2018 Changes For Simple Film Lab

2018 is going to be a great year!

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:

Standardization

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!

Film Review: Lomography Lady Grey 400 B&W Film Profile

Introduction

Today, we’re going to take a look at Lomography Lady Grey 400 Film, or LOMO_BW_400. This is a high speed B&W film that comes in 35mm roll, and 120 roll. Lomography repackages emulsions from other manufacturers to sell as their own, and research on the internet shows that at one point LOMO_BW_400 was Kodak’s 400TMY2, however, as of mid-late 2017, the emulsion is the same emulsion as Foma’s Fomapan 400. In addition to Fomapan 400, this film is also repackaged as Arista.EDU Ultra 400. This review will serve as a review for all three films as they’re the same emulsion.

Development

There are many ways to develop LOMO_BW_400. If you send your film in here to Simple Film Lab, we develop LOMO_BW_400 with Kodak D-76 mixed at 1:1 for one-shot usage. The development time is 10:00 at 68 degrees Fahrenheit in a Paterson daylight tank with 1 inversion every 15 seconds. We use a 1:4 water:vinegar stop bath between development and fixing. We fix all BW films in Kodak Fixer.

Characteristic Curve

Using Simple Film Lab, here’s the characteristic curve for LOMO_BW_400:

LOMO_BW400_characteristic_curve

The scale along the bottom is exposure EVs, the scale along the left is the measured density as seen by the film scanner. The EV 0 mark is an 18% exposure card exposed correctly via an incident light reading via a Sekonic light meter through a T-Stop rated lens. Every dot along the curve is a full stop of light. As a safety measure, I’ve extended the curve by a couple of stops on both sides of the scale to account for variances in development and scanning, though the film, development process, and scanner is generally very consistent.

Exposure Guidance and Dynamic Range/Exposure Latitude

LOMO_BW_400 has a good amount of dynamic range, though by my estimate, it’s barely a 400 speed film, at least in D-76. You can safely shoot it at ISO 100-400 using the development process described above. The film base plus fog starts to happen most of the way through EV -4 and is fully clear film base by the time we hit EV -6. On the highlight side, it stops getting denser most of the way through EV +10 and doesn’t quite make it to EV +11. This gives a dynamic range of -5 to +10 EVs as a worst case.

For exposure guidance, if developing this film as described above, or if sending it in to be developed by Simple Film Lab, I recommend taking an incident light reading of the darkest part of the scene you want to retain details in and subtracting two stops of exposure from that reading. For example, if the darkest part of the scene that you want to retain detail in reads 1/125 shutter, f/4.0 at ISO 400, either set the shutter to 1/500 or close down the aperture to f/8.0, or a combination of the two to reduce the exposure by two stops.

If you don’t have a light meter, then set your camera exposure compensation to +1 stop, and that will generally result in an acceptable exposure for most situations once scanned in and density corrected.

If you want to add an additional stop of light to the shadows and push the blacks down so that they’re blacker, then you can subtract one stop from the darkest part of the scene you want to capture detail in instead of two stops. LOMO_BW_400 has enough over exposure latitude that this will still result in a good image once scanned in and density corrected for all but the highest contrast scenes.

With that being said, having good blacks requires that the film base plus fog not start to happen until EV -5 at least, so if you want that while shooting this film, then treat it like a 200 speed film and you won’t be disappointed. If you want that dreamy old time film look, then by all means, shoot it at ISO 400 or ISO 800, which will really accentuate the film fog in the blacks.

Resolution/Grain

LOMO_BW_400 has OK resolution for a 400 speed film. Lomography doesn’t publish a spec sheet for it, but Fomapan does for Fomapan 400. At 50% contrast, Fomapan 400 is about 25 line-pairs per mm of film. Putting a 135 format frame up side to side next to 400TX in Adobe Lightroom at 1:1 viewing shows that it doesn’t look to have as much spatial resolution as 400TX (both frames shot through a Sigma 35mm ART prime lens, it’s a really sharp lens). I’d rank it as ever so slightly on the softer side of middle of the road for resolution.

In terms of grain, it’s in 400TX territory as far as grain size is concerned, though 400TX grain is a bit smoother and more pleasant looking than the grain of LOMO_BW_400. In short, in 135 format, the grain is very present but not obnoxious. In medium format 120 roll, it’s significantly less visible but still there. Overall, it has a very film look to it and is quite pleasant.

I personally don’t shoot a lot of LOMO_BW_400 as it’s better suited to candids or street photography and most of what I shoot is studio work with strobes where I go for maximum resolution and/or shoot in 4×5 large format.

