Japan Camera Hunter StreetPan 400 Film Review Published

Just a quick heads up: I’ve published the tech sheet for Japan Camera Hunter StreetPan 400 film in the Film Review/Tech Sheets section.

You can find it here.

If you send your StreetPan film in to Simple Film Lab, please refer to the tech sheet so you’ll know what to expect. It includes sample images along with downloadable DNG files to look at.

Enjoy!

Simple Film Lab Order Form Updated

Our Order Form has been updated.

There have been a couple of refinements and some additions, detailed below:

Payment Options

You can now pay via credit card, or you can pay via PayPal. Just put your PayPal address in the same spot as the credit card number, and send payment when you drop your film in the mail. I’ll correlate the payment with the email address. You can alternatively just wait for me to receive your film and send you a PayPal payment request.

Push/Pull Processing

This option has been refined to reflect a change in time (which affects film speed and contrast) in 60 second increments. If you want finer grained control over that, then you can still specify a custom time in the custom film development section.

Scanning

The default option here has been changed to develop only. If you want scans, you will have to select something. This is to reduce the amount of confusion about what type of scan you’ll be receiving. Please refer to the scan types available to see what you get with each one.

Developers

You can now request that your film be developed with a number of Ilford’s line of developers, namely, DD-X, Ilfosol S, Microphen, and Perceptol. We may add HC/LC29 in the future, but for now, this is a pretty significant increase in choice.

Lab Notes

This section is for us to communicate to you! When we send your film back to you, we also send your order form back to you. What you can expect to see here is the twin check(s) of the film you sent in, and detailed notes of your development session for future reference. This way, as you send more film in, you have a frame of reference and can request changes or tweaks from there.

Enjoy!

Ilford HP5+ Film Profile Updated

I’ve updated the Ilford HP5+ film review and moved it to its own tech page along with all the other films I’ve generated tech pages for.

Just as a reminder, if you want to use Simple Film Lab to get your film processed and scanned, please consult the published tech sheets so that you’ll know what to expect for results.

Next Up: JCH Streetpan 400

Ilford FP4+ Film Review Published

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.

Enjoy!

Updated Film Tech Sheets

Just a quick update:

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.

The tech sheets are located at:

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.

Enjoy!

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!

The Myth of Film Push Processing

“I shot it at 1600 and pushed it 2 stops! It looks great!”

I’m sure we’ve all heard this. It’s largely a myth. All films are within a third of a stop of the manufacturer’s published ISO rating in most developers.

This is extremely true of C-41 color films because the processing is standardized and the films are manufactured to conform to that processing environment. Given that, we’re not going to talk about color films. If it’s rated for ISO 100, shoot it at 100. If it’s a 400 speed film, shoot it at 400. Any lab that is worth anything can give you a wonderful scan of that film.

For black and white films, this is also largely true based on how the ISO standard prescribes determining the speed of the film which is explained very simply:

Film speeds are based on the exposure required to give a log density of 0.10 above film base plus fog (fb+f).

Keeping it simple

Terminology aside, we can say the speed of the film is determined by the amount of exposure needed to get a certain fixed amount of density above film base plus fog. For the ISO standard, that fixed density is 0.10 log density above film base plus fog. You can use a different fixed density level and you can use a different density scale and that’s totally valid except that it’s not to the ISO standard.

Where the confusion comes in is film density in the shadows or minimum density areas of the emulsion develops at different rates depending on the film developer used. The developer used along with developer temperature and time spent developing affects how much density is developed.

Push that film!

Not so fast. You see, depending on the size of the silver grains in the emulsion, you do in fact need a minimum amount of light to hit each grain so that it will develop anything at all. Believe it or not, that minimum amount of light is amazingly close to the ISO rating of the film.

So what does push processing actually do?

Simply put, push processing develops more density for the silver crystals that did get enough light to develop anything. What this does is make the density difference large enough that you can see it and gives the impression that the film is more sensitive than it actually is. In Adobe Lightroom speak, it’s the equivalent of going into the Develop Module and pulling the shadows up without changing the black level.

It does not make the film more sensitive. Once you go below that minimum exposure level, no amount of processing is going to bring more density into the emulsion. All you’ll do is develop more film fog.

So how come some films still look great pushed?

That’s because normally exposed and developed film typically has its film base plus fog at 6 stops below middle grey. That makes for some awesome blacks. If you switched over to the Exposure Index method of exposing, and under exposed the film by a stop, the film base plus fog effectively moves up by one stop to 5 stops below middle grey. This still results in totally acceptable blacks for most exposures. If you under expose by 2 stops (exposing a 400 speed film at EI 1600) the film base plus fog moves up to 4 stops below middle grey. This results in your blacks starting to look dark grey and a little muddy. This is where the push processing come in. More development time adds more density to what shadows you do have which makes the shadow areas have more contrast which to a degree counteracts the raised film base plus fog. There is a point of diminishing returns because once again, there is a minimum amount of light you need in order to develop anything above film base plus fog.

