Antarctica & velvia 50

[AlexGard]

hi all I hope this is the right forum for this question
i am off to antarctica for work in about a week. i have stocked up on lots of film;


4x5
3 boxes of velvia 50 ($$$$$$$$$$$$$$$$)
tmax 100
ilford hp5 & fp4
portra 160
fuji acros

120
portra 160
velvia 50
provia
reala
tmax
ektar
fomapan
ilford sfx 200
kodachrome and ektachrome

now i'm wondering if any of you have advice for exposing this film in the incredibly bright and all white conditions. advice for reala 50 is to rate it at 40 or 32, but in this case would it be smarter to leave it rated to 50? or even higher again?

and for the other films, should I knock off 1 or 1/2 exposure? any other tips or tricks?

[AtlantaTerry]

120 Kodachrome?
1. didn't know they still sold it
2. you can't get any Kodachrome commercially developed anywhere on planet Earth

Your exposures will be just like anywhere else where snow is on the ground use your handheld light meter properly.

You will also have lots of blue shadows, too, so a Skylight 1A or 2A might be useful to warm up those shadows.

Assignment: if you can, try to get an exceedingly rare photograph of a polar bear eating a penguin. It could be worth a fortune and might even make the cover of National Geographic Magazine.

Tip: don't eat the yellow snow.

[Daniel Stone]

I'd take 1-2 films, MAX of each kind.... Not 4-8
if you have time to TEST before you leave, you might want to do that.
I've found I like Velvia 50(current stuff) best when rated @40ASA in CLOUDY/OVERCAST conditions(and this is basically the only time I'll use this emulsion), but again, YOU will need to TEST it yourself to see if you like what you're getting...
Shooting from the hip(especially with expensive film like Velvia 50) rarely does anyone "good". In fact most fall flat on their face because they have no understanding of the materials they're working with.
Sorry if I sound harsh, but expecting the film to do all the work for you if you "magically" expose it correctly? Sorry, it won't work that easily...
Take a few test shots(of the same subject, same lighting scenario/setup), and rate each shot differently(32asa, 40asa, 50asa, etc.) PROCESS and ASSESS your results. It might be money down the drain if you come back from your trip with nothing :(... Sad fact, but it happens to many who don't take a small amount of time to really understand their film and how they want it exposed.

-Dan

[vinny]

You need less $$$$$$$ and less film.

[gleaf]

http://photo.net/learn/nature/antarctica

Slow and medium speed films. Spot meter to help with the high reflectance of the ice snow. TLR metering cameras tend to shoot with their 'average mind set' and result in DARK photos. Traditional meter or better a spot meter so you know your contrast or lack and true light evels.
Be prepared for weather changing rapidly.

[Martin Dake]

Some of the most amazing photographs I have ever seen where taken by the photographer aboard Shackleton's expedition ship in 1914. He used glass plates and some roll film and even developed the plates and film aboard the ship. The plates/film even had to be rescued from the half sunken ship as it was breaking up and going down.

So, even with quite primitive tools and no light meter it is possible to get excellent results.

[Jody_S]

I personally would think the Velvia is too contrasty for the conditions you'll likely encounter. It doesn't have the latitude to expose a bright sunlit snowy scene with rocks & such. I would use a color negative film for the wider exposure latitude, and maybe bring a box or two of the Velvia for when the conditions are just right.

That being said, I'm jealous. It's been on my bucket list for decades, but I can't afford it unless I win the lottery, which is unlikely because I don't buy tickets.

[adelorenzo]

I would definitely use a skylight filter with any slide film. I shoot a lot of Provia 400 up here in the great white north and it tends to pick up blue/purple casts in the shadows.

I will never make the mistake again of using any kind of automatic metering. If you do, dial in +1 2/3 or even +2 stops of exposure compensation and hope for the best. Trust me when I say that gray snow completely ruins pictures.

If the scene is contrasty you can meter for shadow detail as usual but with slide film especially I usually meter off the snow and try to make sure the meter is showing 2+ stops of overexposure.

