Bill Smith's Photography

  I'm getting my sea legs with scanning 250D, the secret is, try and solve things in the scanning stage and use Lightroom the put the finishing touches on an image. I think I'm getting better at scanning at Vision 250D, it's a lot like Cinestill 400D but there's an anti halation layer courtesy the remjet.  Haven't shot much in Little Italy and I'm pondering a photo walk route, still working on it. Shooting colour in Kensington Market pulls in the neighbourhood character in as much as black and white does. Been a while since I shot with my chrome Nikkormat FTn, it was recently overhauled by Halton Camera Exchange and it feels like a new camera despite being almost 50 years old. I rolled with a Nikkor Ai 35 F2 lens and it was a perfect compliment for the environment being document.  Camera: Nikkormat FTn, Nikkor Ai 35 F2 lens.  Film: Refix Labs Spooled Eastman Kodak Vision 3 250D, processed by Graination Lab in ECN-2 Chemistry  ...

  The big alternative to traditional colour negative film is motion picture stock, in this case Kodak Vision 3 line of film in both daylight and tungstan grades and used by the kilometer by the likes of Christopher Nolan and Quentin Tarrantino. The big difference aside from the remjet layer on motion picture films to allow it to go through movie cameras is also the main reason you can't drop the likes of 50 or 250 D off at your local C-41 lab. The folks at Burlington Camera told me their lab tech at to take their Nortisu apart and flush it multiple times because of said remjet layer.  Fear not, there are options for your colour motion picture stock film processing, you can do it yourself cross processing in C-41 or a ECN-2 chemistry kit and of course getting rid of the Remjet with a pre bath. Alternately if you live in the Greater Toronto Region, you can drop off at Downtown Camera or the new lab in town, Graination  on Spadina Ave who are fast becoming one of my favourit...