아날로그 필름 사진 살펴보기: 카메라, 테크닉 및 필름 스톡

조이 파미는 아날로그 필름 사진을 탐구하며 다양한 필름 스톡을 사용해 독특하고 날것 그대로의 유기적인 사진 프로세스를 실험합니다.

### 필름 사진으로의 여정: 다양한 카메라와 필름 스톡 살펴보기
* 📷 조이 파미가 동영상 시리즈에서 다양한 **카메라와 필름 스톡**을 살펴보며 영화 사진에 입문한 여정을 공유합니다.
* 🎞 이들은 니콘 F2 카메라의 **내구성**과 취미로 필름 사진에 대한 **새로운 관심사**에 대해 이야기합니다.
* 🔦 조이 파미가 니콘 F2의 **수동 조작**과 실험해 본 다양한 **필름 스톡**에 대해 이야기합니다.
* 🌈 DSLR 스캐닝 장비와 Lightroom을 사용하여 필름 네거티브를 스캔하고 편집하는 과정을 시연합니다.
* 📸 조이 파미는 다양한 필름 스톡에 대한 경험을 공유하며 각 스톡의 **고유한 특성**과 **사진 촬영 과정에 미치는 영향**에 대해 이야기합니다.

built in 1971 to 1980, the Nikon F2 has stood the test of time as being one of the most durable, rugged, uh, one of the best 35mm SLR film photography cameras out there. And in the year 2024, it is my current photography hobby, film photography. Hi, I am Joy Fami, and you may know me as a video producer here at Tesa, but I also do camera reviews on new and emerging camera technologies. I've done, uh, VR camera reviews, spatial audio, uh, new mirrorless, and new DSLRs. Lately, I've been, uh, really attracted to film photography, learning film photography and understanding it, and getting into it as a hobby. And this is what happened. I ended up with a ton of cameras here and a ton of different film stocks, but I also wanted to make an entire video series about this, about analog film photography. That's right. This will not just be a video about this Nikon F2 or about this process, but over the next several months, I will be visiting folks

talking to people exploring different cameras different film photograph stocks all to come to a head in the finale where I will load up Adam's aoflex camera and shoot a one-day build on a 35mm Motion Picture film camera but let's start with how I got here because I didn't mean for it to get like this. I have six cameras in front of me. I think I have a seven somewhere um and this happened very quickly. Uh what happened really was there was a new film stock that was released. I was I was very curious about it. I was interested in film photography. I've been interested in film photography for a while. I just haven't really made that jump um and so this new film stock came out. I wanted to try it out. I bought it and then I realized I don't have any I don't have any 35mm film cameras so uh I asked I asked around as around the office and Adam ended up having three. He had the Nikon F1 um which is the predecessor to

the F2. I think this was like 1960s, 1970s. He had the Nikon F2. And then he also had this cool little Kodak Retina camera with this accordion lens style system. I actually haven't used the Retina yet, but I have used both the F and the F2. Both are very rugged, very durable. They just feel like tanks. And this is important when it comes to mechanically operated cameras like this, where you do need something that is very accurate in what it's doing and very consistent, right? Like a shutter speed needs to be... The shutter speed needs to be... Everything needs to mechanically work perfectly over throughout the years to expose your film. And the Nikon F2 seems to be that camera. The Olympus is... I got... I have two here. I have three Olympus. Something. These came from an auction. I did an auction. A production C was closing down. They did an auction off of their cameras. And some of these have Photomic meters or light meters.

built into the camera, whereas the Nikon F2 has this block on top, which is your um, your photomic meter that helps for exposure. So this entire camera is essentially mechanical. Like, you don't need any batteries to run this thing. You can advance the next film, hit the shutter, and that'll work forever. What it does need batteries for is for this light meter, uh, which I will talk about soon. Those come, these like little cell batteries that you just undo from the bottom. But if you're in the digital world, then a lot of these things will make sense. You have your shutter button, you have your ASA or ISO, uh, adjustment dial here, which is actually different. I'll get into that in a second, your shutter speed adjustment, which is this wheel, and you had a little self-timer there in front. But now let's talk about the things that would be new to you if you're coming from the digital world, and that is, uh, let's first start with the ASA or the ISO, um, obviously on digital.

cameras. You can use that as an exposure adjustment. If you're trying to expose your image up and down, you can turn that. You can dial that around if you want to add stops to that. You cannot change that here. What this is doing is really just communicating to your light meter. Film stocks will come in an ASA or ISO. I've been using a lot of like 200 or 400, so I'm kind of stuck there. And then what this is doing is this is telling the meter how to meter the camera. I'm using a 400, and so I adjust it to 400, and now the light meter knows that that is the exposure I'm looking for. The cool thing about film is it has a lot of latitude to under or overexpose, so you can actually rate your cameras. I can say hey let's go to 200. Let's tell the light meter that I'm using 200 film, even though I'm using 400 film, and then I can overexpose my image.

