A follow up image to my original test of Kodak Gold 200 last year. This two panel mosaic includes the heart of Orion, the majestic Messier 42, The Great Orion Nebula. The color response of Kodak Gold 200 over the required 30 minute exposure is about as good as any other print film when exposing brighter astronomical objects.
Via Flickr:
This image was taken in early January 2011 near the beginning of a roll of Kodak Gold 200. Such as film photography is, the roll was recently completed and processed.
Two frames (vertically oriented) were exposed and combined in Autostitch. Flat fielding was done with PixInsight using DBE (Dynamic Background Extraction). Curves and levels were adjusted in Photoshop.
Pentax Spotmatic II 300mm f/4 SMC Takumar @ f/4 30 minutes exposure.
High clouds bloated the bright stars.
Highest resolution here: dl.dropbox.com/u/14557288/Orion_Mosaic.jpg
Sunday, April 10, 2011
Thursday, February 17, 2011
Kodak Announces The End of Elite Chrome 200 and E200 Professional
Recently Kodak announced the end of Elite Chrome 200 also known as ED200. It's professional sibling E200, is going out along with it. Kodak estimates that current stock levels will last until March 2011.
Because of Kodak's ISO 200 chromes ability to record faint nebulae in long exposures, it became the film of choice for many astrophotographers. These two films were the last great chrome films that were useful for astrophotography. It seems that Kodak is dumping chrome films as sales have plummeted and most photographers are making the switch to digital cameras. The economy has perhaps hastened Kodak to improve its bottom line as well. This is good news for other film companies like Fuji, who stand to gain sales as remaining chrome film shooters move to Fujichrome films as a substitute.
Kodak will likely continue to streamline its film lines with the eventuality of having one or two available emulsions for color negative, color chrome, and black & white.
Because of Kodak's ISO 200 chromes ability to record faint nebulae in long exposures, it became the film of choice for many astrophotographers. These two films were the last great chrome films that were useful for astrophotography. It seems that Kodak is dumping chrome films as sales have plummeted and most photographers are making the switch to digital cameras. The economy has perhaps hastened Kodak to improve its bottom line as well. This is good news for other film companies like Fuji, who stand to gain sales as remaining chrome film shooters move to Fujichrome films as a substitute.
Kodak will likely continue to streamline its film lines with the eventuality of having one or two available emulsions for color negative, color chrome, and black & white.
Tuesday, February 8, 2011
Test Report: Kodak's New Portra 400 Color Negative Film
Last Autumn the photographic world was buzzing with Kodak announcing a new 400 speed color negative film. This new Portra film replaces Kodak's venerable Portra 400NC and 400VC line. The first thought on my mind was whether or not this film would be good for astrophotography? The technical specs showed good sensitivity to the desireable Hydrogen alpha emission line at 656nm, a prerequisite for deep sky astrophotography.
I exposed a 120 roll of the new Portra in December and January. The usual test target this time of year- Orion. Three exposures using the Pentax 67 and the 165mm f/2.8 lens riding piggyback. SQM reading for the night of this test were 21.41 mags/sq-arc-sec. The air temperature was 20 degrees F. An average night for my location. The film was processed by Color Services in February. Negatives were scanned by myself on an Epson V600 scanner.
The film reached sky fog level very quickly. The 30 minute exposure at f/4 showed more density in the original negative versus the reciprocal exposure of 15 minutes @ f/2.8, vignetting notwithstanding. H-alpha response was fair, blue was good, but all colors seemed muted.
While the film recorded many faint features in the area, such as the Witch Head nebula near Rigel, colors were rather muted compared to a really great negative film, Superia 100. Perhaps a few tricks in post processing could bring out better detail and colors. This is a preliminary test and I suspect better results could be obtained with longer exposures. Granted, the objects in this field, with the exception of the Orion Nebula are pretty faint. Perhaps a brighter target may make this film shine. Indeed I get the feeling that this film would do well on the brighter Summer Milky Way.
Another exciting possibility for this film is the avaialbility of large format sizes. Portra 400 is available in 4x5 and 8x10! Someone ought to try it. Large format camera lenses have slower f-ratios and need fast film if used for astrophotography.
Another test for those of us that shoot under moonlight was more encouraging. Colors were very good, and very accurate. Shadow detail was very impressive. I did not do any reciprocity tests. Stephen Schaub over at The Figital Revolution has tested this film extensively and it is well worth a look to see his results.
Other photographers using this film have reported amazing ISO range. Yes ISO range. You can expose this film from ISO 100 to 1600 with very good results without pushing. Only time will tell how good the new Porta 400 will work in a variety of settings, but I am very impressed with it. Grain was the best I have seen in a 400 speed film, colors were neither saturated or muted when exposed properly. It is perhaps not the best film for astrophotography, but it is perhaps one of the best all-purpose films around. I'll be shooting more Portra and I will come back and review it again once I can expose this film under the light of Sagittarius and other summertime goodies.
