Adox CHS 100 with orange filter

Gast · 2006-04-29T15:07:44+00:00

Bei Aufnahmen auf Adox CHS 100 mit Orangefilter ist der Himmel wider erwarten komplett weißgeworden. Ich hatte den Filter bisher nur mit Tmaxen verwendet, be...

Gast

When shooting on Adox CHS 100 with an orange filter, the sky turned out completely white, contrary to expectations. I had previously only used the filter with T-Max films, where the sky turned out very dark. Is Adox more sensitive in the yellow/red spectrum than other films? And which filter is best for darkening a bright sky?

AntiLynd

CHS films are significantly less sensitive in the red spectrum than, for example, Kodak films. This is one of the characteristics that sets them out from most other films available today. This is particularly true of the 25 and 50 speeds; the 100 speed extends a little further into the red spectrum than the other two, though still less so than a TriX or Tmax. With a filter somewhere between yellow and red, you’re on the right track as far as darkening the sky is concerned, though the effect of this filter isn’t as strong, of course, when the film is only weakly sensitised in that range. You could, of course, go all out and switch to dark red to perhaps still get a bit of the desired effect, but I’d rather consider whether you wouldn’t be better off using a different film (PlusX or Forte, aka Classic Pan), not least because of the speed you’d lose in the process... Cheers Nils.

Gast

CHS films are significantly less sensitive in the red spectrum than, for example, Kodak films. This is one of the characteristics that sets them apart from most other films available today. This is particularly true of the 25 and 50 speeds; the 100 speed extends a little further into the red spectrum than the other two, though still less so than a TriX or Tmax. With a filter somewhere between yellow and red, you’re on the right track as far as darkening the sky is concerned, but of course the effect of this filter isn’t as strong when the film is only weakly sensitised in that range. You could, of course, go all out and switch to dark red to perhaps still get a bit of the desired effect, but I’d rather consider whether you wouldn’t be better off using a different film (PlusX or Forte aka Classic Pan), not least because of the speed you’d lose in the process... Cheers Nils. [right][post="7595"]<{POST_SNAPBACK}>[/post][/right]

No, that’s not true at all; that’s a logical fallacy. It simply depends on how sensitive the film is to blue light. Oceanhug, You’ve probably just developed the film for too long and it’s consequently become too steep; just try reducing the development time by 20–30% and let us know how it goes – sometimes the sky is just so blue that it’s hard to get it right. Regards Roland

skahde

When shooting on Adox CHS 100 with an orange filter, the sky turned completely white, contrary to expectations.

As Roland already wrote: Either it was over-exposed or (and this is probably what he meant) there was so much haze in the sky that a significant amount of longer-wavelength light was scattered in your direction. A pale blue sky is almost impossible to darken with a filter, as long as you don’t have IR film in the camera. Best regards, Stefan

AntiLynd

No, that’s not true at all; it’s a logical fallacy. It simply depends on how sensitive the film is to blue light.

Hmm, I suppose I’ll have to look into that again. I’d always thought that orange/red filters only make sense if the film is sufficiently sensitive in those ranges (extreme example: orthochromatic film with a dark red filter = a complete waste of time). I’d even come up with an explanation for it myself, cobbled together from unstructured bits of factual knowledge. It seemed quite plausible to me. Until just now. Now I’m so confused that I can’t make sense of it anymore, of course :ph34r:

Gast

It was actually a very hazy day with light rain and a rather grey sky. I’d rule out the development process: I developed using ATM 49 strictly according to the instructions and at exactly 20°C, and the gradient across the whole film is rather flat with subtle grey-scale gradations. Incidentally, it is indeed the case that if ADOX is less sensitive to red, orange or red filters should have an even stronger effect. Using a colour filter has the effect of emphasising the filter’s colour (so a courgette with a green filter turns white and complementary colours are blocked). Here is the image in question:

Gast

What, HTML tags aren't allowed here? Well, here's the picture

FrankJBeckmann

Hi there, sea lovers, I often have the same problem with the CHS 100. It’s not that you can’t get a nice sky with the CHS 100, but it works better when the sky is cloudy. With the CHS 50, on the other hand, I haven’t had any such problems. For me, the CHS 100 has a look all of its own, completely different from its little brothers, and I rarely like it; the pictures often look ‘harsh’ and ‘chalky’, even though the development is spot on when you check the measurements. Unfortunately, I haven’t managed to figure out what can be done about it. So, at least in 35mm format, I won’t be using the CHS 100 any more; the 50, on the other hand, I really do like.

Roman

Well, my experience has actually been quite the opposite – especially with the Efke 100 (that’s the CHS, isn’t it? – I’ll never get used to those blue ADOX codes...) you get a really lovely rendering of the clouds (even without a filter or with a light yellow (green) filter) – provided, of course, that such a scene was present when the shot was taken, i.e. white, fluffy clouds against a BLUE sky; if the whole sky is hazy and grey, neither an orange nor a red filter will help, no matter what film you use! The only solution is general overexposure in the darkroom; a hazy, overcast sky is, so to speak, a giant softbox, and distributes the sunlight beautifully and evenly; it only appears so dark to us subjectively; in reality, it’s just whitish-light grey, so even an orange filter won’t help...

AntiLynd

I've just come across an older thread on 'Red filters vs. Efke 50' in particular and 'playing around with filters' in general, which might actually be quite useful in this context. It's both insightful and somewhat amusing... http://www.fotoimpex.de/forum/index.php?showtopic=594&st=0

Gast

@Nils, Yes, if you use an orthochromatic film with a red filter now, you’ll have to expose it for ages, so it’s not really recommended (though it is possible, due to secondary densities and so on); I was actually referring to something else. In any case, the Efke 100 isn’t unsuitable for such filters; the filter achieves a certain effect and the film layers its own characteristics on top of that. @Alle! 1) In my experience, the FOTOIMPEX exposure times are often simply too long. 2) The Efke 100 is absolutely problem-free when it comes to sky detail, provided you don’t suffer from overexposure.