basically I can. My light meter will say you're underexposed for 200. And so I will do adjustments in shutter speed or my Iris. And then I can tell the lab, Hey, I, you know, I rated this for 200. And they can, they can develop accordingly. That's one new thing. Also, the entire film process here, right, the film advance lever needs to be dialed. I'm sure everyone kind of knows that who was even tangentially exposed to a film camera at some point. And then you have your wheels for helping reverse the camera, spool it back up so you can get it developed. And then below, you have some buttons that allow you to do some double exposures if you want. But all in all, all these cameras sort of have a similar design aesthetic. I think I can at some point pick up any of these cameras and, you know, fundamentally know how to operate it because, you know, the F2, I think once you get to the 3, once you get

to more modern film photography cameras where you do have aperture priority, or you know, some automated systems. I probably would need a little bit of help, but these are all manual, and all the controls are very much accessible to you and pretty intuitive to use. But let's go talk about the light meter 'cause light meter is pretty interesting. You can actually buy and install different photomic meters to get different um different ways of reading your light. This is like a Center focus, so it's just tell me there's a little dial in there that's just sort of tell me how my Center is exposed or not if it's underexposed, uh, and that is getting data from a few different things, um, again that ISO or ASA that information is being transmitted to the meter saying that we are at 400 or 200. The shutter speed as well, will that data will be transmitted to the meter, but then you have the aperture which is a little bit trickier, right? An aperture is a lens, it's on a lens, it's not on the camera, so how do

you get that information to the light meter to know what your aperture is. That is through these little rabbit ears on the lens. They're actually screwed onto the lens lens, and they hook onto a hook that's underneath the light meter. And you calibrate that by going all the way to one end and then all the way to the other, and then it NOS. This is at 2.8, and this is at 16. And so as you move your uh your aperture around, those rabbit ears move that dial, and that dial tells the light meter what you are exposing that at. So it's pretty pretty analog really, like there's no there's no need for anything else really to be much more complicated. It's really just it hooks on and it goes. And I've even seen some Modern n lenses that have little screw adjustments for um uh installing your own little rabbit ears if you wanted to use more modern lenses. Or you can just use like a light meter, traditional light meter. I've done that a couple times.

thrown on another lens that doesn't have this whole rabbit ear system, and then I just use a light meter and sort of gauge where I'm at. And then with film, again, you have a little bit of room in the highlights and lows to sort of play around with your exposure and get something proper. There's a whole lot more to the Nikon F2, a whole lot more history, a whole lot more operation. I'm really just glossing over the basics of this thing, sort of how you would approach this if you were coming from a digital background and you were given this camera. But I will say I've had a lot of fun shooting with this thing. The light meter is very intuitive, the entire manual operation. I just I think from my background, I sort of understand. I think this could be a little bit daunting if you don't quite know exposures or if you don't quite understand. You don't quite have the language of the complete manual systems down that might be a little

bit tricky. Like an aperture priority mode would be probably easier for a lot more folks, but I think if you have any sort of moderate experience with manual operation, you should have no problem just running this thing. This has been a ton of fun to shoot with, and I can't wait to actually get to the motion picture version of this, where the stakes are a lot deeper and the film rolls are a lot bigger. Now, I'm not going to make this video at all about the digital versus analog argument. To me, there's no conversation there. It's not really about getting the best image quality. I mean, I think digital wins in most regards when it comes to operation, knowing what you're getting, quality of the image, the resolution size. This is really much more to me. It's much more about process. It is about changing the way in how I approach photography, and I think that has been the much more interesting fun thing for me to explore. I'm still going to use my digital cameras a lot of the times, but I tend to

use this for those moments that I want my process to be a little bit different, a little bit more measured, or I want um a slightly different look, something a little more raw, something more organic, uh not saying I can't get that with my digital cameras, but the process of doing that with this camera just feels much more natural and much better. That's kind of where I'm coming at this at. I still love digital, um, but I'm really having a lot of fun with these analog cameras. Now you shot your entire roll, you rounded it back up, uh, what comes next, right? You need to get developed, and I advise you not to go to your CVS's or Walgreens, um, those fast turnaround developing places. I encourage you to look around your local spot and find a film specialist, a film photography specialist. Um, we have a few here in the Bay Area that I've been using, uh, that have been doing absolute superb jobs on the processing and the, uh, the printing of our photos, but I've been just getting a lot of these processed.

