Lomography Berlin 400-120 Film
Our Price: £9.50 GBP100405
Berlin 120 è un film cinematografico in bianco e nero: estratto da un rullino cinematografico tedesco appositamente per la Lomography e intriso delle leggende del New German Cinema degli anni '60. Un'emulsione pancromatica valutata a ISO 400 ma in grado di essere spinta a 800, 1600 o mai 3200 pur mantenendo un livello di dettaglio impressionante. Potente, incantevole e aggiornato con una formulazione 2019.
Flessibile e suggestivo, il film Berlin 120 ti aiuterà a creare immagini cinematografiche e senza tempo.
|Colore:||B & amp; W|
Lomography è da decenni in prima linea nella rivoluzione analogica. A partire dal 1992 con alcuni studenti viennesi che si innamorarono dell'estetica di una particolare macchina fotografica sovietica, l'iconica LC-A, fondarono un movimento e un'azienda che avrebbero introdotto una nuova generazione alle gioie delle fotocamere di plastica e delle film sperimentali. Innova periodicamente nuove fotocamere per formati esistenti e talvolta ripristina formati appositamente per le loro fotocamere! - sono vibranti e creativive
Quando acquisti la tua film fotografica da noi, possiamo spedirla in tutto il Regno Unito, Europa, Stati Uniti, Nuova Zelanda, Australia e Canada, altri paesi pianificati presto! Quindi acquista oggi la tua Lomography Berlin Kino Film 120 e tuffati nel divertimento della fotografia su film Lomography di medio formato!y!
This is the first time I have used this 120 film and was keen to give it a try I am happy with the film although the weather was pretty rubbish which left the negatives with a low contrast but I have a roll of 35mm which I will use when the weather is good I developed it in xtol with the same time as for the 35mm as no time was stated for 120mm on the massive dev chart. The picture is only a quick scan on my phone.
The first time I tried this film, I wrecked it with a stupid mistake in developing. This time, I sent it to AG photo for processing, not so much because I was afraid to develop it myself, but more because I have been too busy to do my own processing.
On a recent trip to Dunkeld, I dropped a roll in my little old Afga Isolette, a ridiculously cheap camera -- most of the film I put through it costs more than the camera did. The camera has no meter or gadgets to tell you where to set the dials, so you have no choice but to figure it out according to the light and the film speed, and what you’re trying to achieve. I have ditched the neurotic habit of writing down every exposure setting of every frame. Consequently, I’ve enjoyed my photography more, although I am less certain of good results.
I am pleased with how moody this film is -- the autumnal feeling of a rainy weekend in the Hermitage Forest is certainly preserved in these images. I scanned the negatives on an Epson and made a couple of contrast adjustments in these examples, and added some split toning in the cropped one. I will be back for more of this stock.
This is a difficult film to review: the end results are pleasant and under the right conditions, the film shows wonderful potential with a lovely grain structure and a fantastic cinematic look.
Unfortunately, however, to get there, one needs to be very patient and resilient (or send it to a lab). I have been developing my own film for quite a while. So far, this one has been the most troublesome. Loading it on plastic reels is difficult and frustrating as it tends to twist and turn a lot. I also found that it needs longer fixing than other emulsions. Despite using wetting agent as normal, the film developed drying marks. The biggest surprise was the heavy curling which made the negatives impossible to scan at first (flattening the strips under a stack of books worked well). The film has a dark film base which might limit the tonal range. Of course it is perfectly possible that I just got unlucky with the two rolls I shot and developed so far.
Once dry and flat, the negatives look fine. If you are used to the classic 400 emulsions, don't be discouraged by the dark, yet thin film base; the negatives still scan nicely. That being said, the film definitely has less latitude and flexibility than HP5 or Tri-X and needs good light to shine. But if you find that golden hour sweet spot, the images come out looking great displaying a strong cinematic nostalgia and lovely cubic grain. The sample photo below was shot during golden hour and with a yellow filter attached to the lens (developed in Rodinal 1:50 for 13 min at 20°C; exposed at EI400 with adjustments for filters). The negatives without yellow/orange filters tend to look a bit too flat for my taste.
Despite the pleasant results and the cinematic look, it did not win me over. HP5 and Tri-X are more flexible emulsions, easier to develop, virtually indistructable, and deliver great, contrasty results in almost all lighting conditions. I would give the film 3.5 stars - but in absence of half stars, I will have to award 3 stars.