I had to learn that it is good to trust the camera sometimes. especially if it is a camera that has rarely let you down. I tried my first roll of this film in a prior post on my blog. ISO 1.6 was outside of my comfort zone and I waffled on how best to …
I bought a 35mm roll of Yeti on the advice of a friend on Flickr but never had a clear idea of how I would use a film rated at ISO 6. I knew it wouldn’t be shot on the fly, of course, because I’d need to carry a tripod and take notes. So my single roll spent a couple months sitting on my desk.
Yeti is a blue-sensitive B&W film, which means it can only “see” the blue part of the spectrum. It is similar to orthochromatic film in that it is only sensitive to part of the visible spectrum, except in this case, the sensitivity is limited to the blue part. Yeti is available from the Film Photography Project and is described on the website as an estar-based, positive motion picture film intended for direct contact copying titles and mats in motion picture work.
In my first article for 35mmc I mentioned Jorge Otero’s fabulous little Lumenbox, which has become one of my very favorite cameras. When I ordered my Lumenbox, Jorge kindly included two Lumenbox lenses for me to experiment with. Lumenbox lenses are simple plastic meniscus lenses that offer a lot of distortion and chromatic aberration, just my cup of tea.
Slide film is a very difficult concept for me, as my experience of it so far has been the options currently in production – quite a bit more expensive than negative film, and featuring prohibitive ISO speeds, which make them difficult to justify in London unless I know for sure the weather will be accommodating. With much lower latitude I need to nail the metering dead on, which means adjusting my settings much more frequently than when shooting something like Delta 400, where I simply fix for the shadows and expect to lose the highlights.