(wow) Words Of Wonders Level 2366 Answers – Eastman 2366 ISO 6 Blue Sensitive B&W Film Review https://i0.wp.com//wp-content/uploads/2021/02/leica.jpg?fit=2000%2C1125&ssl=1 2000 1125 Sroyon Mukherjee // Sroyon Muk . wp.com//wp-content/uploads/2020/10/sroyon.jpg?fit=96%2C67&ssl=1 February 22, 2021 February 22, 2021
ISO 6 Black and White Film: “Cool”. Only sensitive to blue light: “Really?” Yellow cream film base: “Take my money!” That was more or less my thought process as I sat in the bookshop of the Photographers' Gallery in London with a 35mm roll of Eastman 2366 – the weird and wonderful film that is the subject of this review.
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Eastman 2366 is an ultra-slow black and white film with low (virtually invisible) grain, high brightness and high resolution. This may not be the ideal film for an absolute beginner or someone using a stills camera – the low ISO and blue sensitivity create some technical challenges, but they also combine to create a unique look and some fantastic reveal creative possibilities.
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Eastman Fine Grain Duplicating Positive Film 2366 – Eastman 2366 for short – is a “duplicating film designed to make master positives from black and white negatives” (according to the Kodak data sheet). In other words, ordinary black and white negatives can be “contact printed” on Eastman 2366 film to produce master positives. These positives can be reprinted on another film—Kodak offers a sister film, Eastman 2234—to produce any number of duplicate negatives.
The duplicates thus created, according to Kodak, “are distinguishable from the originals only by experienced observers.” Traditionally, machines such as the Bell & Howell continuous film printer (pictured below) were used to duplicate large quantities of film using the process described above. But film can also be loaded into 35mm cameras and used (within limits) for normal photography.
Eastman 2366 is only available in 35mm format. Bulk rolls can be purchased by special order from B&H. But luckily for casual users like me, it's also available in smaller quantities, conveniently packaged in 35mm cases. The roll I got from Photographers' Gallery, a roll of 36 exposures with the blue packaging I really like, is distributed by a Spanish company called Foto-R3.
The Eastman 2366 is also sold by the Film Photography Project as FPP Low ISO Black & White (24 exposure rolls). In the UK it can be bought from Analogue Wonderland (although I only shot the Foto-R3 version). FPP also offers another blue-sensitive ISO 6 film, but this one is made by Svema and is easily distinguished by its lavender base (blue-sensitive film and dramatic film bases seem to go hand in hand).
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Aside from a helpful review by Alex Luyckx, I could find very little information online about using the Eastman 2366 for direct shooting. I was nervous about shooting the whole roll in case I got the exposure or development all wrong, so I decided to do a sort of clip test: I would take about ten frames, that part of the roll out of camera cut (in the nappy bag of course) and zip it open.
As a result, I loaded the film into the Leica M3, finished early on Friday and went out to take some photos. But when I started, the shadows were getting longer – not ideal conditions for shooting film at ISO 6! I also used a 50mm Summicron f/2 from 1956, which, as much as I like it, is not very fast by modern standards. Even at full aperture, my shutter speed was too slow for handheld photography. You can see a hint of camera shake in the shot of the gas cylinders (taken at 1/15 sec.) and more than a hint in the close-up of the stray dog (1/8 sec.).
But in bird photography, panning at 1/15 second, the slow shutter speed creates a beautiful, dreamlike effect. I printed two copies in the darkroom and tinted one with black tea. Using unusual visuals somehow seems to inspire more experimentation in general – at least for me.
Unlike many types of standard film, the Kodak data sheet for Eastman 2366 does not provide a recommended exposure time. However, he says the recommended control range is 1.2 to 1.6 (spectrum is a measure of film contrast). I was thinking of aiming for a range of 1.4, which is in the middle of the recommended range. According to the data sheet (chart on page 2), the proper development time for Kodak D-96 developer is about 6:20 minutes at 21°C (70°F).