[Lachlan 717]

I'd seriously consider just shooing Ektar and doing any B&W conversion in post. If you do want to shoot B&W, I'd stick with Acros for its reciprocity characteristics.

The conditions could be the harshest you've ever shot in, so simplicity should be a primary consideration. Having to learn and/or factor in different film characteristics is fraught with danger in my opinion, especially when you're potentially in uncharted environmental conditions!

[Heroique]

Your exposures will be just like anywhere else where snow is on the ground use your handheld light meter properly.

And if you have AA's trilogy on the shelf (The Camera/The Negative/The Print), read all the instructive captions for his snowy images. This will be a useful refresher course. I say "refresher course" since, in all likelihood, you – like most of us – have already read all three books from start to finish. ;^)

[Heroique]

Also, do you currently live near snowy scenes?

If yes, go out and practice – not only exposure choices on various films (in preparation for such things as black penguins in white snow), but general technique. For example, you might learn that lubricating your darkslides will allow you to actually expose whatever film you decide to bring. Or, you might learn how useful a snorkel is when composing on a frost-prone GG. I discovered these useful tips, and several more, during photo trips in my local snowy mountains.

If no, you can still practice the set-up, composing, and take-down process while wearing thick gloves or mittens. It's like learning all over again. Try to think how else you might practice new behavior while working in a strange and potentially hostile environment.

Kind of like astronauts who train under water!

[Brian Sims]

remember to stop 1 stop down to compensate for the hole in the ozone. :)

[polyglot]

You have way too many different film types, but whatever.

Reala is 100, not 50. It works OK at 50, but once you go much more overexposed, it can go magenta.

[Shootar401]

Take one Color and one B/W emulsion, 2 of each at the most.

If I was you I would take
4x5: Provia, Portra 160, HP5 & Delta 100
120: Provia, Portra 400, HP5 and Acros

In reality I would just take my Rolliflex with Provia and HP5.

[AlexGard]

I have the books on order and hopefully they will arrive before I leave. I have been down there a bunch of times but this is the first time with film and the possibility of going back again is pretty good (work contract)

I have a red filter and a polariser that is bay 50 for my hass 500cm so fits 80mm and 150mm lenses.
I could potentially develop film on board the ship but this might be a bit awkward.
My metering technique is generally averaged spot metering between 3-5 readings and then if I'm still unsure after doing this a couple of times I'll do an ambient reading as well. This has worked so far for about 95% of the photos I've taken and has only let me down when doing long exposures and I'm unsure of reciprocity characteristics so I just bracket. I only ask because I'm totally unsure about slide film and have limited experience with it but I thank you all for your advice

[dave_whatever]

Some of the most amazing photographs I have ever seen where taken by the photographer aboard Shackleton's expedition ship in 1914. He used glass plates and some roll film and even developed the plates and film aboard the ship. The plates/film even had to be rescued from the half sunken ship as it was breaking up and going down.

So, even with quite primitive tools and no light meter it is possible to get excellent results.

Frank Hurley wasn't shooting with Velvia though!

[gleaf]

Have a retired friend who spent a season at an Argentine base as a research assistant. I remember many slides of ice snow rock blue sky and blue water. Those combinations are an interesting set of challenges to most other types of film. Surely you will not have to ride down and back on an icebreaker.

[AlexGard]

Actually thats pretty much what im doing. I work on the icebreaker

[drumlin]

Which boat? One of the NSF boats? I did 3 cruises for my masters thesis work on both the Gould and Palmer. I wasn't into film at the time so I just had a small digicam. :(

Will you be able to get off the ship much? The best photography opportunities are usually during landings in a zodiac, or at least that was always the case for me. There's so much motion and vibrations on a big vessel that you've got to be able to shoot at handheld speeds.

Also be prepared for lots of grey while at sea. We would have days and days of gloomy weather peppered with glorious sunny days.

Have fun. I miss it tremendously.

