One thing no one seems to mention is using a yellow filter on old vintage uncoated lenses. I shoot with a lot of vintage lenses including a 1909 (patent date) Brownie box camera once owned by the Disney family. The filter helps amp up the contrast lost by the uncoated lens because of the normal light diffusion/dispersion that happens within the glass element(s). It's the main reason modern lenses have coatings. I use Delta 100 and 400 depending on anticipated conditions. The camera does have a 3 f-stop adjustment but the shutter speed is fixed at about 1/45th of a second.
This is super interesting to hear. I think there's a lot of experimentation and all sorts of discovery that can be had, just by trying different things. For me (this filter) it was just that. Sure the XP2 becomes pretty muddy, but that's part of knowing what's what. I'll try the Delta film and see what comes of it all. I just finished the Acros and I'm looking forward to the results. Thanks for your comment, Charles.
@@TokyoGritandGrain T-Grain films have an adjusted spectral response which makes for naturally darker skies without filters. Kodak advertises it in their datasheet for TMAX. And with Delta 100 and Acros I actually have gotten comments about which filter I had used for those prints. I like not needing them because no loss of speed compensating the filter! Ironically got my Tiffen #15 for Aerochrome years ago, but with the obvious B&W use. I do like it for sunny days and cubical grain film. Never shot XP2 but HP5 has been a bit muddy too, Fomapan 100 comes out fantastic, and I naturally print with a darker grayscale nicely contrasting (Rodinal 1:50). Ended up here because I just bought a neat Light yellow for my Zeiss Ikonta - the coated Tessar is good stuff! Got an Orange #21 likewise for Aerochrome, but rarely use it nowadays. I like handheld shooting. Then for Red I never bothered thrifting, but got one of the ADOX gelatin slip on filter (check those out) which I will try with Rollei IR for dark skies unless I can lend some proper IR filter.
@@wotajared This is amazing! Heh. I look forward to trying a few more filters, but something tells me, "I'm good". But then there's the whole experience of discovery. And Fomapan 100? I definitely need to try that stock with my yellow filter. Thanks for all this info!
I use a yellow filter almost permanently on my Q2 Mono. It makes clouds and sky more contrasty but in a more subtle way than my red filter which can be incredibly dramatic with good clouds and blue skies. The yellow filter also really improves skin too, hiding blemishes etc. Mid tones on my Q2Mono are quite amazing with the yellow too.
I have a yellow filter that lives perpetually on an old box camera, my only intention was to allow for the use of ASA 100 film without overexposure. It does its thing without any noticeable effect on the photos that I could see, up until I ran a roll of Acros through it and then the effect was pretty dramatic for whatever reason. I guess because of Acros peculiar color sensitivity the effect of the yellow filter was substantially increased. For the most part the only filter I really ever use is a light green one for landscapes.
Ah. Very interesting. I finished the Acros roll yesterday and will probably develop it today. I'm looking forward to the results, honestly. Since this whole color filter experimentation is getting going, it has been super interesting to see what's happening. Thx for your comment!
Surprised it took you so long but then again I started my photography journey in 1978, before digital and always used yellow filters for my black and white photography. Never cared for green, orange and the worts of all red filters. Yellow filters make everything pop, specially for portrait photography or ... in the majority of my uses, for street photography. I fond that yellow filters don't change much in the contrasts but make everything clearer, specially when you want to make skin tones pop, makes light skin tones truly white and against a darker background people really stand out.
I'm surprised as well. Photography in school was in the mid '80s, so no digital imagery was to be found anywhere and it was cool to see what we could create straight from the street to paper in a matter of minutes. Good times, but I wish I learned a bit more back then. It would have made a few more interesting layers on this journey.Thanks for chiming in.
@@TokyoGritandGrain I had an intern out of a photography school in Paris, they teach very little in a photography school. Nothing on business, contracts, marketing, and other life saving skills. Not even how to register as a small business or a photographer. Now a days what is key is being an hybrid shooter and nothing on video and also not one part on social media marketing (but then again nothing on marketing) no proposal writing, how to approach brands. If my kids don't want to go to college, I'll be fine with it. Then again - there is so much to learn in photography, it takes a few lifetimes to learn all there is. It is what I love about it. There is always something new to learn.