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However, I didn't have a D-96 at home – I was going to use a diluted 1+1 ID-11 instead – and the datasheet didn't give times for other developers. So I got one
The film stock on the Massive Dev Chart, namely Kodak Double-X, which has both D-96 and ID-11 1+1 times. I then reasoned as follows: According to the Massive Dev Chart, Kodak Double-X with ISO 250 can be rated in (a) D-96 in 7 minutes at 21°C (70°F) or (b) ID-11 1 +1 for 10 minutes at 20°C (68°F). So Kodak's recommended development time for Eastman 2366 in D-96, which is 6:20 minutes at 21°C (70°F), roughly translates to 9 minutes at 20°C (68°F) in ID- 11 1+1 .
Obviously, this is not a very scientific way of determining development time. But sometimes I follow this strategy when I can't find published times for a particular film/programmer combination, and so far it's worked for me (film is so forgiving). The clipping test I did with the first ten frames recorded with my Leica also showed that my guess (9 minutes) was not too far off. I used the same time for the rest of the role.
The negatives were quite contrasting to me, but I think the film was just designed that way. Kodak's recommended control range for Eastman 2366 is, as mentioned, 1.2 to 1.6, while for Kodak Double-X it is only 0.65 to 0.70 (a larger range indicates higher contrast).
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If you don't have all of these results, don't worry. TL;DR is that I developed Eastman 2366 in ID-11 1+1 for 9 minutes at 20°C (68°F).
When I texted my friend, who is relatively new to film photography, to tell her I was shooting ISO 6 film, her response made me laugh, “6????? You're crazy??? You shoot in the sun????Everyone with a tripod???”
A few years ago I would have reacted the same way, but lately I've been shooting on ISO 6 zoom paper on a homemade pinhole camera, so slow motion doesn't bother me. If nothing else, it feels like a luxury to be able to use a fast lens, as opposed to an aperture with an effective f/180 aperture.
That said, after the ten test shots I switched to the Minolta X-700 for the rest of the roll. I have an MD Rokkor 50mm f/1.4 lens for Minolta and realized that with super slow film like Eastman 2366 an extra stop would be a big plus over the 50mm Summicron f/2 I used for the test.
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Indeed, with a fast lens and in India, where the light is good even in winter, ISO 6 is surprisingly usable. Most of my roll was shot without a tripod. If you think about it, even in “very cloudy” weather, suggest the solar rule of 16 f/5.6 and a shutter speed of 1/6 second. This is equivalent to f/1.4 and 1/100 second, which is perfectly doable for handheld photography. In addition, you can even take portraits with a shallow depth of field in broad daylight and without resorting to a neutral density filter or stop to creatively use motion blur.
Of course, there are some limitations. ISO 6 can be a problem if your camera's ISO dial isn't that low and there's no manual option. The Leica M3 is fully manual, so I just used a metering app set to ISO 6 and dialed the exposure manually. The Minolta X-700 also has a manual option, but I used aperture priority; I set the ISO dial to its lowest setting (ISO 25) and used +2 exposure compensation, effectively rating the film at ISO 6.
My usual approach to exposition is pretty slapstick. I rarely bracket and with some of my mirrorless cameras I often “know the light”. I get by the most because I usually use Ilford HP5, which is a forgiving film with a lot of freedom. But with Eastman 2366 I was a little more careful because high contrast film requires extra care not to completely crush the shadows or blow out the highlights. I used a meter as mentioned – a phone app with a Leica and TTL metering on a Minolta – and sometimes offset or bracketed (I'll come back to this after discussing blue sensitivity, as the two are interrelated ).
Low ISO film – offered by Adox, Washi and Lomography, among others – is a fun niche in the already niche field that is film photography. But until my encounter with the Eastman 2366, I had never shot, and frankly never heard of blue-sensitive film. So before I shot this movie, I proceeded to make a few