B/W film in summer for urban documentary project, and come kit critique please

[RezaLoghme]

A few days ago, 10 rolls of Ilford XP2 400 arrived, as I am now getting ready for my trip. Now I am having second thoughts - isn't b/w a bit unsuitable for photographs taken in summer - or, rather should I plan the project (next week is just a fact-finding rehearsal) to be done in March or October?

I am taking a 500CM as the ELX is too noisy, and a 2nd generation WLF ref. 42315, and a 50mm Distagon C in black, 2 chrome A12 backs ref. 30074, and the rubberized wide strap ref. 59080.

 

[Huub]

B&W film is perfectly suitable for an urban documentary project, also in summer.

But if the 400 iso film is suitable would depend on lightning conditions and the apertures you are planning to use. I found often that the topspeed of my Rolleiflex is at not short enough if i wanted to work with an almost open aperture. A yellow filter or 2-step ND filter might come in handy in those cases.

 

[RezaLoghme]

Thank you!

1. Why the yellow filter? I have the old, C Distagon with all its complicated drop-in filter conundrum.
2. isn't b/w a bit unsuitable for photographs taken in summer?

 

[Don_ih]

isn't b/w a bit unsuitable for photographs taken in summer?

If you think it is, then it is for you.

A yellow filter will tend to raise contrast without making anything look too strange and will also slow your lens by a stop (depends on the density of the filter).

 

[RezaLoghme]

I am asking for other people's opinion. If you don't want to share yours, so be it.

 

[koraks]

isn't b/w a bit unsuitable for photographs taken in summer?

Why on earth would it be? I don't follow your line of reasoning.
If you want an opinion (no need to be gruff with people if they point out something weird in your argumentation!): no, I don't think b&w film is inappropriate for summer.

 

[Don_ih]

Very well. What about b&w film would make it inappropriate? The answer would have to be subject matter and/or audience of the images - both of which are up to you to choose.

I almost never use colour film. B&W film is always appropriate for me. But I'm usually not taking photos of things that are defined by their colours. Nor am I seeking publication in a travel brochure. Maybe you are.

 

[Dan Daniel]

If summer means color to you, and you want to shoot 'summer' on your trip (different than 'shooting during summer') then using B&W film is going to be a problem.

Not sure what you expect people to say.

 

[Ian Grant]

Thank you!

1. Why the yellow filter? I have the old, C Distagon with all its complicated drop-in filter conundrum.
2. isn't b/w a bit unsuitable for photographs taken in summer?

B&W film is great in the Summer, there's some wonderful lighting.

Ian

 

[guangong]

What’s the problem? Load one back with color, another with BW. All depends on what is being photographed. ”Urban” includes quite a wide variety of intentions and possibilities.

 

[loccdor]

If you're shooting in summer direct sunlight with harsh shadows, then a wide latitude B&W film like XP2, HP5, Tri-X, etc. can work very well, as can lower agitation development, as can pull processing.

In this type of harsh light I would avoid thinner latitude films like Pan F or microfilms. I would also avoid Ektar, Velvia.

Portra works better in harsh sunlight than any other color film I've tried. Sensia or Ektachrome E100 work the best for slide. And HP5 for B&W. I personally don't like the look of chromogenic B&W film and never use them, but that's just my opinion. Kodak Gold 200 in 120 gives you a good balance between saturated and muted color as well.

 

[albireo]

God, XP2+ exposed at 200, shot in strong Summer light and developed in C41 - heavenly. I need to buy some more.

 

[RezaLoghme]

Why exposed at 200?

 

[loccdor]

Helps reduce the contrast between the shadows and highlights, I'd assume.

 

[Eff64]

Why exposed at 200?

I can’t figure you out. You just joined last month, have posted all these questions, not about photography but things like if you keep certain parts of your gear together, and how many cameras you have, such and such.

Also making comments like you have all this gear and are getting ready to start a photo project you have apparently been planning for awhile, but oh maybe not sure whether you can use b/w? Really?

Then someone actually gives you advice about which film they like, and how they like to rate it, and this is your answer?

 

[RalphLambrecht]

A few days ago, 10 rolls of Ilford XP2 400 arrived, as I am now getting ready for my trip. Now I am having second thoughts - isn't b/w a bit unsuitable for photographs taken in summer - or, rather should I plan the project (next week is just a fact-finding rehearsal) to be done in March or October?

I am taking a 500CM as the ELX is too noisy, and a 2nd generation WLF ref. 42315, and a 50mm Distagon C in black, 2 chrome A12 backs ref. 30074, and the rubberized wide strap ref. 59080.

