CMS20 II is Rollei RPX25. Absolutely grain free and ultra high resolution. Could be a fun test shoot them side by side.
Thanks Michael. I’ve not shot Tmax 100 since 1987! I remember struggling to clear the pink stain so gave up. I think a more reliable slow film than CMS is required for sure.
very cool just bought a box of 4x5 cms20ii and cant wait to get it through the Linhof, I use Hamilton Square station alot for travel, think I will try my cms20 over by the pyramid.
I bet the resolution will be impressive - just can’t imagine the file size if digitised at hi-res!
Very impressive.
Thanks.
I've got a few old Nikkors and the 50mm f2, or at least my copy is phenomenally sharp. My 28mm Ai-s is pretty spectacular too.
I been shooting CMS for a while now and a couple of things: for F mount there is no sharper lens than the Micro-Nikkor-P.C 55mm f/3.5 Auto. For other focal lenghts, the line AI and AIS Nikkor, if is a slow lens, is sharp enough. There is not really a noticeable difference between the newest zeiss milvus vs, say, the New-Nikkor 35mm f/2.8 resolution-wise, and acutance tend to be better in older lenses. For other mounts, no idea. Probably Leica have the upper hand in this regard with the summicrons. Keep in mind that I am refering to a lens sttoped down to f/8, so landscape and so on. If you want to shoot wide open, modern lenses will outperform any classic.
Printing wise: I know, is annoying, but optical printing renders better results than digital *if you have a proper enlarging lens and if you're not sloppy*. Digital just cannot resolve enough but if you really think about it, it really does not matter? You're not gonna see any grain at any enlargement. Literally. I cannot see grain under the microscope, it is just not there.
And yes, as you said, this film is merciless. Any error in development, even the slightless, is going to appear big time.
But the flexibility, and the tonality, and the stupid resolution... Yeah. CMS is the Velvia 50 for black and white hands down.
With Leicas, their Apo Summicrons are unsurpassed, so are their aspherical series. With the rest of their lenses your mileage will vary. Leicas have a distinct rendering and not to everyone's taste.
@@lensman5762 their glass is the only thing that makes me think about swapping from Nikon...
I could definitely get more from the film if I had sharper lenses but in all honesty it’s almost academic as I never print this large in real life. The drawbacks of the film are such that I’d rather shoot something like Delta 100 but then again most of what I do suits a 400 speed.
Great video! Would love to see a darkroom print of such a large size.
Is need a bigger darkroom 😀
I love Steve onions
So do I 😀
this is great,
Nice video Steve. I just went to have a look at some 4x5 online and it works out about $4.30 US a sheet plus shipping. At first it sounds a lot but if you think about it, if you go out for a shoot on the weekend and spend 10 or 20 dollars having fun, and you get some nice images, it’s a cheap hobby. I’m sure many boaties spend more than that on fuel or people that like going to the clubs spend more than that on alcohol. It’s all about what makes you happy.
It’s true that once you add up the real cost of a day out the film is often only a small part of it. I figure the same with darkroom paper, once everything is added up it makes no sense to skimp on quality.
If you consider that film also fills an entire screen in the cinema without appearing blurred, it is no wonder that you can also make prints of this size with it
Oh yeah! That's a really big print and by the way - a very nice photo :)
It's impressive to see, what details lie beyond the roughly 30 MP I'm able to scan with the RPS 10M scanner. Also my enlarging lenses are not capable enough to provide sharpness at such high enlargement factors... These kind of videos are very good content. Please go on with it Steve.
My enlarger lenses can’t get the best out of it either, making a print via the digital route is a lot easier in this case.
@@SteveONions True words. I do not even have a tray or drum to agitate the hypothetical print in ;)
An amazing film, good processing and a super digital file. Magnificent! I seldom made very big enlargements. Preferred 6x6 for those. I know some newer lenses better but at high prices, way bigger and heavier. I print smaller. My problem with a smaller camera, Nikon, Leica-M or Pentax is their compact size, about palm of my hand. I cannot visualize, those monster prints. Well, where to place them? Smaller prints, less new technology and monies for food and drink Bravo.
Well it is certainly harder to squeeze a big print out of such small negatives. I'm often surprised by just how much easier 120 negatives are to work on considering the horizontal dimensions aren't that much bigger than 135.