Nice! Glad you picked one up. Personally I found the yellow helps out the most with portraits. Yours at the end I think proved that as her skin seemed pretty smooth and popped against the sky.
Gratz! You're SO correct on the portrait aspect of it all. I need to shoot a portrait roll in the shade, hard light, etc. to see what this lil' filter can really do. Thanks for chiming in, brother.
The pictures look very nice. I Have tried a yellow filter while doing street and its pretty pleasant. There is some sort of mid tone balancement. Looking forward in seeing the Acros version 1 follow up ✌
When I picked up an orange filter for the first time I made the colossally rookie mistake of not adjusting for the 2 stops of light it blocked. What a waste of a roll. Looks like you exposed everything great, so you're off to a better start using color filters than me!
Heh. I think I'm off to a better start. We shall see! I'm shooting ISO100 film for the next batch and I hope it's going to look good! 🤔 Fingers crossed.
Even without any benefits, I just they think look cool on the camera. I'm currently in a colour phase (after yeeeeaaars of black and white only) so I don't have a use, but I know for sure I'd be rocking one otherwise.
The Camera faire music paralyzed my brain like a flash back from a CIA acid test from the street jungles of Hanoi......eeeaaaaaa aaahhhh eggdrop soup....aahhhh
XP Super in D76?? It's a chromagenic film. It is designed for C41 colour chemistry!! No wonder the tones are a mess. 🤣 The shadows are muddy and lacking structure, detail, and interest. For heavens sake!! Have you ever bothered to read the information printed on packaging? .. on line, a book?
One thing no one seems to mention is using a yellow filter on old vintage uncoated lenses. I shoot with a lot of vintage lenses including a 1909 (patent date) Brownie box camera once owned by the Disney family. The filter helps amp up the contrast lost by the uncoated lens because of the normal light diffusion/dispersion that happens within the glass element(s). It's the main reason modern lenses have coatings. I use Delta 100 and 400 depending on anticipated conditions. The camera does have a 3 f-stop adjustment but the shutter speed is fixed at about 1/45th of a second.
This is super interesting to hear. I think there's a lot of experimentation and all sorts of discovery that can be had, just by trying different things. For me (this filter) it was just that. Sure the XP2 becomes pretty muddy, but that's part of knowing what's what. I'll try the Delta film and see what comes of it all. I just finished the Acros and I'm looking forward to the results. Thanks for your comment, Charles.
@@TokyoGritandGrain T-Grain films have an adjusted spectral response which makes for naturally darker skies without filters. Kodak advertises it in their datasheet for TMAX. And with Delta 100 and Acros I actually have gotten comments about which filter I had used for those prints. I like not needing them because no loss of speed compensating the filter!
Ironically got my Tiffen #15 for Aerochrome years ago, but with the obvious B&W use. I do like it for sunny days and cubical grain film. Never shot XP2 but HP5 has been a bit muddy too, Fomapan 100 comes out fantastic, and I naturally print with a darker grayscale nicely contrasting (Rodinal 1:50). Ended up here because I just bought a neat Light yellow for my Zeiss Ikonta - the coated Tessar is good stuff!
Got an Orange #21 likewise for Aerochrome, but rarely use it nowadays. I like handheld shooting. Then for Red I never bothered thrifting, but got one of the ADOX gelatin slip on filter (check those out) which I will try with Rollei IR for dark skies unless I can lend some proper IR filter.
@@wotajared This is amazing! Heh. I look forward to trying a few more filters, but something tells me, "I'm good". But then there's the whole experience of discovery. And Fomapan 100? I definitely need to try that stock with my yellow filter. Thanks for all this info!
I use a yellow filter almost permanently on my Q2 Mono.
It makes clouds and sky more contrasty but in a more subtle way than my red filter which can be incredibly dramatic with good clouds and blue skies.
The yellow filter also really improves skin too, hiding blemishes etc.
Mid tones on my Q2Mono are quite amazing with the yellow too.