I see no conflict with B&W and summer images but XP2 renders a bit soft for the typical B&W look in my opinion.For summer images FP4+ might be the better choice.

 

[Alex Benjamin]

A few days ago, 10 rolls of Ilford XP2 400 arrived, as I am now getting ready for my trip. Now I am having second thoughts - isn't b/w a bit unsuitable for photographs taken in summer - or, rather should I plan the project (next week is just a fact-finding rehearsal) to be done in March or October?

You mentioned in another post that this was to be done "Ara Güler style". He shot (mostly) black and white in Istanbul all year round, so no problem for you there. One characteristic of his style, however, is that he shot a lot either at dawn or at dusk. Contrast is high, shadows are deep, there is a dream-like quality in the landscape that appears in the background. This is what gives his photographs the "romantic" look he liked and looked for — much reminiscent of Fan Ho in that regards.

This is to say that summer is indeed excellent for black and white, especially if you are willing to get up very early.

That said, I agree with Ralph. I would have taken FP4+, a slower film, for this. 400 is practical, but to me doesn't give enough versatility regarding F-stop use in bright, if not harsh, summer light — unless you're OK with shooting everything at F/16 or f/22. On this matter, Huub's suggestion of carrying an ND filter is excellent, if you are going with the 400 ISO film.

Another reason to avoid 400 ISO films when traveling is the matter of the new airport scanners (there are a couple of threads on the subject), which, it seems, can damage fast films more than the slower ones.

BTW, it would be helpful if you told us where you are going.

 

[Pioneer]

I shoot black and white all year round but color is only a film holder away if a subject calls for it.

 

[RezaLoghme]

Good stuff

Thank you so much, lots of food for thought. Most things on earth are not rocket science, but it is extremely helpful when someone else is pointing out the obvious; my head is a mess at the moment with too many things going on.

 

[albireo]

That said, I agree with Ralph. I would have taken FP4+, a slower film, for this. 400 is practical, but to me doesn't give enough versatility regarding F-stop use in bright, if not harsh, summer light — unless you're OK with shooting everything at F/16 or f/22. On this matter, Huub's suggestion of carrying an ND filter is excellent, if you are going with the 400 ISO film.

I come from a place whose Summer light is similar to Istanbul's, just much stronger. I shoot 400 ISO film all the time in Summer and I have never, ever used f/16 or f/22 in my exposures. I also have never owned an ND filter. Probably a matter of taste in terms of target exposure. I like to pull.

Curious you'd use the word 'versatility', I love 100 ISO film, but it's 100 ISO film that doesn't give me as much versatility as 400 ISO film in strong light/handheld Summer photography.

 

[RezaLoghme]

Getting up early - when the city is still sleeping - that offers a lot of new perspectives.

 

[MattKing]

This was taken in summer, but I doubt that it answers your question:

(It is one of the Moderation team at work - and yes, I missed focus!)
If what you want from the your summer photography is colour, and that is a not an unusual thing to want, then black and white film isn't appropriate.
Which brings up the most important question - What is it you want to create with your photography?
If what you want is more like this image, then the colour may be important

 

[bluechromis]

One reason that I use colored filters like yellow or orange with B&W is that I dislike the look of a washed-out sky that can occur with using no filter. The sky has a lot of UV light that film is overly sensitive to. UV and skylight filters can help with a more neutral effect, but are not as effective. Polarizing filters can work but there may be issues with wide lenses and camera orientation with sun. For me, even with street photography there are frequently scenes that have a lot of sky, so is not just an issue for landscape.

 

[bluechromis]

In terms of film speed, there may be an argument for faster speeds. Colored filters reduce light. I think of a yellow filter reducing exposure one stop and an orange filter reducing it two stops. A polarizer causes less reduction.

If you like sharp images, a tripod is the best thing, but it is seldom suitable for street photography. The next best thing is to use a shutter speed fast enough to mitigate camera shake. There is the adage that if handheld with 50 mm, use a shutter speed where the denominator is as long as the lens. So a 50 mm lens should get 1/50 of sec., but most cameras have only 1/60 second. But that cannot be relied upon depending on your camera/lens. Frequently one needs a considerably higher shutter speed to get crisp images. This is something one can test.

Street photography often needs considerable depth of field, which means stopping down more and reducing light. When you put these constraints together: adequate shutter speed and DOF, possible light reduction from filters, one may need at least a medium-speed film. If it is overcast or at dusk, it is more so. Cityscapes often have areas of deep shadow created by buildings. It can be useful to have two camera bodies, one with slower film for bright areas and another with faster film for dark areas.

 

[RezaLoghme]

As mentioned above it is meant to be a documentary project along a storyline, not "street". B/w because i really like Ara Güler's book about Istanbul.