A Highly Unlikely Kodachromic Experiment

If you have ever perused the entries of  this blog, it is readily apparent that I have a huge reverence for Kodachrome film.  And this reverence is particularly strong for the first stable emulsion that was produced between 1938 and 1962.  The colors rendered by this "Red Border Kodachrome" tend to really favor the often nostalgic settings they are used to portray.

At times, I have gone through various efforts to replicate this look, either through attempts of digital manipulation or through carefully selecting my subject matter to try to exclude as many tell-tale modern anachronisms as I can.  The results have shown hints of promise, but were largely lacking to me, and as a result, I tended to shelve the efforts.

My conclusions of my first attempts were that the best starting point to replicate this nostalgic look was a film image taken on a vintage film camera.  However, my attempts on the few other transparency films left did not render a palette close to the Kodachrome hues that I'd seen.  In fact, I'd only seen one current film that gave me a hint of a Kodachrome look.

A little while back, I tested a new camera which, despite its operational quirks, did deliver a very retro looking vignetting in its results, while still giving off a sharp central image.  I was at least impressed with this aspect of the camera, and wondered where else I might use this to my advantage.

Which leads me to this - another completely blind stab at replicating the look of Kodachrome using the following as my ingredients:

• A film not made by Eastman Kodak
• A film that is not even a transparency film
• A camera using a format for which Kodachrome was never made.
• A significant amount of foolhardy faith. 
• A limited amount of digital intervention in case the above doesn't pan out.

My film for this experiment is Fuji Pro 400H, the last color negative film made by Fuji in the 120 format, and one pretty well known for its rendering of nice green tones.  In my usual oddball way, I'm not even using it in the 120 format.  Rather, I am cutting this film down to 127 format instead.  The traditionalist in me would have cut this down to 828 instead since it was technically the first format for which the early Kodachrome was made.  However, since this is a 400 speed film instead of a 10-12 speed film like the original Kodachrome, I need to use a camera with adequate enough of a top shutter speed to accomodate such a fast film.

And just which camera might that be?  Why the Foth Derby of course, somewhat appropriate for the course since it was in production when Kodachrome was first released in the late 1930's.  The 1/500 top speed will allow this fast speed film to be used in full sun with the camera stopped down to f/16, something that would not have been possible on a Bantam. Besides, since the Foth is a half-frame 127 camera, it has a 30x40mm image size nearly identical to the 28x40mm image size of the Bantam 828 format.

A couple of lovely days over the Fathers Day Weekend in 2016 delivered some picture perfect weather, so I brought out this classic camera with its unusual film choice to see if I could get results that resembled the Kodachrome of decades past.  Here are some of the better results:

Lots to Come

I realize that posts have gotten to be erratic, but I can assure you that my enthusiasm hasn't waned, or that I'm not working on material.

In fact, I'm in the process of one of my most ambitious projects: namely that to develop color negative film myself, and it requires a lot of shooting, batching of rolls and processes to make as cost effective as I want.

The good news is that my initial attempts at it have met with success, and once I finish up this mega batch of film, I'll be able to give quite a bit more dimension to camera reviews, film reviews, and I've got a nice bit of truly quirky stuff up my sleeve that this project will help me in as well.  

For now, a sample result of self-processed film, taken on the Argus Argoflex Forty on Ektar 100.  

Stay Tuned! 

Film Fun Folio #27: Kodak Bantam Flash and Rollei Infrared 400

Periodically, I'll be posting scans of some complete rolls of film on here, showing both the good and the bad, and giving some basic information as well a little write up of the shoot as well as the reasons why I selected each camera and film.  Enjoy the trip! 

Feature #27:

Camera: ca. 1948 Kodak Bantam Flash with 48mm/f4.5 Anastar Lens.

Film: Rollei 400 Infrared

Locale: Frederick, MD.
First, let me be perfectly clear, Rollei does NOT make it's Infrared film in 828 format, but thanks to my methods, I quickly made a roll of 828 stock from a roll of 120 stock and dark loaded it into the Bantam Flash.  I took a first shot as Spring blossomed, and then the camera and film just sat, week after week, seeing no action whatsoever, until I just so happened to bring it along on a lovely day, and had about 20 spare minutes to shoot it in one shot as I strolled near Baker Park in Downtown Frederick.  Nearly all of the shots were tripod taken under an approximate EI of 12, which in this case meant a typical shutter speed of 1/50, and an aperture of f/8, (or 1/25 with an f/11 aperture) which as it turns out was usually decent enough to get a workable shot while holding the R72 over the lens.  

I hadn't quite worked out my filter holding method for this first shot. 

Square Shooter - Part II - Shooting 24mm shots on the Bantam RF

I have a tendency to like to interject idioms or expressions into my postings, and in this case, I feel the need to do a common intro theme to what is a natural pair of postings with the following theme: An Opportunity Lost is An Opportunity Gained.

Most hobby photographers (and many pros) are often well aware of the phenomenon known as GAS, or "Gear Acquisition Syndrome."  It's a tendency to want to constantly add to your inventory of photographic items, either with new cameras, new lenses, or even new accessories.  Even on a greatly reduced budget such as mine, there are cheap opportunities to add to one's collection.

When I first saw results on Lance Rothstein's "labeauratoire"site from the square format 35mm shooter known as the Minolta 24 Rapid, I had a lot of interest in picking one up when the opportunity might present itself.  However, due to some reluctance after a few too many bad rangefinder acquisitions, I dragged my feet when a cheap example popped up for sale, and someone else beat me to it.