This film looks incredible but I’ll need to get the Massive Dev out and start with smaller steps to get back some of that muscle memory for developing. This week I got word my new compact enlarger has shipped. Looking forward to getting back in the dark this time with some elbow room and relearning some long perished skills. I’ll definitely be leaning on your experience for quite a while.
Hope the return goes well, it’s surprising how quickly it all comes back (another advantage of technology that isn’t advancing!).
My god the Adox film is incredible, i had the chance to buy it in 120 a few years back but didn't, i really regret it, I'd love to shoot it with my RZ67, Fuji GW690iii and Rolleiflex, i hope Adox can start producing this 120 film again soon.
Brilliant info and quality video.
I’d also like to try it in 120, probably a more appropriate format given the slower pace and general use of a tripod.
I recently got the new Voigtlaender 50mm APO. I have to try this film with that lens on my M3.
Sounds like a nice setup.
Steve… Just watched this video twice back too front mate…. I have just order 3 rolls of CMS… omg when i was working I would love to have had this type of film… I’m going to try it in an Olympus om1 , Nikon F5, and an Olympus trip 35… I will make a separate videos on each of these combos… I would love too catch up with you some time and compare notes. I must say that I am slowly edging towards Leica …. I will also mention you in the videos and put up a link to your channel and state clearly how you have single handedly stopped me parting with my old film cameras.
Thanks John, hope the films come out well.
nice !!! .... I have 3 rolls of Agfa Copex Rapid .. and Rodinal at 1 to 100 stand development .. should be interesting !!
This is fascinating. Id like to make prints from a movie trailer on 35mm film reel.
I really enjoyed this video. Most helpful. I’m shooting cms-20 rolls now with some new zeiss distagon lenses and am anxious to review the results.
I bet they’ll be incredible Brian.
I just completed four rolls and developed in Adotech 4 and I’m really impressed with the results. Not only is there a higher resolution but also a very smooth tonal grade. Really beautiful. I was surprised to find that foliage came out very light. Almost like infrared film. It’s beautiful.
Hey Steve,
Thank you for sharing your work flow with the film.
I saw you have an enlarger. I wonder why you didn't print the enlargement on it rather than scanning. You enlarger part of the negative.
Anyway, it was a joy to see your journey. Thanks.
Much harder to make a 45” darkroom print - I’ve tried in the past!
Thanks Steve , That was great. Im thinking about shooting film again with my Topcon SuperD . Just wondering if images could've also been improved by stopping down to f8 or 11. Jeff
I think the lens is a bit limited and cannot match this film to be honest. A modern design would likely do better.
I wouldn’t have believed it to be possible and with an achievable workflow and no exotic equipment!
Just simple gear David 🙂
I used to use Panatomic X, but it's no longer available. Will have to try CMS 20. Thanks for the video.
You're welcome Alfred, glad it was useful.
Wow, the CMS 20 has almost unreal sharpness. I guess I'll give it a go with the legendary Pentax 1.8/55 or the 4/50 Macro. The 1.8/85 would surely perform fantastically, too. All of these are razor sharp lenses, therefore absolutely suitable...
It definitely needs a sharp lens, most zooms need not apply 😊
@@SteveONions I don't use zoom lenses at all therefore there won't be any problem... 🙂
That print was really impressive, as was the work of the mason which put those bricks together! Would you consider doing a video on the process of scanning using a camera set up. I currently use a Coolscan but it only runs on an old laptop which is a bit of a limitation.
I’m avoiding doing a scanning video Keith. It would be out of date very quickly and only attract hundreds of comments telling me I’m doing it all wrong 😀
Wow, this film is impressive, never hear dof it but now I have to try it !!!
I had the chance of having one of my pictures displayed in a city in France (Rouen) thanks to a contest I won (well, almost, 2nd place :D ). It was printed on a 5 foot square format frame from a 35mm negative (Pan F+). Although it was not printed on a great printer, the quality was great. I thought the print would have looked ridiculously bad compared with the others from recent digital cameras, but not. Of course, if you look closely, you will see the grain and the loss of details but from an appropriate viewing distance, it is awesome. Only problem, I don't have a wall big enough to put it :D
Analogue enlargements always seem to hold up very well, they degrade much less sharply than digital, much like when a TV signal is poor - I’d rather be on the old analogue TV then!
