Archived posting to the Leica Users Group, 1999/12/20
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]> So my re-focused questions are: >- With no access to a home lab, do I switch to a professional-grade >(refrigerator) film? If yes, which are recommended? Best sources and >prices? (BTW, how do you handle the stuff?) >- Do I stop messing around with minilabs for development? How to chose a >good lab in rural Oregon? Are there reasonable mail-order alternatives? >- If I move the purchase of a home darkroom up before a Summilux-M 35 (damn >things will be all snapped up, I fear), how do I achieve satisfactory >results with color? > >Thanks for input and tutalige, >John Beal II, Oregon > > Hi John, Here's what I would do: Basic idea - Minimize the variables! Whatever film you pick, find one and stick with it for a while, get to know it. See how it behaves in different lighting. Find out how it likes to be exposed. Ususally color negative likes a generous exposure. Certainly do not underexpose it. Try Fuji Superia 400. It now has the Reala extra emulsion layer. There is probably still some of the old out there. Be sure the box says "Reala technology" From my recent conversation with my Fuji rep the 800 does not have it yet, only Superia 100, 200, 400 and NPH160. You'll get best results under all lighting conditions. I just did a week long PR job and shot loads of this stuff with every kind of light there is and it did great. This would be my pick for mixed lighting. Find a good lab and stick with them. Ask them about how often they clean/replenish/calibrate. Do they have someone there who cares what their work is like? And remember - theres always B&W. I find sometimes that color just does not work for me in really poor lighting - my memory and the result just don't fit together. Expectations for color fidelity and grain need to be adjusted for the conditions! Best, Henry Ambrose