into the film strips, and then I've been doing my own digital scanning, which can be done in different ways, right? You have a scan bed, you can buy a scan bed, and scan in your processed photos that way. Or you can do what I did and build a DSLR rig to give you your own digital scan. So let's go ahead and show you that process. Okay, so this is my rig that I put together for scanning all the photos that I got processed at the lab. There are 100 ways to do this. If you Google search just putting together a DSLR scanning rig, you'll find all sorts of kind of inspiration. If you have like a tripod, you can use a tripod that aims down. These are sort of the things that I had available to me, and so I built it out this way. It's not probably the highest quality. I think if I was to get photos blown up or printed, I'd probably pay for them to be digitally scanned. But for purposes of just throwing up pictures on like Instagram.

or just getting developed, so that you can play with them in Lightroom. I think this is perfectly fine. So, what we have here, from the hardware standpoint, is basically an Apple box, some pipe, and some like base that I had from an earlier project that I just screwed in the Apple box. I used ARCA plate. I have a lot of ARCA Rail and ARCA plate stuff for cameras and photography. And so, I mounted one of those rails on here so that the base here can slide up and down to get the camera as close to the film as possible. I found a 3D printed model of a film holder. You can buy these. These are all B&H. They range from like 30 to 100 bucks, depending on what size of film you have. This is for a 35mm. I decided to have one printed. I sent the file to Norm. Norm printed it out for me. If you look, there's a little slit there that the film goes into.

then the uh the little opening here that we will get the camera as close to as possible to take a a picture of that negative um and then I put a little bit of velro here just so I can keep everything together uh. I have a little external monitor here that I was using uh for just for accuracy purposes, but you don't really need that. There's some tools in here that I like to use um, and then of course a camera uh. This is the Canon R5, this is a mirrorless full-frame camera uh with a macro 100 mm lens. Now there are a few things to keep keep in mind when you start um exposing for this film uh uh we'll get into that shortly, but let me show you how I mounted. I have a little a little plate here that just snaps right onto this rig, there you go. You want to have this as level as possible with the film, basically the the sensor plane being as level with the film plane. You basically don't want any kind of abnormalities with the image.

itself, you don't want any sort of lens distortion. You don't want any sort of characteristics for lenses. Um, when possible, you want to use like a native macro lens that will give you the sharpest image all around, as opposed to having like some vignetting or some corners that sort of, you know, uh, become a little more softer. You basically want to keep the film as preserved as possible by eliminating all that stuff within the camera. So, full frame is nice 'cause a nice big image. The macro, mro, uh, macro lens will give you the sharpest, cleanest image. If you use a smaller sensor camera like a micro 4/3 or APSC, you might want to put like full-frame glass on there just so you use the center of the lens that really like is the cleanest part of that glass. Um, normally, I go with lenses that have characteristics, but for this purpose, you do not want to do that. Um, and then again, you want an easy way to sort of slide it up and down so that you can get in on.

that film. So let me show you how we set this up, and then we can go ahead and expose it. Um, I guess the last thing hardware-wise, you want a light source. I used an iPad for the first set of my film scans, and that's totally fine if you use a little bit of diffusion. Uh, you basically want something that lights up, um, a high CRI quality, so you want a good light quality. Most film lights are in like the '90s, and that's pretty good for this. Uh, and then something that's like daylight balance, so you get some nice clean light. You know how to set all of your white balance correctly so that your color rendition on the film, um, on the film scans come out sort of the most accurate. So here we have a little film light that I put some diffusion on so that you don't see the pixels. I have it set to about 60% at 5600, and again, you can buy like you can buy light boxes on like B&H or camera.

stores. These are not too expensive either, like 50 to 100 bucks. Um, and then your film holder is going to sit on that light box. So let's go ahead and turn the camera on. Now, a few things to think about when you're, uh, thinking about exposing film. First of all, you want to wear gloves so you don't get fingerprints all over your film strips. Um, but when you start exposing this stuff, again, you want the lens to be as optimized as possible. You want it to operate in the, like, the cleanest way possible. And that usually sits within like the f8, f11 range. Um, if you open up a lens too wide, sometimes lenses tend to be a little bit softer. If you close them up too much, you get lens diffraction, and those images tend to be softer. So you want something in the middle. You want a nice deep, uh, a deep depth of field so that, you know, there's going to be no chance of this becoming, um, out of focus in any spot.