This could reconcile me with 135 film!
Mind blowing grain technology. 120 roll film version would be incredible.
Try it in 4X5 coupled to an Apo - Symmar or Apo - Sironar, and then let the kids brag about their 50 mp digital cameras.
@@lensman5762 :-) just went to the Maco-direct website and got the same thought.
Time to break out the Chamonix F1? Tidy up the darkroom and get the Laborator1200 up and running?
Would be great to see what is possible with CMS20 and a modern Sigma Art or Zeiss lens and then make a drum scan….I assume this resembles 150 MP images.
It would be an interesting experiment.
I have some CMS 20 II but haven't shot any yet. But, your images remind me a GREAT deal of using Kodak Technical Pan at 25ASA. Tech Pan was essentially a copy film and I'll bet CMS 20 is similar. Very interesting!!
It is quite similar. I rather prefer the chromatic sensitivity of CMS, But Pan was a bit better for skin tones.
Thanks Erich. I’ve heard it is quite similar to Tech Pan.
Hello Steve,
Have you done any other videos about scanning with the G9? I've done a couple
of tests and decided there wasn't much advantage of the 80Mpx mode over using
the 40Mpx mode. I've been using the Oly 60mm macro for copy work - I like the
additional working distance over using a 30mm.
The resolution you got with that film is amazing. Thanks for this informative video.
No dedicated scanning video yet Ron, there’s plenty of other good ones out there.
I also see no improvement from the 80mp mode, just bigger file sizes 🙁
@@SteveONions agreed regardng the 80mp mode.
Brilliant video! As a con you mentioned that the film is black and white, which made me wonder about its result when trichromed.
It’s possible I suppose, not something I’ve ever tried.
Many people have already claimed 18 years ago that digital is better than film, in every way, both resolution and everything else, but this proves that film will never die. A 135 film, good scanner, so you can easily surpass most in digital when it comes to resolution.
It gives impressive results but there are so many limitations to practical use and getting the best from it.
@@SteveONions We don't need it, but we can do it, and who cares about the practicality, it is about to make the wow showoff. That's the selling point.
Another great video! Would be interested to know more info on how you converted to digital with the G9
I have the same question. Would love to see a video showing your wotkflow of scanning 35mm and 120 films.
I’m steering clear of scanning videos Stephen, already too many out there 🙂
Would be interesting to see how this turns out tri-chromed.
I just bought a couple rolls and plan to try it out. It'll also be my first time developing film but I guess I got to start somewhere.
Good luck with the shooting, it sounds interesting.
CMS 20 II ist my favorite film of all time! Actually ISO 12 is the actual speed of the film. It even says so on page 1 of the datasheet, but I Understand the confusion. That means that your exposures at ISO 12 is actually not +1, but an accurate exposure.
Steve mind blowing clarity. Sharpest I’ve seen. You made me investigate on eBay and noticed that Adox do a slide film called Scala 50 iso . Have you tried that film ? I might give that one a try myself.
That's meant to be a positive black and white film. It can be developed as normal black and white I believe, but its best used for the specific black and white reversal.
Never tried Scala but I believe it is a very sharp B&W slide film.
OMG, STEVE, You can't even imagine how I am surprised! Gonna give it a try! I am wondering how Fomapan would stand against it.
Actually, before I have seen yours video I was sure Ilford makes the sharpest bw film.
The Sigma Art 105mm (220lp/mm} and Art 40mm (200lp/mm) are the two best lenses to capture images with on this film. For scanning, either the A7R4 (240mpx composite) or Fuji gfx will extract the data. Another great video Steve!
That would make an extremely sharp print 👍
@@SteveONions I found Adox out-resolves all digital sensors on the market. I also found Acros II, shot with the same lenses, out-resolves PanF 50 and TMX 100. I wish I had tested Delta 100. Of course developing techniques impact those results:) Cheers.
Film outresolves digital and color film in particular has more sensitivity to a broader range of the color spectrum than digital does. @@jw48335
Nice work. I myself use a Nikon Coolscan V ED. And it works great. But I really have a problem with dust. You see even the slightest dust. How do you deal with this Problem? Or is the dust just out of focus with your setup?