[AlexGard]

On the AAD/CSIRO ship (Aussie)
Not sure how much time I'll get to be off the ship. Most times I've been down there we've been able to go ashore/get on the ice but there's so much OHS stuff now it's really hard to run around and 'do whatever you want' and you can only really get in a zodiac if its absolutely operationally necessary (sometimes they might let you get in a chopper or a boat but its pretty uncommon). All that being said I've still come back with some awesome shots. Yeah It's pretty grey at the best of times but there's always at least one day a week that's pristine.
I've been at sea for about 6 years now. I've done 3 seasons south of 60. Best seagoing job ever IMO

[Tim Meisburger]

Lucky guy. Some of us dreamed as kids of going to sea, and Endurance (Alfred Lansing I think) is the greatest story of human..., well I guess I must say--endurance--I have ever read.

Instead I ended up in hot countries, on jets instead of boats, struggling with the Third Wave rather than the towering seas and real waves of the southern latitudes.

Good luck! And show us your stuff when you get back.

[Mitya Santiago]

Polar bears- Northern Polar regions.
Penguins- Antarctica.
Never the 'twain shall meet.

[Heroique]

Polar bears- Northern Polar regions.
Penguins- Antarctica.
Never the 'twain shall meet.

Some penguins are native to the Galapagos Islands.

Those islands extend north of the equator!

But still no chance of being eaten by a polar bear. (If there were, I'd expose for the penguin, and develop for the polar bear.)

[Jim C.]

Stumbled across this publication from Kodak, if you haven't seen it here it is -

http://www.kodak.com/global/en/professional/support/techPubs/c9/c9.pdf

[StoneNYC]

hi all I hope this is the right forum for this question
i am off to antarctica for work in about a week. i have stocked up on lots of film;


4x5
3 boxes of velvia 50 ($$$$$$$$$$$$$$$$)
tmax 100
ilford hp5 & fp4
portra 160
fuji acros

120
portra 160
velvia 50
provia
reala
tmax
ektar
fomapan
ilford sfx 200
kodachrome and ektachrome

now i'm wondering if any of you have advice for exposing this film in the incredibly bright and all white conditions. advice for reala 50 is to rate it at 40 or 32, but in this case would it be smarter to leave it rated to 50? or even higher again?

and for the other films, should I knock off 1 or 1/2 exposure? any other tips or tricks?

Everyone knows I shoot a lot of types of film and even I think you are bringing too much!

Recommendations:

4x5

-2 boxes of Velvia50 (leave the last box home)
-Acros100 (for night exposures)
-FP4+ (for day exposures).

120

-Provia or Portra (if you think some images will have people in them)
-Velvia50 or Ektar (if you're not concerned with skin tones)
-Tmax

Notes and thoughts:

Do you have a IR filter for the SFX stuff? If not, don't bother.

I wouldn't bother with the FOMA if you plan for any long exposures, and not sure if it's FOMA100, 200, or 400? You also haven't listed which tmax either...

Not sure why you still have Kodachrome in 120, it's only usable as B&W film because no one can color process it anymore (that's willing to do it, unless you offer them $50,000 per roll). (I'm experimenting with B&W kodachromes so you should send me your Kodachrome :)

By the sounds of it you got some of this on eBay? The ektachrome is also an option IF it's E100G, or that generation, if it's old we ektachrome 160 or 64, then it's likely going to have issues from age, I wouldn't use it for something important.

Use the E-6 if you think you're really good with a spot meter.

Use the C-41 if you think you're bad at accurate exposures and need latitude.

Pick one B&W film only, you probably don't need high speed film in such white conditions.

[AtlantaTerry]

Polar bears- Northern Polar regions.
Penguins- Antarctica.
Never the 'twain shall meet.



Some penguins are native to the Galapagos Islands.

Those islands extend north of the equator!

But still no chance of being eaten by a polar bear. (If there were, I'd expose for the penguin, and develop for the polar bear.)

I know. That is why I said such a photograph would be exceedingly rare and therefore could end up on the cover of National Geographic Magazine.

It was intended as a joke. :)

[AlexGard]

Yes I have a 720-1600nm IR filter that I've had for aw hile. is this usable with the sfx 200? I thought you would be better using a deep red or at least red 25.