I have this set to f 8 um. I have my ISO at 100 uh. For digital sensors, you get, you know, digital noise when you start uper the ISO too much. And so you want to eliminate any, any need for or any, uh, any occurrence of like noise or grain. You want all the grain to exist only on the film source that you're taking the picture of. You don't want any introduced digital grain in these images. So ISO 100, f8 for that depth of field. And then your shutter is going to sort of depend. That's going to be your exposure, your main exposure, uh, tool here. So once you have those things set up, the last thing you want to do is make sure that you are not introducing any human error into this system at all. And so, uh, that shutter speed is probably going to be pretty slow because you're using that as your exposure tool. And so I don't want my hand hitting the shutter button here to balance anything, make anything blurry. And so I have it set to a two-c timer so.

I can hit the button back up and let the thing take its picture. If you have an app, most camera manufacturers come with apps that allow you to control your stuff. You can totally use that here. It's probably the best option. But for this, I'll just use the two-second. Okay, so now we are ready to scan our first film strip. Here, I'm going to grab a piece of it. Sometimes they come these little cut sheets or they come up with one big roll. It doesn't matter. Just take your sheet and identify the dull side. You'll have like a glossy side and a dull side. You want the dull side to be facing the capture device, whether it's like a flatbed scanner or the dull side on the bottom. For this purpose, when the dull side on the top, that way will avoid any sort of glare or any reflections. Then your film strip holder will vary depending on what kind you use, but this one you essentially just want to slide it on.

through it should be about a little bit bigger than the 35mm film strip itself. And then at this point, I'm going to use my camera, get everything squared up, use my little ARCA plate here, and bring it down as close as possible. Get the entire I want as much film frame to fit the camera frame as possible. So I'm a little long there, come up a little bit. I have it set to autofocus and now that looks pretty good. Um, yeah. And then I just move along to the next sheet, the next film strip here and do the same thing. There you go. There's two images down. Uh, usually at this point, I just put on some music and just run through the rest of my film strips. And then we can jump over to Lightroom and I can show you how I process it there. Okay. So now that we have all of the film scanned into the Canon R5, I brought up Lightroom Classic here and I installed a plugin called Negative Lab Pro. This is a plugin that basically takes your negative of

your film and turns it into a positive and gives you a little bit of a UI to edit those photos with um that sort of simulate what a lab would be doing there is a a free trial on this that gives you like 20 free exposures or so but I think if you want to buy it's about 100 bucks um I've been doing it a lot so I went ahead and purchased this and installed it and you can open up that with a hotkey once you're in Lightroom classic but first I want to take a look at these scans here because you can see what is perhaps one thing I did U mistakenly when I made the film scans I didn't use a little blower you should probably have a little um little air blower um just to get dust off of the um the film you can see my film has a little bit of dust and hair and so that would have been good to blow off I can use I can use some of Lightroom uh healing brushes and stuff

to fix that, but it's always good to get as clean of a scan as possible. I have about four or five different film stocks here that I've been playing with, so let's just go through a couple, and I'll show you an example of how to use Negative Lab Pro. Once you have those negatives scanned in, the first thing you want to do is do a white balance. Negative Lab Pro has a list on their website of sort of best practices, and one of those things is taking your white balance selector after you have the raw and you brought your raw scan in. You take the white balance selector and you find the border of the image, so not where the picture is at, but where the film border is kind of around these perforations here. You sort of select one of those areas, not quite the light box that was underneath, but the film itself. So I'm going to go ahead and use the selector here. I've had kind of mixed results on these with different film stocks. It has had

changed the colors dramatically. Sometimes I found that auto white balance works better. I don't know why. If you don't have access to your border, they recommend Negative Lab Pro recommends using the auto white balance. But let's just go and use the selector as they have asked and then go and open up Negative Lab Pro by using Control Alt N on a Windows or like Control N on a PC or on a Mac. So it's going to load and you're going to see this little pop-up here. And this is mainly where you're going to be working in is this little window here. This is Negative Lab Pro v3.02. Source we used a digital camera. We did not use a scanned. The color model I'm going to keep as basic. A lot of people like the frontier Nutu. I think this is sort of what the scanning companies or the scanning, the scanning manufacturers might be. Some people prefer the frontier look. It has like a little bit of a warmer look to it, I think, nor to something else.

black and white. We'll get to black and white photos in a second here, but let's just stick with basic just to make it as simple as possible. Pre-saturation, I leave that as default, and the Border buffer here, you'll see is, um, is important, uh. What Negative Lab Pro is going to do is analyze this image and then convert it to a positive, and it needs to work with, it needs to sort of Auto-analyze the image on the screen, and so right now you can see that I have the film border exposed and the light box underneath, and we don't want that influencing what Negative Lab Pro will interpret this as, so what the Border buffer does is it basically tells it, hey, just look at this area, and you can adjust that in percentages. Here's about 6%, I think five is the default, um, three. You can see I have some border. I'm using the preview button here to, like, sort of see what is what that looks like, uh, again, this will not crop the image, this will simply just look at this area of.

