Here's a shot from my first roll of this 3200 -- an experiment with the Bokeh. Not much contrast in this developed roll I must say.
Ilford Delta 3200 - Nikon F100
Filtering by Tag: 3200
Ilford Delta 3200
I started the film quest with a lot of grain - Delta 3200. It was an aesthetic to pursue which called me to explore for some reason.
Shot at 1600 and developed at 3200. Everyone says this is the way to shoot it - which is what I did - but I haven't shot enough to know the difference. 3200 is their most expensive stock.
This DevScan is by "theFindLab" in Orem, UT. Although expensive they are quickly becoming a premier lab - from my own experiences. I don't know if they think the same thing but it seems I'm seeing more and more Instagram's of their work.
Shot on the Nikon F100 with the kit 24-120D. I haven't quite figured out this lens for performance - but it sure is convenient to have the focal length.
Nikon F100 - Ilford Delta 3200
35mm Film
Film as made me become a better photographer, in 1 week - because I have a vested interest. Each click is $1.25 in the end. I become more deliberate, intensive, and reflective of everything I shoot.
I’m using the Nikon F100 and a D 24-120mm lens. It can outshoot me, yet it can’t run itself - that’s the rub.
This was Ilford’s Delta 3200 shot at 1600 - and going from what I read up on this film stock, many say it’s really a 1600 speed - and from seeing the various examples online I took the cue and decided to stay at 1600. For some reason I can’t take Kodak’s Tri-X seriously. Maybe because I shot so much of it in High-School and it never did me any favors. But that’s a personal problem I guess.
Why Film ?
That’s the Jedi Mind Trick - Shooting film makes me feel like the skill is one of perishability - you either know what you are doing to get the shot or it vanishes to the shoulda, coulda, woulda.
The worst thing about film - I can’t confirm the result after the shutter fires.
The best thing about film - I don’t know yet, other than the boost to the psyche in thinking I’m somehow unique in the photographic space - which is nothing but trouble.
Film becomes a design constraint - give a designer all the choices in the world, and good luck getting a result - but give a designer limitations and you have a better chance at getting something great. Can the same be true in the photographic world - I don’t know ? ASA, and film stock are the limiters / aka the design constraints.
Where does this go ?
It keeps going until I get bored or I reach the law of diminishing returns for my efforts. And that may be a while - as I have a Yashica Mat 124 2-1/4” x 2-1/4’ in the mail for me to dig my teeth into.
Believe you me - this is going to be good.