Taking Inventory: Shootout unleashes artistic potentialities with 3 completely different colour movies – Kodak Portra, Fuji C200 and Fuji Velvia 100

I just lately acquired a Rollei 35 after dreaming about taking pictures for a few years with this ultra-compact digicam and its legendary sharp Carl Zeiss lens. I used to be in a position to rating fairly properly on a mildly used “Made in Germany” model at my native digicam store by buying and selling in an older Canon A1 and a 50mm lens, plus a spare Mamiya 645 1000s not utilizing the medium was doing. format physique.

I at all times attempt to run a check roll of movie by my “new” cameras to verify they really work earlier than utilizing them for something necessary, so I designed effectively Went by the interiors of the little Rollei, spooled up some Kodak Portra 400 and tossed it in my each day digicam bag.

Since I already had two different 35mm cameras loaded with completely different movie shares on the time: a Context TVS III with a Fujicolor C200 and a Voigtlander Besa R3A with a Fujichrome Velvia 100, I felt a slight comparability. Shoot could also be so as. The Context has a revered Carl Zeiss zoom lens that covers the identical focal size because the Rollei 35’s fastened Taser 40mm f/3.5. Thus, I figured I may use the shootout to not solely measure how the completely different movie emulsions rendered scenes, but additionally to match how the Taser TVS III’s Vario Sonnar T* 30-60mm f/s carried out. 3.7-6.7 stacked towards the lens.

I shot every thing at field velocity, and metered the scenes with every digicam’s inner meter. Aperture and shutter velocity differ broadly between cameras from shoot to shoot, which means that evaluating sharpness between lenses is not precisely apple-to-apples scientific.

That is very true for the lens I used on the Bessa R3A, the Nokton Basic 40mm f/1.4, which I usually shoot at bigger apertures due to how a lot gentle the Velvia 100 requires. Taking pictures at f/2 yields softer pictures than the Nocton is able to making when stopped down a bit. Nonetheless, I did handle to maintain the framing and distance-to-subject pretty constant throughout all cameras. I scanned all of the movie at residence with the Epson Perfection Professional V850 utilizing SilverFast 8 software program. I cropped the pictures in Adobe Lightroom, eliminated the mud and made minor edits.

General, I’m happy with the outcomes, particularly with my new Rollei. Take a look at pictures confirmed the Rollei 35’s performance in addition to its well-earned status as top-of-the-line compact road shooters of all time. From f/5.6-f/16 the digicam’s taser lens fully demolished every thing else.

It is so quick it is nearly unreasonable. Each time I bought a less-than-sharp picture from the Rollei, it was often as a result of I used to be taking pictures a topic nearer to three meters and estimated the gap incorrectly when focusing zones. The Vario sonar lens on the Context TVS III was additionally no-bending, with very pleasing outcomes when stopped at round f/8. Nonetheless, I discovered that the autofocus on the TVS III was hit and miss, with a number of pictures being out of focus. I am unsure if this is because of consumer error, an issue with my particular digicam, or a recognized challenge with the TVS III normally, nevertheless it was a reasonably wacky one nonetheless.

Photographs are given beneath – click on/faucet to view them in full display screen.

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The Velvia 100 pictures taken with the Bessa R3A turned out to be generally barely softer than Rollei’s Portra 400 pictures, and had been on par with the Fujicolor C200 pictures from the Context Level-and-Shoot. As I discussed earlier, a part of this is because of taking pictures on the bigger aperture with the Nocton lens, however it could additionally need to do with my scanning method.

Velvia’s transparency movie curved greater than the 2 damaging movies, and thus was not fully flat throughout scanning. I attempted to compensate for this by adjusting the peak of the scanning tray, however finally I must return and re-scan your entire roll underneath the ANR glass to completely sharpen.

Scanning and focus points apart, I feel the instance pictures nonetheless do an excellent job of exhibiting the strengths and weaknesses of every of those movie shares, and the way they deal with publicity, distinction, and colours very in another way. . Unsurprisingly, the Portra 400 had the perfect dynamic vary and a pastel-like colour profile; The Velvia 100 had the worst publicity latitude, however supplied probably the most saturated colours; And the C200 was type of Goldilocks, with a pleasant steadiness of distinction and saturation, albeit with a noticeable inexperienced forged and huge grain.

I’ve written about my fondness for the Fujicolor C200 prior to now, and I proceed to benefit from the outcomes I get from this reasonably priced client movie. It is not a standout in any specific space, and feels grainier than even the sooner Portra 400, however I really like its colour palette and gritty aesthetic.

The Portra 400’s extraordinarily forgiving Latitude was good for getting persistently well-exposed pictures from the Rollei 35’s Matchstick CDS cell meter, which I (surprisingly) discovered correct to inside ±1EV in comparison with my iPhone gentle meter app.

All pictures taken with the Bessa R3A ended up with the Velvia 100’s hallmark magenta forged, which remains to be evident within the instance pictures above, regardless of my makes an attempt to neutralize it considerably in Lightroom. In case it isn’t 100% clear by this level, the primary shot (left to proper or prime to backside) in every sequence is the Kodak Portra 400, the second is the Fujicolor C200, and the third is the Fujichrome Velvia 100.

See extra of my outcomes from this shootout and different adventures in pictures on Flickr and Instagram.

~ Isaac

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