the image as it makes the conversion. If I wanted to convert, if I had a whole roll of this film stock, I would take the entire thing. Select all those images below, and then you can convert all the negatives in one fell swoop. But let's go ahead and start with this one image because I have different film stocks here. Now, this is Phoenix 200. This is a wild sort of alpha or beta film stock. This was the film stock that sort of got me into it. I heard a lot of people shooting with this. It seemed very stylistic, very wild, very fun. And so I bought this film in a two pack before I even really shot anything. So this is my first roll. It's probably a terrible idea because this film is very temperamental. It's a 200 ISO, and so it wants you to rate your camera at 200. But they actually recommend, because it's such an early developmental stock, they recommend you use 100 and sort of overexpose it.

because things just fall off on the Shadows way too much um has very little l itude very large grain. You can see even for a 200 film stock, the grain is very big, very large in these Skies here. Um kind of warmer colors, a lots of Hali. We'll get to the Hali in a second, but it's a very stylized film stock and so not my best, not the best first choice for me. Um but we'll go ahead and play with it here, we'll do our best to adjust this here now. Here you have all your dials. If you've used Lightroom classic, these will all look very similar to you. Um and this isn't actually what the image when I got this film developed. I got both my processing done and I also got film prints, and this is very much not what those prints looked like, and that actually is um it's less about the film, it's less about this program, and it's more about uh you know giving due credit to the labs that develop the film.

the labs do a lot of work to sort of make your image look good. When it comes to those film stocks, it really isn't just about handing your film to a lab developer and then them handing you back a one-to-one thing of what you shot. They do their own adjustments. So finding a lab, finding a good quality lab near you, finding somebody that knows how to work with these things, knows the dials, knows what film stock you're using, and how to best adjust those things is really important because here again, this is not what it looks like. And I'm not sure that I can even get as good of a quality of what they gave me back based off of these dials here, but we'll go ahead and try. So here's your settings. Here we'll start the tone profile. This has a bunch of different things. This gives you linear lab style settings. I've generally stuck with like cinematic Rich. You can sort of shuffle through these with this arrow and just see what you like. It's a good

starting point to see what what you like. If you want like softer Shadows, something a little flatter, something a little richer, um linear gamma is sort of one that I've been landing on. But let's go ahead and let's do cinematic Rich. Let's just, uh, give this stock what it wants in a lot of style. Exposure, brightness, contrast, these will all be very familiar. Um, lights, darks, whites, blacks. You can have pre, you can adjust presets here up, up in the top right here. You'll see presets, uh, and they try to let me find it's like f Kodak gold, right? I have a couple stocks of f Kodak gold in here, which actually doesn't look terrible with the preset here. But um, these will give you presets, uh, based off of the stock that you're working on or just, um, a style. But let's go and reset that. Let's just start from start from scratch. Cinematic Rich, um, obviously it's very Overexposed. So, uh, let's go ahead and adjust the brightness down a little.

bit lower exposure now. You're working in this window here because if you look at this as a like a layer tree or a node tree, consider this being at the bottom of the node tree or the last node of not tree. Whereas, um, anything you do now in the Lightroom setting here will be adjusting that to that negative that you saw earlier. So, it was like an inverted negative, right? And so, if I increase exposure here, it's actually going to darken it because um, I'm increasing exposure to a negative, making that negative brighter, making this converted positive darker. So, we really don't want to stick, we really don't want to mess around in the Lightroom settings too much. I think if you wanted to do things like this cleanup that I wanted to do, um, I can export out like a tiff or a lossless file and then bring it back in here and then start making some adjustments. So, let's stick in here for now. I'm just going to make some quick

adjustments. I'm not going to get too precious with this. Um, yeah, everything you kind of know from your Lightroom, right? Your blacks, white, your white levels, black levels, your lights, your darks, your highlights, are your shadows, rather. Uh, and then you get to some new settings here, the lab glow, lab fade, this sort of U, you know how the highlights are treated if they want to kind of, uh, become a little bit softer, um, or just fade out the entire image to bring the overall, uh, toe of the image kind of up or down. Um, I typically keep those. I typically bring the light lab glow a little bit down just 'cause I like a little more highlights. And then you have soft high, soft lows, and you can adjust the clipping of those and how those roll off, how the highlights roll off. Uh, what white balance settings here, um, saturation, sharpen, you get all these different sharpen. Sometimes, you know, 35mm film especially can be a little bit soft, um, and so a lot of people like to

