Fomapan 100, 200 and 400

[Roberto Nania]

Thank you Lasse

[NickL]

I haven't done a scientific study, but a few indoor exposures using FOMA100 with times of 1 minute up to 7.5 minutes indicate that the reciprocity curve is a suitable start point.
Regards,
Nick

[Drew Wiley]

Doesn't mean the same factor is necessarily equally applicable to their 200 and 400 films as well.

[Maris Rusis]

Here's an excerpt from my practical testing of Fomapan 200. The actual results do not match the extremely pessimistic numbers from the manufacturer's "guesswork".

Fomapan 200 reciprocity characteristics are supposed to be easy to test for so I tried. Well it wasn't so straight forward but three 120 rolls later here are some results:

The exposure level I chase in landscape metering is Zone IV = shade side of tree bark, dark rocks, etc. The question becomes "what exposure time extensions must I give for long exposures so I get the same negative densities for Zone IV as for short exposures?" Answers obtained:

Measure 1 second on the meter...give 1.5 seconds
Measure 2 ... give 4
Measure 3 ... give 7
Measure 4 ... give 12
Measure 6 ... give 18
Measure 8 ... give 28
Measure 10 ... give 40
Measure 14 ... give 48

For photographs of dark scenes I don't apply the full reciprocity correction. I want the final picture to match the scene with empty black shadows, subdued mid-tones, and a few gleaming highlights. Remember also that the shadow parts of the scene will invoke reciprocity failure in the film but the highlights won't. Extending exposure causes a strong increase in contrast because the highlights keep building density but the shadows lag behind. This can be controlled by reduced development. But reduced development can cause a loss of film speed which calls for even more extended exposure; and so on. It is not so simple to make dark scenes look like bright scenes!

[CamShaw74]

Event: Aldis Lens Test
Location: Garden at home
Camera: Wista 45VX
Lens(s): Aldis Anastigmat No2 5 3/4" f/6
Film: Foma Fomapan 100
Shot ISO: 80
Light Meter: Weston Master II
Movements: None
Bellows: 160mm (+0)
Exposure: 1/25 @ f/6
Lighting: Overcast - 4:45pm
Mounting: Tripod - Manfrotto
Firing: Bulb pneumatic release
Developer: Ilford Ilfotec-HC(1+31) - 6 mins
Scanner: Epson V800
Post: Adobe Lightroom & Photoshop (dust removal)

[martiansea]

Color photo with Fomapan 100!

Composite of 4 shots; 3 with antique Kodak RGB filters + 1 unfiltered straight shot to give extra shadow depth. 4x5 with my B&J View, CZJ 135mm/4,5 on a Packard shutter. Legacy L110 developer.
Negatives digitized with my Nikon D800, raw edited with DxO PhotoLab, and composited with Affinity Photo.
Already posted in the Tri-Color thread, but wanted to share here too. My first attempt at this technique. Excited to do more! And Foma 100 looks to be a nice film for this.

[Deardorffuser]

Toyo Field 810 MII
Symmar S 360 (f8)
Foma 100 + HC110 1+47 10min 22C

[takpro]

Nice.

Toyo Field 810 MII
Symmar S 360 (f8)
Foma 100 + HC110 1+47 10min 22C

[takpro]

Pineapple by Tak, on Flickr

Fomapan 400 8x10 contact print on Ilford Art300 paper. Splits Toning Sepia and Selenium. Intrepid 8x10, Nikkor-M 300mm f/9 with Canon 500D close-up lens filter.

[Ben Calwell]

Pineapple by Tak, on Flickr

Fomapan 400 8x10 contact print on Ilford Art300 paper. Splits Toning Sepia and Selenium. Intrepid 8x10, Nikkor-M 300mm f/9 with Canon 500D close-up lens filter.

I love that!