Macphun Tonality 2016: Exposure:Adaptive -32, Macphun Noiseless 2016: Light Preset at 100% Given the highlights within the photo, I have applied an increase in blacks to compensate for the soft contrast of the film. Kristina – Standing with sun behind her, spot meter on her face. In this image, I wanted to keep the highlights in the background, avoiding any distractions from taking away from Kristina. This was to pull the separation from the highlights on the subject only, but in my workflows I apply the change to the entire image first, then see if a mask is really needed. To bring out Kristina, a mask was applied to the Tonality adjustment. This allows us to separate the image from the background easily without any editing required, bar some subtle adjustments to slightly deepen the subject. So, how does the film fair when shooting directly towards the sun? Well, as you can see from the shot of Kristina taken on Water Street, in the Gaslight district of Vancouver, there is a beautifully soft background, while she pops out from the image due to the very good separation between the highlights and her. Macphun Noiseless 2016: Light Preset at 50% It has a relatively small area of highlights, but large ares extending from the mid range down to lowlights. Kristina – With sun to her left and majority of background in shadows.
This allows for some especially beautiful images to be created straight from the camera, which should be the plan when shooting film.Īgain, the soft effect can be enhanced with some subtle changes, in this case done in Macphun’s Noiseless to reduce the grain and Tonality to deepen the blacks, which adds to the dreamy look the film delivers. Now, I understood that the film will produce a soft feel, and that is certainly true at the highlights, while the mid to low tones are contrast softer than Kodak T-Max 100 they are still strong enough to pull the image together. When moving to the outside on a very sunny day, the film really finds it’s niche in creating very soft, highlight sensitive images, giving us ethereal, dreamy feel, of the 50’s. Macphun Noiseless 2016: Lightest Preset at 100% Very little processing is required to get the best out of the photo. Peter – With a small amount of highlights and good amount of lowlights, this is where Retropan comes into its own. I was told by Christopher from Blanco Negro that the more extreme grain can be controlled by using the matched chemicals during development. As you can see in the unprocessed image, there is a reasonable amount of grain in the shot, but with subtle use of noise reduction, the image becomes suitable for publication and enlargement. Limiting the highlights gives us reasonable contrast while still being a soft, almost nostalgic looking film. This is where those whom love dark greys and blacks will love work with the film.
#Macfun tonality torrent skin
The first shot show excellent skin toning and still having reasonable contrast. I was after somewhere that controlled the amount of light, and allowed the lowlights provide the tone of the image, and have Peter ‘pop’ out from the background. With all the insights gleaned to the nature of the film, the first portrait taken were inside a pub in Vancouver. So, on to the web and searching for Retropan I can across a section in APUG which discussed real life experiences with the film. Foma’s Website provides a good starting point for a quick summary, but I certainly needed more details. So, armed with the film and a need to know more about the characteristics of Retropan, my first task was to research just what type of images the film produced.
The research needs to extend to the film you plan to use, as well. It is now a case of planning the shot and checking all settings are correct. No more quick test shots to see if things are working. I work with digital and analogue when shooting, but I have rediscovered the joy of film photography and the discipline it demands. It was his recommendation that lead me to try Retropan, and armed with a couple of rolls, I decided to see just how good the film really was for portrait photography. I use Blanco Negro to hand develop my film, and while more expensive than lab processing of film, the owner, Christopher Reid, is one of the unsung heroes, who quietly promotes the film cause. Being an avid film photographer, I was very pleased to introduced Retropan when dropping of some film of for developing. While being at odds with itself, the title is the best way to describe Retropan 320 Soft, the film Foma released in 2015. All images and words by Alasdair Dougall.
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