do a lab sharpen here. I believe that just does an adjustment over in the Lightroom main um the main settings here, but let's go a and keep that off, and let's let's actually jump hit apply applies that to that image, and now we can actually head over to the Lightroom um settings here, and you can see what I was talking about right bring the exposure up everything it's darker bring it down, and so colors are also a little bit different so you don't want to mess around too much in here you can do some main um some minor adjustments um you know see see what your grain is looking like if you want to clean it up uh you can here if you want to add a little bit of sharpening let's just add like a touch of sharpening uh if you really didn't want your grain the film grain that you got you can do noise it obviously um which will create a new a new version of this image that you can then manipulate more here and that's about it I mean you want

to kind of crop out these border lines. This is your chance to uh use the scale and scale that image up, maybe adjust some slight rotation, and like I said, let's heal up those dust. Okay, so let's go ahead and try a stock that is a little more common, a little less stylized, and that is the Kodak Gold 200. Um, I shot a few rolls of film with this, and I was pleasantly surprised with um, especially the lab pronouncing. So let's go ahead and try and let's go ahead and try and do one here. Um, let's take this shot of Universal Studios. Uh, we'll go ahead and do the white balance, same thing. Control Alt N, bring up Negative Lab Pro. Let's try, let's try Frontier. Let's see what happens when we do Frontier. Uh, the border looks, uh, actually the board needs a little help. Let's go six, looks good. Convert and let's see what we get. And with Kodak Gold, we can actually use the preset, um, one of the presets that

they have here so let's go up here to settings um and try out Kodak gold. We got one here, pop it in. You see it's um it's brought down those mids quite a bit, which gives it a little bit of richness and saturation, um but I might want just take that up a tad bit. Uh let's see the, let's see the brightness there. I see a little bit, um. I mean it was a pretty overcast day with a lot of, um, look like there's a lot of Greens in the highlights. Let's try and take that down just a bit and bring those greens back into the Shadows while keeping them a little bit less prominent in the highlights. Inu a little more contrast, let's bring up the, the low end a little bit. U my black level looks good but I could probably take it up just a bit so things aren't getting quite as crushed, um. My whites are looking pretty good. Now here we can do a little rollof if we wanted to so we'll do a white clip.

um soften the highlights out. You can see that in the sky, it just sort of brings them down a little bit so it's not so aggressive on the eye. All right, that's looking pretty good. I'd probably add a little bit green. I'd probably do some a little more fine-tune white balance stuff here. Take down the glow, let bring up the Fay, make it a little more vintagey look. Um, go and apply that and scale it up. There you go, um, nice tight grain structure. Um, on the low end, it was probably a little bit slow in the shutter or a little bit overexposed or underexposed. Uh, let's go do a bunch more. I'll just timelapse through the rest of these and talk a little bit about the different film stocks I used. Um, after that Phoenix run the Phoenix 100 or Phoenix 200, um, you know, it was important for me. I shot one roll, I got it developed, it was.

looking a little wonky on my end. So what I did was opened up the Phoenix sort of technical sheet. Um, you know, Harmon, the developer of this film stock, uh, was very transparent about how it was a new film stock that's being developed, and they are very much in the beta stages. And so they had a technical sheet on what they were trying to do with the film stock, its characteristics, and also some recommendations. I had to shoot with it. Even though it's a 200 rated film, um, they actually recommended to shoot at 100. And so that's what I did. In the second stock I used a little less, um, really aggressive lighting, little like. At first, I was trying to really get some, some hot, uh, hard light coming in, thinking that that was the way to shoot with it when it actually really wasn't just because of that latitude. And so, um, I picked a little bit more soft lighting scenarios. Then moving over to the Kodak gold, I just wanted to kind of understand what it was like to shoot with a more um

a more developed and a stronger foundation of a film stock in Kodak gold. Something that's a little bit more forgiving if you under or overexpose, that the labs can correct for. And some of these films can actually be rated a little bit higher than you would normally do. And so the Kodak gold, it had a little bit of room there if I really wanted to bring in a little more low-end detail. After that, I tried out the IL for black and white. I wanted to shoot some black and white photos. That was one recommended to me was a 400, so it was kind of a medium speed. So I shot a little bit of indoor, a little bit of outdoor. I really enjoyed working with the black and white, but for the time being, I still wanted to go with some heavy style. So now I chose ekar 100, which is a 100 speed, so it's pretty. It wants a lot of light. It's a very much an outdoor. All the stuff I did except for

