Hi, this is JP Morgan today on the Sun lens, I've got Simone Elise with me here
She's our beautiful model and she's gonna help us show you how to push and pull film
So what does it mean to push in to pull film? So let's take a portrait 800
This is a really common film for people to push in the polls
So if we take a portrait 800 and we set the box speed. Not at 800
Well, we set this box the Box speed at 1600 now
Basically, we're underexposing the film by one stop, which means when we go to process the film we've got to increase it
We've got a plus one. Stop it when we process it
So when we're processing it's going to push it back it up to what will be normal
That allows us to get rather than at 2.8 and f4 when we're shooting but the reality is there's always a give and take
We may have gained a stop in exposure, but we've gained contrast we gained
grain, we've gained all those kinds of things that are the negative and that's the downside of it when you pull your film it means
that you're
Over exposing it by a stop and now you're gonna cut the time shorter than the developer
So that it won't be too dense and that's gonna have its own creative look in effect pushing and pulling film is more about creating
contrast and grain
It's more of an artistic look than it is a way to save film or to give you more exposure
Now you can push like a roll of try X a stop or to stop to give you more explosion to work inside
But the reality is really pushing and pulling is about giving yourself a creative outlet and looking at what that result is
so let's just look at these see what they do and I'll talk more about
Over-and-under exposing and exactly what it means to push and pull film as I talk to this whole process by the end
I pray I hope we'll all understand what it means to push and a pull film
So let's get back in there and let's get going. We gotta get some images shot and
alright light's gone a
Special shout-out to Richard lab a professional lab that really knows how to process film
They know how to push and pull film and give you the look that you're looking for. So check out Richard lab
So we're back here at the studio now and the film went off to Richard lab where they processed it
Then they scanned it. And so we processed it according to our push-and-pull the way we exposed it
Now we're gonna take a look at what that pushing and pulling does to each one of these four film stocks
We've got Fuji 400. We've got portrait 400 and we got portrait 800
The first image is a Fuji 400 and it is pulled one stop
that means we exposed it at
200 which means we're giving it more exposure and then we cut them them amount of time in the developer
So it will give us a normal exposure
so this one no in doing that what it does is it decreases grain and
It's going to make the film a little flatter and we certainly see that here the shadows are very open
The highlights are starting to be pretty bright on her face and the grain is pretty soft
then if we look at the Fuji 400 that we pushed an
800 or +1 stop and then we gave it more time in the developer to compensate
This one now has more grain. We've got more grain and the contrast builds when we go to the Fuji 400
We push two stops now we shot this at 1600
We increase the time developer bike twice and this gives us an exposure now that is really way more contrasting
The blacks are very deep. The whites are very white and the grain has grown
so that's our situation inside in a contrasting situation now if we look at outside in a more flat
Situation the Fuji that's been polled one. Stop feels a little too flat
We're already in a flat situation, but the Fuji that's been pushed to stop has a nice highlight on her face
The blacks are starting to look a little nicer. Whereas the blacks and the first one are just too soft and too mushy
Even when we go to pushing at two stops, it looks really nice in this situation because we're in a very low
contrast situation and pushed film loves low contrast
So I think the plus two stops look fabulous in this really low contrast outside
look now if we look at this in a situation
That's kind of like it's more open shade a little bit of high light coming in from the side
It seems like the +1 stop in this situation is a little little bright
But the +2 stops is pretty nice. It's again a pretty low light pretty flat situation
The color stays pretty consistent through the three of them the one in the middle the Fuji 400 plus one
Stop seems a little too bright to me now
let's take a look at the
400 with her standing next to that red in the background and just look at how the color has shifted on her face
The minus one is a little warm, but not bad
The one that's +1 is a little warmer yet, but then the one that's +2 is starting to cool off
So there's a Fuji 400
So let's take a look now at the portrait 400 in this film when you pull out a stop seems to be very flat
If you look at this shot inside, which is a very contrasting situation. We're holding the highlights on her face
The shadows are very open. It's just a very very flat image outside. Same thing in that open shade
The image is flat. The blacks are not very deep
It just it almost feels a little milky to me
Same in that open shade outside where she's standing with has a little more sunlight in it
We see some highlight the blacks just aren't bright deep course the color rendition against that red wall there the colors feel muted
It's shifting just a little yellow in her face
So it's just a very very flat film when you pull it once top
now when you push it a stop it just it goes the other direction just as it was very
flat when you pulled it it gets very
Contrasting when you push it the highlight on her face got very very harsh
The shadows got very very deep we go on to the outside
Now we've got that a nice highlight on her face. The blacks are pretty deep. This is not a bad look here
In that really kind of flat light it seems to really sing because it's gained a lot of contrast
Same outside and that open shade you gain a lot more contrast. So it's looking very nice. Got some deep blacks
The grain is still very nice. You don't see a lot of grain there
The colors are very vivid here, but it's kind of shifted a little bit on her face. It's just a little bit yellowish
Now if we go to pushing to stops what is gonna happen?