I exposed a 120 roll of the new Portra in December and January. The usual test target this time of year- Orion. Three exposures using the Pentax 67 and the 165mm f/2.8 lens riding piggyback. SQM reading for the night of this test were 21.41 mags/sq-arc-sec. The air temperature was 20 degrees F. An average night for my location. The film was processed by Color Services in February. Negatives were scanned by myself on an Epson V600 scanner.
 |
| 15 minutes f/2.8 30 minutes f/4 15 minutes f/4 |
 |
| Orion - Pentax 67 165mm 30 minutes f/4 Note the Witch Head nebula right of Rigel. Not bad for 30 minutes at f/4 |
 |
| Cropped section showing detail at 1200 PPI scan. Click for 100% view. The blown highlights are not on the original negative. It is an artifact of my processing. |
While the film recorded many faint features in the area, such as the Witch Head nebula near Rigel, colors were rather muted compared to a really great negative film, Superia 100. Perhaps a few tricks in post processing could bring out better detail and colors. This is a preliminary test and I suspect better results could be obtained with longer exposures. Granted, the objects in this field, with the exception of the Orion Nebula are pretty faint. Perhaps a brighter target may make this film shine. Indeed I get the feeling that this film would do well on the brighter Summer Milky Way.
Another exciting possibility for this film is the avaialbility of large format sizes. Portra 400 is available in 4x5 and 8x10! Someone ought to try it. Large format camera lenses have slower f-ratios and need fast film if used for astrophotography.
Under the Light of the Moon
 |
| Pentax 67 45mm f/4 @ f/8 10 minutes exposure under the Gibbous Moon |
Other photographers using this film have reported amazing ISO range. Yes ISO range. You can expose this film from ISO 100 to 1600 with very good results without pushing. Only time will tell how good the new Porta 400 will work in a variety of settings, but I am very impressed with it. Grain was the best I have seen in a 400 speed film, colors were neither saturated or muted when exposed properly. It is perhaps not the best film for astrophotography, but it is perhaps one of the best all-purpose films around. I'll be shooting more Portra and I will come back and review it again once I can expose this film under the light of Sagittarius and other summertime goodies.
Sunday, January 30, 2011
Four Rolls Going Out
Four rolls going to the lab tomorrow. Two new films for testing suitablity for astrophotography, a roll of Acros with Full Moon landscapes on it, and some expired Provia 400F. The Provia is from a batch I recently acquired and needs to be tested to see if usable.
This is how film photographers get their images. No chimping, just look sharp, think, and shoot! Oh yea, ... and wait.
This is how film photographers get their images. No chimping, just look sharp, think, and shoot! Oh yea, ... and wait.
Star Trail Photography
Long exposure star trail imaging is still an advantage of film. Although methods for DSLR cameras exist, no software stitching is required with film. Expose as little or as long as you like and don't worry about chromatic noise or amplifier glow.
The image here was taken with Kodak Ektachrome 200 Professional film at an aperture of f/8 for a little over 30 minutes. The first quarter Moon illuminates the landscape.
Other films that would work equally well that are available today are Fuji Provia 100F, Kodak E100, and for Black and white work, Fuji Acros 100.
The image here was taken with Kodak Ektachrome 200 Professional film at an aperture of f/8 for a little over 30 minutes. The first quarter Moon illuminates the landscape.
Other films that would work equally well that are available today are Fuji Provia 100F, Kodak E100, and for Black and white work, Fuji Acros 100.
Sunday, November 7, 2010
Photographer to the Stars § SEEDMAGAZINE.COM
David Malin is the master of celestial photography. Many of his images inspired me in my youth. In this recent SEED magazine article, David explains the photographic process, his new book, and how he has returned to his roots; black and white film based photography.
Photographer to the Stars § SEEDMAGAZINE.COM
Photographer to the Stars § SEEDMAGAZINE.COM
Saturday, October 9, 2010
Legacy Astrophotography - The Summer Triangle
As Summer has passed and the Milky Way is slowly edging toward the west, the Great Rift is placed at the meridian come darkness. On the evening of October 2, I composed a two frame mosaic to capture the awe and beauty of the Great Rift as it plows though the Summer Triangle. Here is the results. I am very pleased with the outcome.
Two frames composed vertically with true north up. Each frame a 60 minute exposure with the Pentax 67 and 105mm @ f/4. Fujicolor Superia 100 negative film was used to capture the vista.
Two frames composed vertically with true north up. Each frame a 60 minute exposure with the Pentax 67 and 105mm @ f/4. Fujicolor Superia 100 negative film was used to capture the vista.
Subscribe to:
Posts (Atom)