the black and white was all daylight balance. I didn't shoot any tungsten, so everything wanted to be um somewhere in that 56 to, you know, 6,000 Kelvin range. Um, the Ektar 100 I brought to Hawaii, I figured I was going to be out in a lot of daylight, and so I brought that film stock out there and had a lot of fun with it. It really did some great work on those blues, the skies, and the um, the teals, and the blues of the ocean. Um, and then I brought into the office and shot a couple things like the, the Arri camera of Adams. I did a little portraiture session with that thing, um, and some outdoor park stuff, uh, and had a great time there. But you know, all these film stocks were, I mean, that's, this is all, you know, this sounds all very daunting, all this information, all these different stocks and what they, you're doing, but like that's sort of what was fun is, you know, you have your Kodak gold.

if you really just want a stock that you don't have to think about too much um that you want to to to shoot with that's there for you, and then all these other film stocks, all these little nuances, it's less to be about daunting or gatekeeping in any way. Like you don't need to know about all this stuff, but it's just been fun for me as a hobby to buy a film stock and figure it out, figure out what it's doing um What It Wants, What It Wants, how it's processing these different lights, these different interior light sources, right like it does daylight, but then how does it render these fluorescents or these LEDs that um you know we're so used to digital, kind of figuring that stuff out, that these film stocks render those colors and render those light qualities much different than the the digital sensor, but also across different film stocks, and so that's that's a really neat idea of grabbing a film stock and seeing what something would look like as you would light it, getting um something.

surprising something you know pleasantly surprised or just unique or odd something that you wouldn't even thought of um doing the digital route uh my last stock I I played around with uh was the lomography 800 which was um a higher speed. The highest speed film stock I used 800 um because I was shooting for a friend's wedding in uh in the city hall. The courthouse um area of San Francisco and so I brought that stock to shoot inside of there um and that was a very clean film stock even though it was 800. The highest speed it had far tighter grain structure than the Phoenix 100 uh the Phenix 200 and it had was a much cleaner look um something that they sort of they wanted in Fr for their wedding but also they did want they the reason they that they wanted me to shoot film was because um you know there are nuances and there are rawness to film that they weren't getting with their digital photographer they did have a digital photographer as the main

photographer, but then they just wanted these images as um, as sort of a little postcard, uh, imperfect postcard of this magical day for them, and that was a really fun experience to be a part of. And I, I, I can, I can understand that. Like I, I am choosing film for a different reason than they want to choose film for their wedding, um, and same goes to everybody else. It changes the process, it changes the way you look at these moments, and the way you capture these images, and that's a really cool aspect of this. Um, you know, obviously digital capture is the superior capture for both film and Motion Pictures in a lot of ways, um, but the process changes when you work with film, and that's what's so neat about it, and that's what's sort of drawing me towards playing with it more. I'm very excited to try out a bunch more stocks. I have a few stocks in mind, a few stock packages that I haven't even opened yet, um, I love trying to assess a place or a situation or a location.

that I'm shooting with a certain stock and a certain look. So, I'm going to be doing a lot more shooting with this as we explore other facets of this hobbyist world before again landing in the cave and shooting a one-day build on a 35mm motion picture film camera, which seems insane but a ton of fun. So, thank you guys for watching. I'll see you guys in the next one of these videos. Until then, keep shooting. Bye.

Adventures in 35mm Film Photography in 2024!

Adam Savage’s Tested is a content platform and community playground for makers and curious minds. On Tested.com, the highly- engaged Tested YouTube channel, and at conventions and events, dynamic makers share ideas and inspire each other to build their obsessions. Led by Adam Savage, the Tested team explores the intersection of science, popular culture, and emerging technology, showing how we are all makers. Adam also takes viewers behind the scenes of films, TV shows, theater, and museums, shining a spotlight on the craftspeople and artists who make the magic we all enjoy.

Tested is also: Norman Chan, Joey Fameli, Josh Self and Kristen Lomasney.

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시대를 초월한 니콘 F2 35mm SLR 필름 카메라

Nikon F2는 기계적인 정밀도와 일관된 작동으로 잘 알려진 내구성이 뛰어나고 견고한 35mm SLR 필름 카메라입니다.

포토미터가 내장되어 있고 주요 기능을 작동하는 데 배터리가 필요 없는 이 카메라의 독특한 디자인은 최신 디지털 카메라와 차별화됩니다.

Nikon F2로 필름 사진을 촬영할 때는 ASA/ISO를 수동으로 조정하고 필름을 전진시키고 이중 노출을 만드는 등 디지털 카메라와는 다른 프로세스를 제공합니다.