I’m quite dust free on my office fortunately but I also use an anti static cloth at times.
Try Agfa copex rapid from macodirect, in 120 size, similiar to CMS!
Hi Steve, fantastic video - learnt a lot! I'm still new at film and photography, just wanted to ask if there was a roll of film you recommend that had similar qualities to the CMS 20 (fine grain, high res) but in colour negative?
I’m not aware of anything similar in the colour world, about the sharpest, low grain material would be Fuji Provia 100.
Incredible lack of grain in that CMS, a fantastic test of lens sharpness. And nice shots of Hamilton Square station hydraulic lift tower. (lightning conductors on the top)
Thanks Rob, I should have been more clued up on the building having worked for the Railways in Liverpool throughout the 80’s 🙂
@@SteveONions ha ha yes, well theres Woodside railwaymen in my family history way back!
Adox CMS 20 II looks an amazing film. I'd actually like to see a comparison against delta 100 which is my favourite black and white film I've used.
Same here. Ive been curious to try CMS 20 and CHS 100 vs Delta 100. But I shoot mainly 4x5 and film purchases are an investment and I already know and trust Delta...
Delta is great but I doubt it’s close to CMS 20. That said, I prefer to use Delta 100 over the Adox film in 95% of situations.
Thank you for this! BR Niels
You’re welcome Niels.
Great images as per usual. I must give it a try in my Nikon f100 with modern G lenses as well as the some of the vintage glass. What about Adox scala 50 b&w slide film?
I’m also wanting to try it with my G lenses on the F100. Never tried Scala myself.
@@SteveONions unfortunately cos 20 seems to be like hen's teeth at the minute unless you want to spend twice the cost of the film just for the p&p and get it from Austria.
What I think is interesting is this blurs the line of film vs digital. I was already dubious of the claims that film was much lower resolution than digital but I believe this surpasses a lot of modern 35mm setups. Perhaps a comparison to a very high resolution color film like velvia 50 would be in order?
I think it surpasses velvia. Not by much, of course, but velvia is giving you color information while CMS does not. In the other hand you can effectively expose in different zones and develop accordingly, while with slide is impossible. And the latitude is four stops wider.
But at the end of the day I think that they're "similar" films.
Velvia is great but not this sharp or fine grained.
Wow!! I've used their CHS-100 which also gave amazing detail but oh my handling it is a pain, even just trying to get the stuff onto the spool for developing. I'm inspired to try the CHS-20 now though!
Oh, and a question: What developer did you use?
I hate curly films Jeff. The developer was the supplied Adotech IV, very impressive.
Wow, I've seen samples of CMS before and then grainlessness of it didn't register until your comparison. Maybe I will buy a roll, not sure I have any lenses worthy of it though. Pentax Super Takumar SMC 50mm or Nikkor 50mm af-d are my sharpest.
Worth a go, just treat it carefully.
Could you expand on your method of enlarging in PS? Are you just lowering the dpi but scaling up the pixel count? Also wondering about your sharpening settings for print, that looks sharp from as close a viewing distance as possible! Incredible results with that film.
As I lacked any control over the final printing stage I just accepted 300dpi and enlarged for 45” accordingly in Photoshop. I did try the super resolution mode but it came out looking quite harsh and grainy.
Stunning images from the Adox! If you wanted to achieve even better scans with your current setup, could it be worthwhile looking at film holders that give better flatness than the DigitaLIZA scanning masks, such as the "Essential Film Holder", the "VALOI 360" (which e.g. your fellow youtuber "Pushing Film" has made extensive reviews and comparisons of), or the much more expensive FilmCopy from Kaiser?
Possibly Peter but the captures are sharp (at a grain level) from corner to corner. I’d like a better holder solution at some point but I’ll see what comes along this year 👍
@@SteveONions I fully understand. Well, the positive take on scanning is, a) you are getting excellent results already and b) you could buy a fair amount of bits and pieces to optimise your setup and still only spend a fraction of the budget for, say a Hasselblad Flextight X5 😊 Another possibility, which I believe has already been mentioned in the comments, would be to take multiple shots of each negative and then stitch them together, but I suppose it would be a rather cumbersome workflow...