So that’s it in a nutshell. Pushing film is a myth. If you switch to a different exposure standard (like Exposure Index), then you can get a little more performance out of your film, but at the end of the day, the worst thing you can do is under expose your film.

Coming in 2017: Simple Film Lab

Photographic film has taken quite a beating in the last decade or so. Film labs have been closing left and right for quite some time now. This is quite unfortunate and something that I’ve struggled with for quite some time myself being as I’m primarily a film photographer.

This led me onto a path of processing and digitizing my own film and developing tools to do so that also give me my images in a way that is complimentary to film.

I’ve finally reached a point where I can offer my services to other film photographers.

A Few Things To Note

You shoot film because of the color and look that you get with it, not because it gives you a lot of resolution or is inexpensive. So with that being said, what do I bring to the table with Simple Film Lab that is better than the other film labs out there? If you look at what other labs charge and what I will be charging, I’m certainly not less expensive from a purely monetary stance. I also won’t really be delivering the highest of resolutions either.

In order to really take advantage of what film has to offer, one must beef up the entire imaging chain. Almost every lab I’ve looked at and tried out typically scans with a Noritsu or Frontier scanner and delivers jpegs. You hear a lot about how a Frontier scanner delivers color like this or that, and how some film scanner is beloved by x type of photographers. OK. I mean no disrespect to other film labs, however, having a process where you deliver jpegs of film scans to customers is not doing the customers or film any favors.

It’s all about the color. While I do have a dedicated 35mm film scanner that is very recent and can scan 35mm film at really high resolutions, and I do have a very high resolution flatbed scanner that can scan 120 film at crazy high resolutions, I also have a way to digitize film using a very controlled light source, with very good optics, and a reasonably high resolution imaging sensor. The setup I prefer could be called a DSLR film scanner, but it’s actually more complicated that than. Photographic film by definition is very high dynamic range, with a lot of color. When you digitize film, what you are essentially doing is taking a picture of the film emulsion. You can take the picture of the film emulsion with a dedicated film scanner, a flatbed scanner, or with a digital or film camera. It’s what you do with the digitized image after that that makes all the difference.

Typically, the color negative is inverted by either the film scanner itself, the scanning software, or manually in Adobe Photoshop. While one can get good results with that, I’ve brought my skills as a computer programmer to bear and developed code that significantly beefs up the entire imaging and color chain after digitizing to full 64 bit floating point in linear color space. What does that even mean? That means the process to turn the color negative into a color positive along with the following color modifications to get a usable image happen in very high resolution 64 bit floating point linear color space. I’d love to be able to deliver 64 bit floating point linear light images to customers, however, that is not something that any software customers would have access to really supports, so the next best thing is 16 bits per sample (or 48 bit) TIFF files in the ProPhoto color space.

Because the high precision digitization workflow requires a calibrated film profile for every film we support digitizing, Simple Film Lab will not accept any film to be processed and digitized. While we can pretty much process any C-41 film (we use standard Kodak C-41 Chemicals), the service we offer is coupled together, so when you send film in, it is to be processed and digitized. The cost therefore, might seem high per roll, but when you factor in that you’re getting processing and a very high quality film scan, and 48 bit TIFF files in the ProPhoto color space as the delivery with enough resolution to make 16×24 prints, it’s worth it, at least we think there’s a market for it.

The Plan

The plan is to start accepting processing orders for Kodak Ektar 100 film in 35mm, and 120 roll the first quarter of 2017, then add Kodak Portra 160, Portra 400, and Portra 800 in 120 roll film in the second or third quarter and add 35mm Portra 160, 400, and 800 later in the year if there is demand for it along with the 4×5 sheet versions at some point in the second half of 2017. We’re also going to keep things simple in terms of what resolutions we offer: There will really only be two options, standard resolution, and custom scan. Standard 2:3 resolution will be 7200×4800 pixels with other aspect ratios having 4800 pixels on the short side, and custom scan is exactly what it sounds like, a custom scan with an output to your specifications. The standard processing/scan target price will be $20 per roll not including shipping, and custom scan will be priced according to how much time/effort Simple Film Lab has to put in. At the end of the day, it all boils down to image processing time and who is spending that time.

All film will always be processed with fresh chemicals, and the target turnaround time will be 5-7 business days. As things pick up, we’ll be adding additional films to the catalog that we support. There are a couple of emulsions that are pretty popular with wedding photographers (Fuji 400H, looking right at you), and we do plan to support it, however, that comes with some challenges, as most labs that cater to processing/scanning that film also use Fuji Frontier scanners and already deliver pretty good results, so in that instance, the biggest issue is going to be getting customers to move away from those labs and start using Simple Film Lab instead.

Additionally, you can expect very good customer service. As my own customer, I have very high standards, and I’m a firm believer in providing very high standards to my customers. Because Simple Film Lab is a small operation, as a customer, you’ll be dealing directly with me, and it will be my eyeballs that look at every single one of your images before they’re sent to you.

In short, Simple Film Lab is the Film Lab that I would want as a customer. Keep watching this space, good things are on the way.