BEST Film for Night Photography? Cinestill 800T vs Portra 800
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- čas přidán 30. 06. 2024
- When it comes to picking a film for night photography, there are only really two choices. portra 800, or cinestill 800T. I put Cinestill 800T vs. Portra 800. I have spent some time with each film and I have some stuff to say. Throughout the video I have tons of sample images of each film for you to see. However on of these analog films performs much better than the other for night photography. In this film photography comparison I choose a clear winner!
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Fuji 200 - amzn.to/3zlDKHF
HP5 - amzn.to/3OJXSc3
Cinestill 800T - amzn.to/3qcwY2Q
Portra 160 - amzn.to/3Q92Xfh
Portra 400 - amzn.to/3RkDJvi
#35mmfilm #cinestill #filmphotography
Thanks for watching! - Zábava
If Superia 400 survives than it definitely also belongs into this completion. It’s truly great for tungsten light, night scapes, and underexposure.
foe those going all out home developing, i strongly suggest buying bulk vision 3 and load it yourself, you can wash off the remjet with a baking soda solution then process as c41, much cheaper as of aug 2023 when a roll of cinestill is 15+ dlls then 20+ for develop and scan this hobby is expensive
Thank you for your excellent review. Keep shooting and stay inspired!
Thanks Greg!
Tungsten is the metal what the glowing filament in incandescent lamps is made of. So T-films have the best color balance under the yellowish light of traditional incandescent light bulbs. Similarly Kelvin-rated LEDs may cause weird things as their light is mixed of various wavelengths, while tungsten has a clean spectrum.
Great video and was fun to watch... 😊 Thank you!
Your video was fun to watch, good feedback on each film. I agree with your assessment, Portra looks more realistic, but Cinestill looks more creative.
Thank you April! Glad you liked it!!!
My favorite film for night photography is actually Portra 400. It still produces a beautiful, more subtle light halation, along with slightly reduced contrast, I’ve had great success with it at night
good review of the two! i'm still trying to figure out the best way to use 800T with the pro-mist filter.
0:10 woah woah dont forget my baby girl lomography 800
A lot of information. You are doing great!
Thanks Mark!
The Star Wars sequel trilogy joke killed me. This was a great vid. I plan to try out both of these soon.
Thanks Christian! Love me some Star Wars. Happy shooting!
Lomo 800 is an equally brilliant film for night photography
Love how you say Hey-lation
Wait til you hear me talk about oil changes.
I like LOMOGRAPHY 800.
When using cinestill, would you use flash during the night to get that red look or would you just shoot it without flash?
personally I find 800t colors to be a bit bland unless you're shooting only neon. The better contenders would probably be Portra 800 and Lomo 800 for more general low light use. Occasionally you can still find Fuji 800 when disposables are in stock
Nice comparison. In your experience, should Cinestill be shot at 800 or 500 for better results?
I almost always shoot it at box speed. I’m usually shooting the stuff at night though and need the speed!
Which is best for a wedding reception at night indoors?
I'd say because you will want natural skin tones go with Portra 800
What about shooting indoor during daytime, portraits for instance? Which film would your recommend?
Portra 800 - with the caveat that if the indoor lights are tungsten balanced, Cinestill could still work.
I seen you’re from Eastern Kentucky and you had some shots in Louisville by my studio. I own Hype Studios Production here. You should come by sometime. I shoot 99% film and got a lot of toys as well.
Brilliant
Thanks!
Silbersalz also makes tungsten balanced 35mm film. :)
It’s the same thing. Just vision 3 500T. There are several people doing the Cinestill thing now and repackaging Vision 3 film. Doomo made makes one as well, Reflex 800T, but it’s all the same stuff.
@@Overexposed1 Not quite, Silbersalz still has the remjet layer and has to be developed in ECN-2. But yes, it is essentially Vision 3 of course.
Avec la pellicule du petit amateur, on arrive a faire beaucoup, mais avec la pellicule du professionnel, on arrive à avoir les couleurs et les ambiances et aussi une certaine qualité. Que ce soit du négatif ou de la diapositive. A partir du moment où on reste avec le couplage vitesse diaphragme, sans aller aux limites du couplage, on aura de très bons résultats. Avec une très bonne pellicule, voir que les couleurs avec le temps ne virent pas dans le papier ou le film, et avoir toujours de bonnes couleurs, pareil pour la diapositive. Pour le film type
lumière artificielle, sans aucun filtre, on aura aussi de l'ambiance sans aucune dominante pour l'incandescence. Si pour une raison vous devez faire des photos en lumière du jour, mettre un filtre lumière du jour, et le laisser le temps de faire le reste ou la pellicule entière, sans cela forte dominante bleue. Si vous revenez à l'incandescence sans le filtre, à côté d'une fenêtre, vous comprendrez ce que je veux dire.
lol it’s not even a contest
Win-Win for Kodak...
I’ve always loved night photography too, in part because your subject is usually not people, and that allows you to use longer exposures. I wish you’d consider throwing more twilight shots into your samples, because they can be very interesting. Twilight gives you the best possible backlighting, such that you still need artificial light for your subject, unless the sky is the subject like for sunrises or sunsets. If you want to make a building like your house or a small country store look really dramatic, try turning on every indoor snd outdoor artificial light available that will be visible to the camera and that isn’t so strong it would overpower everything else, and take the shot at twilight.