Sample Images

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Here’s a link to a Flickr Album of more images shot on Lomography Lady Grey, Fomapan 400, and Arista.EDU 400. I’ll add more images as I have them available.

Film Review: Kodak TMAX 400 B&W Film Profile

Introduction

Today, we’re going to take a look at Kodak Professional TMAX 400 Film, or 400TMY, which is it’s film code (for brevity, we’ll refer to it by its film code from here on out). This is a high speed B&W film that comes in 35mm roll, 120 roll, and 4×5 sheet form. Kodak released a revision to this emulsion in the early-mid 2000s that reduced it’s development time and reduced the amount of grain it had. The newer version is commonly referred to as TMY2 by the film community, but Kodaks documents still refer to it as TMY. Here in this review, we’ll refer to it as 400TMY.

Development

There are many ways to develop 400TMY. If you send your film in here to Simple Film Lab, we develop 400TMY with Kodak D-76 mixed at 1:1 for one-shot usage. The development time is 10:00 at 68 degrees Fahrenheit in a Paterson daylight tank with 1 inversion every 15 seconds. We use a 1:4 water:vinegar stop bath between development and fixing. We fix all BW films in Kodak Fixer.

Characteristic Curve

Using Simple Film Lab, here’s the characteristic curve for 400TMY:

400TMY2_characteristic_curve

The scale along the bottom is exposure EVs, the scale along the left is the measured density as seen by the film scanner. The EV 0 mark is an 18% exposure card exposed correctly via an incident light reading via a Sekonic light meter through a T-Stop rated lens. Every dot along the curve is a full stop of light. As a safety measure, I’ve extended the curve by a couple of stops on both sides of the scale to account for variances in development and scanning, though the film, development process, and scanner is generally very consistent.

Exposure Guidance and Dynamic Range/Exposure Latitude

400TMY has a very good amount of dynamic range. Following the development practice described above, the film base plus fog starts to happen most of the way through EV -5 and is fully clear film base well before we hit the end of EV -6. On the highlight side, I’ve reached the limits of how much exposure I can pump into the emulsion half way through EV +13 and can’t quite get 400TMY to EV +14 in terms of density. This gives a dynamic range of -5 to +13 EVs as a worst case.

For exposure guidance, if developing this film as described above, or if sending it in to be developed by Simple Film Lab, I recommend taking an incident light reading of the darkest part of the scene you want to retain details in and subtracting two stops of exposure from that reading. For example, if the darkest part of the scene that you want to retain detail in reads 1/125 shutter, f/4.0 at ISO 400, either set the shutter to 1/500 or close down the aperture to f/8.0, or a combination of the two to reduce the exposure by two stops.

If you don’t have a light meter, then set your camera exposure compensation to +1 stop, and that will generally result in an acceptable exposure for most situations once scanned in and density corrected.

If you want to add an additional stop of light to the shadows, then you can subtract one stop from the darkest part of the scene you want to capture detail in instead of two stops. 400TMY has enough over exposure latitude that this will still result in a good image once scanned in and density corrected for all but the highest contrast scenes.

Resolution/Grain

400TMY has very good resolution for a 400 speed film. Looking at it’s tech sheet over at Kodak Alaris shows that it is at about 80 line pairs per mm of film at a 50% contrast response. In short, it has more resolution than most lenses can project onto it, so it’s not really a limiting factor when it comes to resolution. 400TMY is my default 400 speed black and white film choice and I’ve shot a lot of it. It has enough resolution that I can see the differences in lens resolutions between the various lenses I own. I can’t say that about most other 400 speed films. 400TMY is on the stellar end of the spectrum in terms of resolution.

In terms of grain, it’s very fine grained for a 400 speed film. It’s actually not very visible until you get into scanning it at 4000+ dpi, and even then, it’s very fine. It’s not at the effectively grainless level of 100TMX, but, it has significantly finer grain compared to 400TX and to most other 400 speed films.

In 135 format, you can get into grain if scanning with enough resolution (4000+ dpi) to make a 12×18 inch print, but even at that print size for a 135 format (35mm) frame size, the grain is visible, buy really fine and pleasant. In 120 roll medium format, the grain is difficult to see with most film scanners that can scan medium format film, so is effectively grainless for most enlargements in medium format 120 roll, and non-existent in large format sheet form.

Sample Images

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Here’s a Flickr Album of images shot on 400TMY. I’ll add more images as I upload them to Flickr.