Perusing the interwebs for other possibilities, I came across a striking suggestion to MAKE a square format camera from an 828 body.  As a huge fan of 828, the idea certainly struck a chord with me, and with some help from my buddy Mark at the Gas House, I managed to install a pair of varied mods to make this interesting idea a reality.  Each of these concepts has some uniqueness, and both have some advantages over the other. 

Have a look at this "creation" of a square shooter.

While it seems as though I've been shooting 828 cameras forever, the reality is that I've only been creating decent images from them for about 6 months.  Still, I've shot a decent amount in this 28x40mm format.  And while the film is no longer commercially produced, I'd yet to use the most common method to improvise 828 film, namely to tape 35mm film to an 828 backing, instead electing to mostly use cut down 120 stock, supplemented at times by expired "true" 828 stock.

Square Shooter - Part I - The Bantam Flash "282" Folding Camera

I have a tendency to like to interject idioms or expressions into my postings, and in this case, I feel the need to do a common intro theme to what is a natural pair of postings with the following theme: An Opportunity Lost is An Opportunity Gained.

Most hobby photographers (and many pros) are often well aware of the phenomenon known as GAS, or "Gear Acquisition Syndrome."  It's a tendency to want to constantly add to your inventory of photographic items, either with new cameras, new lenses, or even new accessories.  Even on a greatly reduced budget such as mine, there are cheap opportunities to add to one's collection.

When I first saw results on Lance Rothstein's "labeauratoire"site from the square format 35mm shooter known as the Minolta 24 Rapid, I had a lot of interest in picking one up when the opportunity might present itself.  However, due to some reluctance after a few too many bad rangefinder acquisitions, I dragged my feet when a cheap example popped up for sale, and someone else beat me to it.

Perusing the interwebs for other possibilities, I came across a striking suggestion to MAKE a square format camera from an 828 body.  As a huge fan of 828, the idea certainly struck a chord with me, and with some help from my buddy Mark at the Gas House, I managed to install a pair of varied mods to make this interesting idea a reality.  Each of these concepts has some uniqueness, and both have some advantages over the other.  

Have a look at this "creation" of a square shooter.

The 282 camera never really existed, but after "creating" one with only a minimal amount of effort, I'm at something at a loss in wondering why it didn't.

Fun with Film: Konica Impresa 50

Sometimes it is just nice to take things slow. 

Whenever I get the chance, I like to take things slow.  I have tended to actively seek out slower speed films in the hopes of getting results with minimal grain, the chance to limit depth of field in many instances, and in the case of color films, the hopeful opportunity to optimize color saturation and fidelity.

The problem is that in recent years, there are VERY few slow speed (under ISO 100) films available, particularly in color.  Velvia 50 and Cinestill 50D are about the entirety of the selection of slow speed color films available at present.  The slight silver lining to this is that slower speed films generally tend to remain more stable than their faster brethren.  I had fantastic luck with my first try with some expired Agfa Ultra 50, so I began looking for other slow speed color films with which to try my hand. Ultimately, I found a small quantity of some 15 year old Konica Impresa 50 that piqued my interest, and I picked up a few rolls on the hopes that it had remained stable. 

I'd never had the chance to try Impresa 50 when it was available in the late 1990's.  Not only was I shooting mostly color slides at the time, but I also never recall seeing it available at retail, despite reading of its introduction in photo magazines at the time.  I didn't recall what its main selling point was when I snapped up the film, and hoped for results with color saturation a notch above the typical 100 speed films. 

As it turns out, unlike Ultra 50 or Velvia 50, color saturation was not the hallmark of Impresa 50. Instead, it's selling point was a fine grain.  Still, I cut a roll down to "extended 828" size for some test shots in some sunny  Maine weather and hoped to see some decent results, though I had no idea what to expect.

I sent the film off for negative developing only, and the results that returned looked really pretty thin, which dashed most of my hopes for some really snappy color from the long-discontinued film.  Still, the film scanned with no real issues, aside from some severe color shifting towards the cooler end of the spectrum.  Sometimes I feel like I'd have more luck flying a biplane than steering a color shifted image towards neutrality, but I tried my best. Even the "auto" feature on Photoshop had challenges with the scans, so I didn't feel so bad.  The final results, good, and not so much, are laid out below. 

 My first image from Impresa 50 shows a definite lack of contrast and color, and the promoted fine grain seems to be lacking as well.

May the Foth be with you: The Derby Camera

In the digital photography era, a photographer who still collects and shoots film cameras can often feel like a kid in a candy store.  It is this feeling that tends to lead to an air of irresponsibility, particularly in the digital marketplace of online auctions.

The ease of finding interesting film cameras combined with a cheap outlay cost for acquisistion often results in the film camera collector finding themselves an owner of cameras which they may not have known about just an hour previously, leaving them the task to figure out a use, if any, for their newly found goods.

While I had heard about, and even read a bit about the Foth Derby, it was never a camera that struck me as a "must-have."  Yet, in my recently discovered interest in the 127 format, as well as my desire to shoot 127 film and come away with more shots per roll than the Agfa Billy 0 would provide, I'd given it enough consideration to place what I considered a lowball bid upon a reasonably decent example of this camera model.  When the last of the sands of the auction's hourglass had fallen down, I was the new owner of a Foth Derby, and no particular plan for it.

A camera design that has its share of genius and not-so-smart.