I’ve updated the tech sheet for Fomapan 200 and added an official tech sheet for Fomapan 400. Both films now are developed with replenished XTOL to the ISO standard contrast 0.62, so check out the available tech sheets if sending film in to Simple Film Lab for exposure guidance and sample DNG files so you’ll know what to expect if sending film in to be processed.
It should be noted that the tech sheets are just films that we’ve officially looked at. We develop all black and white and C-41 films, so if you’ve shot film that we don’t have listed, that’s not a problem. We can still develop it and scan it in for you, we just don’t have an official position on how to expose it and such because we haven’t officially looked at it.
A walkthrough of how a still life composition of an egg is lit with studio strobes.
It’s been a while since I’ve shot anything in the studio outside of film profiles, so I thought I’d spend a couple of hours today and shoot a proper fine art/still life in black and white.
This was shot digitally, however, I also went ahead and shot a number of images on Ilford HP5+ 120 roll film.
This is obviously lit, so as a learning exercise, lets walk through the lighting set up.
I used two lights. The first and most important was the base fill light. I took full advantage of the super reflective white wall behind the camera and turned it into a giant fill light by pointing a Paul Buff White Lightning X1600 strobe at it with an umbrella reflector that throws light 180 degrees. This was metered to f/2.0.
With that done, I then took another Paul Buff White Lightning X1600 strobe, mounted a 36 inch Octo-box on it from LumoPro and placed it camera left. I positioned and rotated it until I had the light feathering right across the background and then metered it to f/8.0.
For the composition, I kept it simple. A basic white egg cup, an egg, and a seamless white paper backdrop from Savage Universal.
Once that was done, I shot it at f/16.0 on a tripod with an APS-C camera and a 50mm prime lens. The camera/lens system make is pretty irrelevant as you can do this with pretty much any camera that has a flash hot shoe and interchangeable lens.
If you want to do almost the same thing on the cheap, you can substitute the real studio strobes with smaller and significantly less expensive portable speed-lights. Put the main light behind a nice big photo umbrella, though you’ll still need a white wall. For the seamless backdrop, you can substitute a white poster board for a significant cost savings, however, it tends to have a shinier almost glossy finish than the matte finish of a real backdrop paper from Savage, so keep that in mind. You may need to use a flag (black foam board) to feather the light on the backdrop.
Just a quick note, I’ve completed and published the tech sheet for Ilford FP4+ Film.
If you send your film in to Simple Film Lab, you can now see what you’ll get if you shoot Ilford FP4+ film and send it in to us to process and scan in. Check the review out here. I’ve included a characteristic curve, a slideshow of sample images, and downloadable sample Adobe Digital Negatives of what you could get if your film was handled by us.
Kodak T-MAX 100, T-MAX 400, and TRI-X tech sheets have been updated to reflect development with replenished Kodak XTOL developer with Rotary agitation at 24 degrees C and scanning at 0.56 Contrast Index.
I’ll be uploading new sample images and making sample DNG files available over the next few days. Any film sent in to Simple Film Lab will be developed as described in the tech sheet unless requested otherwise on the development order form.
If there’s any specific films anybody would like to see tech sheets generated for, please let me know and I’ll bump it up in the queue of films to do.
We’ve updated or are in the process of updating the pages for Simple Film Lab and the new updated order form should be online and available within the next couple of days.
Here are the highlights:
We’ve introduced a new standardized film development regime based on XTOL and standardized our scanning protocol so that film you send in to us can easily be either printed onto photo sensitive paper in a darkroom, or can be scanned in using standard contrast indexes that correlate to black and white paper grades. This makes things much simpler and leads to other things listed below.
All Black and White Negative Films
We can now develop and scan in all commonly available black and white negative films in 135, 120, and 4×5 sheet formats, so send them in and get them processed! This is huge for us and we couldn’t have been able to realistically do it without standardizing our development environment.
Custom Film Development
Yep, we do that too. In addition to XTOL, you can request that your film be developed with D76, HC110, and Rodinal with custom dilutions, development temperatures, development agitation scheme, and development times. You can pretty much go nuts, though be aware that doing so can lead to unpredictable results.
Custom Film Scanning
Want your film scanned in with the equivalent of a grade 3 paper instead of the standard grade 2? No problem. We have a range of available contrast indexes that you can have your film scanned in at. It’s the digital equivalent of printing on said paper in the darkroom except you get a Digital Negative file instead. Combined with custom film development and you can get really creative if you want to.
Other File Formats
Don’t like Digital Negatives? No Problem. You can now request other formats without actually going the custom scan route.
There’s more than this, so check the Lab pages as we’ll be getting those pages updated with whats going on for 2018!