More contrast look at the inside in that really really contrasting situation highlights are starting to blow out
The shadows are starting to clog up. We've got heavy grain though. I love the grain up in the wood
I just love the look in that grain in the background outside same thing
But our highlights are getting too heavy blacks are getting too heavy. So it seems like we've got porter
400-plus one-stop that shooting at 800 is a nicer spot for it to live in let's go onto the porch or 800
So here's a portrait 800 - one-stop, so it's been pulled once top
Again, we have a very it is not as flat as it was as a portrait 400 but it's still very flat we have open
Shadows bright sunlight and that really contrasts the area inside the house outside. It's pretty flat. We see a little bit of highlight
It's a little more contrast than the 400 hand in that open shade in the trees
We see it's just a little bit flat. It's a little bit pasty feeling. So there here's looking for the color on the background
Skintone does go a little bit on the the reddish side or the or yellow side
But but now when we push it a stop that changes everything the grain starts to build a lot
You see the grain in the background is just a very heavy grain structure. It's very nice our highlights become very bright
So the contrast has been built outside though. That contrast is very helpful
And this is we get a nice highlighter interface now
We're getting nice blacks same thing in the trees that contrast is really helping us out. The blacks are looking nice
The highlights are have become alive a little bit again
And it's not near as flat looking so that really contrasting film in these flat situations outside looks excellent
Now color wise inside the color is pretty clean on this her face is definitely gone yellow but there's a look at that portrait
800 very contrasting when push it to stops not quite so much contrast we go
One stop very very flat when you pull in a stop
Let's take a look at these three films compared to each other contrast on these looks pretty similar
The Fuji 400 is just color. It seems a little cleaner to me. The grain looks very nice on all of them
The contrast is a little heavier on the portrait 800 than it is on the other two
But the portrait 400 and the fuji 400 are very similar the portrait 400
Maybe the color is a little cleaner, but there's a look at those three compared with each other
So here's our minus one in that outside kind of low contrast situation. The Fuji on the left is really nice
I mean the skin tone is nice. It's built a little bit of contrast there
They're still all very very flat. Really. The Porter 800 is the one that has the most contrast and has a nice look
400 is looks just a little yellowish. It's gone very yellow to me in the middle
Compared to the other two, so there's a look at those three. All right
So here's our plus one that Fuji one has given us a lot of contrast because we're in a contrasting situation the portrait
400 is just clogging up and the portrait 800 is very very deep very heavy
So it looks like that really the Fuji is handling the +1 giving us nice grain
Give us a little nicer skin tone with the skin tones
Just not quite as blotchy as we get in the other tooth
Just a very pretty the Fuji feels very pretty in that situation to me
So now let's go outside in that open shade and with our plus one
So here's our three film stocks compared to each other at plus one, you know
It's interesting to me because they are very similar to me. The color rendition is very nice
I really found the portrait 400 at plus one. It has a very nice color rendition
The contrast is a little heavy on the portrait 400
Although it doesn't look that much different than the Fuji
400 the portrait 800 plus 1 is giving us some nice grain in the background, which I really like the contrast has been built
So we get a nice look on our face. All three of these films are enjoying this low contrast situation
they're responding well to it because they're building enough contrast to make it look good and
In in that it looks very good. So they're working out really well here boy
It's just an interesting comparison as which one looks better. I
Like the skin tones on the Fuji a lot the Fuji 400 skin tone is very nice
The the portrait is just there the skins starting to feel a little blotching both of those
So here's our three films have been pushed to stops plus two stops, you know what in that really contrasting situation
the Fuji is looking pretty nice because the contrast is not as heavy as you get with the portrait 400 and the portrait 800 the
Portrait 100 is really shifting green in a pretty bad way with this. You've seen it also with the portrait 400
I do like the grain that we're getting with that portrait 800 just a very pretty
Look, let's look at these things outside now
we see these at plus two stops in that outside open shade only the Fuji 400 and the portrait 400 have been shot at
1600 the portrait
800 has been shot at 3200. So it's really it's pushing the limits here for that portrait
800 so we look at this our fuji 400 pushed to stops. It looks really pretty the color is nice
The grain is is nice. You have a great feel about it. The contrast is not too heavy
I mean you see you feel contrast building but not like the portrait
400 it the contrast is building in a in a major way of that portrait 400 and of course the the
Portrait 800 been pushed to softs. The 3200 is
Yellow on her skin. It's just really gone extremely yellow and just kind of lost its colour rendition
There is really really sad
But I'm liking that Fuji 400 the portrait 400 those are nice films in that really low light non contrasting situation
They bring a lot of contrast to the party and that's where they're gonna look good in that situation. So let's wrap this up
What have I learned in this situation?
I learned quite a bit about the Fuji that I didn't know before the Fuji is very very flat when you pull it and
Not necessarily my favorite when you pull it I kind of like the portrait 400 better when you pulled it
I like the portrait 800 when you pulled it
But when you pushed it that fuji 400 was beautiful it really when you push it a stop or two stops
If you want grain and heavy contrast and that portrait 800 pushed two stops is the film for you
It really is a great look all of these have an application and a time and a place where you shoot them
It's a stylistic decision
So if you want that look as a throwback, it's a beautiful thing to do to push your film or to pull it
There's no right answer here. These films are going to respond differently in different situations
So it really depends on what you're shooting and what you like what you want to achieve
Post some stuff up on our Facebook group. We'd love to see the things you're shooting
Let us see the images you're getting we can learn from that experience. How does this respond to a white wedding dress?
How does it respond to a black tux?
that helps us to see what these films do in different situations and what that pushing pulling does to be able to gain contrast and
To be able to show an interesting look there. So there you go posting stuff on our Facebook group
We want to see the things you're doing Falls here on the slanted lens leave some comments below
tell us the things you would love to see in the future and
Tell us what you enjoyed about the lesson today, and we hope to hear from you and keep those cameras rollin. Keep on clickin
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Don't miss out. Hi, this is JP Morgan today on the slanted lens. We're out here on location actually
We're not on a location right in front of my house
but that's okay because it feels like we're often the
the leaves of New England even though New England is now in snow and we're just here in Los Angeles and the leaves are just
Turning because it's 70 degrees outside
Anyway, sorry about that back in New England
But you can always live in LA pay twice as much in taxes and everything else be a great place for you to live