Ah! On the Q2 Mono! Sounds excellent.
I have a yellow filter that lives perpetually on an old box camera, my only intention was to allow for the use of ASA 100 film without overexposure. It does its thing without any noticeable effect on the photos that I could see, up until I ran a roll of Acros through it and then the effect was pretty dramatic for whatever reason. I guess because of Acros peculiar color sensitivity the effect of the yellow filter was substantially increased. For the most part the only filter I really ever use is a light green one for landscapes.
Ah. Very interesting. I finished the Acros roll yesterday and will probably develop it today. I'm looking forward to the results, honestly. Since this whole color filter experimentation is getting going, it has been super interesting to see what's happening. Thx for your comment!
Surprised it took you so long but then again I started my photography journey in 1978, before digital and always used yellow filters for my black and white photography. Never cared for green, orange and the worts of all red filters. Yellow filters make everything pop, specially for portrait photography or ... in the majority of my uses, for street photography. I fond that yellow filters don't change much in the contrasts but make everything clearer, specially when you want to make skin tones pop, makes light skin tones truly white and against a darker background people really stand out.
I'm surprised as well. Photography in school was in the mid '80s, so no digital imagery was to be found anywhere and it was cool to see what we could create straight from the street to paper in a matter of minutes. Good times, but I wish I learned a bit more back then. It would have made a few more interesting layers on this journey.Thanks for chiming in.
@@TokyoGritandGrain I had an intern out of a photography school in Paris, they teach very little in a photography school. Nothing on business, contracts, marketing, and other life saving skills. Not even how to register as a small business or a photographer. Now a days what is key is being an hybrid shooter and nothing on video and also not one part on social media marketing (but then again nothing on marketing) no proposal writing, how to approach brands. If my kids don't want to go to college, I'll be fine with it. Then again - there is so much to learn in photography, it takes a few lifetimes to learn all there is. It is what I love about it. There is always something new to learn.
Very interesting video. Thank you.
Thank you.
Nice! Glad you picked one up. Personally I found the yellow helps out the most with portraits. Yours at the end I think proved that as her skin seemed pretty smooth and popped against the sky.
Gratz! You're SO correct on the portrait aspect of it all. I need to shoot a portrait roll in the shade, hard light, etc. to see what this lil' filter can really do. Thanks for chiming in, brother.
The pictures look very nice. I Have tried a yellow filter while doing street and its pretty pleasant. There is some sort of mid tone balancement. Looking forward in seeing the Acros version 1 follow up ✌
Ahoy, Marlon! Thank you. I'll dial in the use of this filter pretty quickly, I'm sure. I hope so, at least! Heh.
I’ve been testing orange & red too!
I need to do this! It's a brave new world for me. Haha!
When I picked up an orange filter for the first time I made the colossally rookie mistake of not adjusting for the 2 stops of light it blocked. What a waste of a roll. Looks like you exposed everything great, so you're off to a better start using color filters than me!
Heh. I think I'm off to a better start. We shall see! I'm shooting ISO100 film for the next batch and I hope it's going to look good! 🤔 Fingers crossed.
Even without any benefits, I just they think look cool on the camera. I'm currently in a colour phase (after yeeeeaaars of black and white only) so I don't have a use, but I know for sure I'd be rocking one otherwise.
Heh. They definitely turn some heads on the street. 😉
The Camera faire music paralyzed my brain like a flash back from a CIA acid test from the street jungles of Hanoi......eeeaaaaaa aaahhhh eggdrop soup....aahhhh
You, too? It's a flashback I'm happy to relive. Heh. That "mall music" really is awesomely bad.
3:19 Goddamn dude, now that's a fucking photograph
Cheers, man!
XP Super in D76??
It's a chromagenic film. It is designed for C41 colour chemistry!!
No wonder the tones are a mess.
🤣
The shadows are muddy and lacking structure, detail, and interest. For heavens sake!! Have you ever bothered to read the information printed on packaging? .. on line, a book?
I've been developing XP2 like this for years. Always awesome results.
I agree with what you say, but you don't have to be such a dick about it.