The last couple of rolls of Ektar seem to have missed the processor!
Here’s a few examples. Have to say I’m loving this film under blue skies, not so much under my favourite conditions of cloud cover with sun spots though, it always comes out flat and doesn’t pick out the sunspots at all. Not to worry, I have Velvia for that, and the newly acquired S3 of course 🙂
A while back I discovered some unused Bonusprint and Truprint films in a cupboard. Now this household last usd this sort of company at least 10 years ago, and these films have most likely been in the cupboard for longer than this. This is I should add, a cupboard in the Welsh dresser that sits next to the oil fired stove in my parents’ house. It’s warm. Curious to see just how a film can survive under challenging storage confitions, I loaded it in my OM2 and headed off up Dinorwig over 2 trips, with Fuji 160S and Ektar in the OM4 for comparison.
I may have been giggling to myself somewhat every time I threw the advance lever, but I need not have been so rash. The results came back today and you know what? I actually uite like it!
Why? Because it’s fun! It makes everything look like a still from an 80s movie, it has very strong shades of straw and subtle blues but very muted reds. I like it for some things, and I hope I can find some more For example I’d been watching the film ‘Patagonia’ and was very impressed by the colours used. (Fuji Daylight balanced moton picture stock in 16mm if you need to know). I’d wanted to create something big and open looking – and by chance one of my FG200 shots fits the bill!
Here are some comparisons:
FG200 vs 160S
FG200 vs Ektar:
For some things, I can certianly see the benefit in using the tobacco pallette of the FG200.