I’ll go the multi-shot route for larger formats in future Peter, probably 4x5 and above.
Hi Steve! I would really like to see you do some proper darkroom prints with this adox film, with digital i simply don't think you'll be able to get the most out of it.
My darkroom setup isn’t up to the job sadly Joseph although I may try a couple of 24x16’s if I can take a decent shot with that stuff!
Ha ! Thumb up before watching. Prints ! Content with real photographs ( always not enough on the internet ) 🙂
fantastic! BTW are they not lightning conductors on the roof not aerials? results better than my 5D Mk IV shame there isn't a 120 version
They are indeed lightening conductors Malcolm 🙂
Interesting! Just curious, as your Panasonic G9 gives 40MP images, have you given up using your Minolta film scanner? I also wonder what Pan-F would do if pull processed to those speeds.
Overall I slightly prefer the look from the Minolta but it is a lot slower to do the whole roll. Even pulling Pan F would not get make much difference, possibly running it through Perceptol would reduce the grain but also the sharpness.
Recently found your channel and I'm devouring your back catalog. This makes me want to try this film out. It's incredibly cheap at B&H, $8 USD for a roll of 36 at the time of writing this comment. Looks like there's a special developer for it, which claims to get better tonality and true film speed. Did you use that stuff or were you developing in something like HC-110?
I've become a lot less averse to "low resolution" 35mm film and grain in general after going through a period of medium and large format snobbery. I still love MF and LF negatives for darkroom work, but I've found HP5+ in HC-110 to give a really pleasing grain that works well for some subjects, and it enlarges much more gracefully up to around 11x14 than, say, trying to print and 11x14 from a digital 6 megapixel camera.
But I gotta say, the idea of being able to make a 16x20 or potentially even larger from 35mm negatives without sacrificing the resolution is pretty compelling. I think I'm going to have to give this film a try.
Hi Andrew. I also enjoy the look of 35mm film despite also shooting formats up to 8x10.
For the Adox film I’ve only ever used their dedicated developer as I’ve jet to hear good results with anything else. Probably worth trying a few alternatives but the recommended one is excellent.
Would be interesting to see this same test with Tmax100.
Excellent content. Do you think a light yellow filter would help with the contrast or make it worst?
Hmmm, I’d say there’s an improvement in look with a yellow filter which equates to a slight boost in contrast but this is acceptable to achieve a little more separation in tones.
Lovely. Should 120 become available, I would like to try CMS with my Minolta Autocord.
Me too 😊
I managed to get a sharp, clean 30x20-inch print out of 35mm Kodak ColorPlus 200 using median stacking. I realize that's a bit of sacrilege since it eliminates the film grain, but the experiment was to see whether I could get a large print from cheap consumer film. The digital result was a beautiful ~120-megapixel master image that could have been printed considerably larger than the size I ultimately chose. The basic hybrid workflow was to shoot a number of film frames -- best with 12 or more -- then scan with the digital camera. I use Adobe's super-resolution algorithm in Lightroom to substantially increase the size of each image, followed by inverting the negatives. The files are then fed into Photoshop to align/stack/convert to smart object. The last step is to select the smart object, go to the Layer menu -> Smart Objects -> Stack Mode -> Median. And that's it.
Sounds impressive Jason 👍
Do you have a video where you explain your scanning setup? This looks so much simpler and much more practical than most other setups with these fancy camera stands.
I’ve avoided making such a video so far, maybe one day!
@@SteveONions fair enough :) Love the slow pace of your videos very much.
I love it when you do this huge enlargements. It really shows what is possible using 35mm.
How big could you go using a medium format film?
Wow that Adox film is awesome!
Would you think that a darkroom print that sice would be as good as a scan?
It would be better or worse, depending on the skill of the printer and the enlarging lens used.
I couldn’t get close to this quality with my darkroom setup, the results are a lot softer but very pleasing 👍
@@SteveONions keep I'm mind that you edited the digital picture with a sharpening mask. You could do the same in the darkroom (but that would be kinda cumbersome, I give you that).
This reminds me of kodak technical pan from decades ago.
It's very similar Jim.
Shot a friends wedding with this in 120 and a Fuji GX680 and flashbulbs. The detail was insane.
I bet that was impressive Dave.