Nikon F2 필름 카메라는 조리개, 셔터 속도 및 ISO에 대한 직관적인 컨트롤을 통해 수동으로 작동합니다.

카메라의 조도계는 렌즈의 토끼 귀를 사용하여 조리개 정보를 전송하는 방식으로 보정됩니다.

디지털 카메라가 널리 보급되었음에도 불구하고 Nikon F2는 독특하고 즐거운 사진 촬영 과정을 제공하여 색다른 모습과 보다 유기적인 느낌을 제공합니다.

Nikon F2로 필름을 현상할 때는 CVS나 월그린과 같은 빠른 현상소보다는 필름 사진 전문 업체를 이용하는 것이 최상의 결과를 얻을 수 있습니다.

필름 사진 촬영을 위한 DIY DSLR 스캐닝 장비

DIY DSLR 스캐닝 장비는 Apple 박스, 파이프, 3D 프린트 필름 홀더와 같은 몇 가지 간단한 부품을 사용하여 쉽게 조립할 수 있습니다.

좋은 스캐닝 장비의 핵심은 카메라를 필름에 최대한 가까이 두고, 가장 선명한 이미지를 위해 매크로 렌즈를 사용하고, 정확한 색상 표현을 위해 확산이 있는 높은 CRI 품질의 광원을 사용하는 것입니다.

정확성을 위한 외부 모니터와 안정성을 위한 삼각대 사용은 리그의 옵션 액세서리입니다.

스캔할 때 라이트 박스와 필름 홀더를 사용하고 렌즈는 f8, ISO는 100으로 설정하여 이미지 품질을 최적화합니다.

셔터 속도를 느리게 설정하여 인적 오류를 방지하고 선명하고 초점을 맞춘 이미지를 확보하세요.

스캔한 필름을 Lightroom에서 처리할 때는 네거티브 랩 프로와 같은 플러그인을 사용하여 네거티브를 포지티브로 효율적으로 전환하고 사진을 편집하세요.

필름 네거티브 변환에 네거티브 랩 프로 사용

네거티브 랩 프로를 사용할 때 첫 번째 단계는 화이트 밸런스 셀렉터를 사용해 화이트 밸런스를 맞추거나 테두리에 접근할 수 없는 경우 자동 화이트 밸런스를 사용하는 것입니다.

이 소프트웨어를 사용하면 색상 모델 및 사전 채도와 같은 설정을 조정할 수 있으며, 이미지 분석에 초점을 맞추기 위해 테두리 버퍼를 설정하는 것이 중요합니다.

네거티브 랩 프로는 한 번에 여러 네거티브를 변환할 수 있으며 최상의 결과를 위해 다이얼을 조정할 수 있는 유연성을 제공하는 동시에 최종 결과물에서 필름 랩의 역할을 인정합니다.

현상소에서는 필름을 직접 조정하므로 다양한 필름 스톡으로 작업하는 방법을 알고 있는 품질 좋은 현상소를 찾는 것이 중요합니다.

'시네마틱 리치'와 같은 톤 프로필을 사용할 때는 밝기, 대비 및 기타 설정을 조정하여 이미지를 향상시킵니다.

연구소 설정을 적용한 후 Lightroom에서 노출, 색상, 그레인, 선명도 등을 약간 조정할 수 있습니다.

코닥 골드 200으로 필름 사진 조정 및 향상하기

이 과정에는 화이트 밸런스, 중간 톤 및 밝기를 조정하여 더욱 풍부하고 채도가 높은 이미지를 얻을 수 있습니다.

Kodak Gold 200은 로우엔드 디테일을 살리는 데 사용할 수 있는 프리셋을 제공하며 노출에 조금 더 관용을 베풀 수 있습니다.

또한 사진 작가는 각각 다른 촬영 기법이 필요하고 독특한 특성을 제공하는 Phoenix 및 ILFORD와 같은 다른 필름 스톡으로 실험했습니다.

다양한 필름 스톡으로 실험하기

이 연사는 일광부터 실내까지 다양한 환경에서 다양한 조명과 색상을 포착하기 위해 Ektar 100과 Lomography 800 등 다양한 필름 인화지를 사용했습니다.

디지털 사진과는 다른 필름 스톡 특유의 색감과 빛의 질감을 표현하는 데서 즐거움을 느꼈다고 합니다.

필름 촬영의 뉘앙스와 날것 그대로의 느낌은 디지털 사진과는 또 다른 시각으로 순간을 포착할 수 있다는 점에서 높은 평가를 받았습니다.