Have you heard the news? Film Box Lab is now part of theFINDlab family! They’ll be closing the doors on March 1st and they’ve asked us to take over from here. We’re sad to see them go, but excited for what the future holds for them.
We know a lot of people are curious at to why this is happening. The owners of Film Box Lab decided to focus on other areas of their professional careers and personal lives. As a result, they contacted us knowing they would be leaving their clients in good hands. We value our clients, same as them, and will work to ensure this transition is as seamless as possible for all involved.
The last day they are receiving orders is February 23rd. Any calls or emails after March 1st will automatically be forwarded to us, and we will be happy to help in any way possible.
Film Box clients, don’t fret! They have trained us on your specific style and we will continue to work hand-in-hand with them to ensure our scanners and editors are familiar with your desired look! We have your color profile information and will put it to good use.
We wish the Film Box team the best of luck and look forward to working with clients making the transition. Please feel free to reach out to us at 801-691-0010 or email@example.com with any additional questions. Our office is open M-F, 9 to 5.
Image Credit: Jeremy Chou
Portra 400, Mamiya 645 Pro TL
Did you know that where you live can affect your film? We are lucky enough to have film shooters send us film from all around the world! We thought it would be helpful to talk about shooting film in humid or wet environments.
You can see in the image below that there is faint writing and numbers imprinted onto the film. This happens when the ink from the backing paper rubs off onto the film when it gets wet or damp. You don’t see this very often with 220 film since it has little backing paper, and you don’t see it at all with 35mm. It is most common with 120 film.
So, how can you prevent this from happening? It helps to keep your film in the wrapper until you are about to shoot. If you live in a humid climate, we recommend using a dehumidifier wherever you store film. The image below sat in a humid environment for a week before being shot.
Be sure to keep your film in a cool, dark place. Remember film needs to acclimate to your environment before shooting – take it out of your storage and let it adjust to room temperature out of the wrapper before putting it in your camera. Keeping it out for about an hour should do the trick if your film is stored in the fridge. If your film is stored in the freezer, it is beneficial to leave it out for at least 24 hours before putting it in your camera.
In the end, just remember these tips and don’t “sweat” the small stuff! We love to see your beach photos, so keep them coming!
Image Credit: Jonathan Canlas
Ektar 100, Rollei
With Valentine’s Day fast approaching, it’s time to share the love! We thought we would do that by sharing some of our favorite images to come through the lab in the past month. While we receive many beautiful images daily, these are some that resonated with us. We want to wish you all a happy Valentine’s Day spent with those who matter most to you.
Wedding / Kristin La Voie / Portra 400, Contax 645
Food / Brittany Mahood / Fuji400H, Contax 645
Landscape / Luke & Cat Neumayr / Fuji400H, Canon1V
Black & White / Ariel Lafontaine / 400TX, Canon FT QL
Travel / Daniel Lauer-Schumacher / Kodak Gold 400, Nikon N65
Family / Erin Hughes / Portra 400, Contax 645
Because of the increased latitude of Portra 400, we’ve received many requests to scan and edit Portra 400 to look like Fuji 400H. Because of this, we want to let you in on a little secret! Our lab can make them look similar to save you a few extra bucks. We understand most people won’t be shooting these two film stocks back to back for comparison, but we wanted to show you how similar they can be.
The most important thing is to make sure we start in good, clean light. It is really difficult to adjust the tones in film when they are underexposed. Underexposure with these two film stocks leads to muddy shadows and an overall yellow image. While shooting for this blog post, we made sure all images were created in clean light and overexposed a stop and a half.
The second thing to understand is the base color of each film stock. A good way to think of this is like painting an image on a canvas. With film, our ‘canvas’ doesn’t start with a true white. When using Portra 400 its canvas has a yellow and slightly red base color. Fuji 400H has a cyan and green base color. One of the reasons people gravitate toward the aesthetic of Fuji 400H is for its neutral skin tones and unique coloring of foliage. Fuji 400H is best known for its cool greens while Portra 400 will typically have warm greens.
To achieve the Fuji 400H look, we recommend having film scanned on the Noritsu rather than the Frontier. The Noritsu primarily works in the magenta and green channel, so there is less yellow. Portra 400 naturally has a warmer base than 400H, so the tones in the image need to be cooled down overall in scanning. As you can see in the comparison images below, the Noritsu provided more control without going too cool.
Here are a few more comparison images from the Noritsu.
If you want to recreate this look, please make sure you include this in the notes section of your order form or feel free to give us a call!
Image Credit: theFINDlab Team Members
Portra 400 and Fuji400H, Mamiya 645
Film is a beautiful medium but it does come with a small set of tradeoffs. One of the biggest things that makes film different than digital is it is especially sensitive to color reflections. These reflections can be caused by walls, grass, stone, neighboring objects, or even the clothing you’re wearing as the photographer! In the image below, you can see how having the subject right up against the colored surface her face picks up the reflection of the bright yellow wall. The closer you are to your reflector, the more intense the color will be.
How do you shoot fun colored scenes on film? The best trick is to reposition your subjects so the color reflection is behind them just like in this example.
Shooting on green grass can be a little trickier. If you find yourself shooting in a grassy area in bright sunlight, try to place your subjects on or near a patch of shade. As you choose where to place your subjects, think of the ground beneath them as a large reflector.
Handling reflections from colored clothing can also be difficult, especially when the choice of wardrobe is out of your control. Try to keep subject’s heads tilted up, and avoid leaning or positioning them close to the bright color.
It may seem daunting, but just remember that most of the time, you can see the color reflections with your naked eye! Just slow down and look closely.
Image credit: Caitlin Kellagher
Fuji400H, Contax 645