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Redscale Technique: The Principle of Light Penetrability

I do not know if this is a unique idea; if it is, then I am taking my claim to immortality. Introducing, the "Principle of Light Penetrability" by Rene M. Nob.

Exposing redscale films has always been tricky. While I am convinced that I need to overexpose a film such as a redscaled Fujifilm Superia 400 by 4 to 5 stops to achieve ideal exposure, I got surprised with the results from lakandula and plasticpopsicle of a rescaled Lucky Super 200 that was overexposed by one stop. Despite that minimal overexposure, the photos were well exposed. I had to try it myself, and I must admit, one or two stops over was not a disappointment. Question is, why? Two different redscaled film that requires different degrees of overexposure.

As I physically examine both films, I noticed that the Lucky Super 200 was a bit thinner than the Superia 400. Perhaps, such explains why a redscaled Lucky only needs one or two spots over. That must be it! Before I make my conclusion, I had to test another film almost as thin as the Lucky, Kodak Color Plus 200. Below are the results, and it appears that my assumptions are true; thinner films require lesser overexposure to achieve ideal results.

You are probably wondering how much thin is thin. First, let me introduce to you what I call the “Principle of Light Penetrability.” A thick film has “Limited Penetrability,” such that light cannot pass through it; in other words, opaque. On the other hand, a thin film has “High Penetrability,” light can partially pass through it, or in other words translucent.

Now, how will you identify your films penetrability level? Here’s what you do. At night, hold the film against any of your house lights. If you can still see the light bulb clearly, then the film has “High Penetrability,” and is thin enough to be over exposed by one to three stops.

However, if you cannot see the light bulb, then that film has “Limited Penetrability,” and needs to be overexposed by four to five stops.

This technique is especially useful if it is your first time to use a particular redscaled film. Hope it helps.

written by renenob

37 comments

  1. mikeydavies

    mikeydavies

    great!

    over 2 years ago · report as spam
  2. dinospork

    dinospork

    Really excellent Tipster, thank you!

    over 2 years ago · report as spam
  3. phoenix1206

    phoenix1206

    A very helpful tipster. Thanks a lot!

    over 2 years ago · report as spam
  4. vicuna

    vicuna

    great tipster!

    over 2 years ago · report as spam
  5. wolkers

    wolkers

    This really makes sense. I read a kind of German blog a while ago, where the author tried out self-made redscale with different exposure settings and he assumed, you need to overexpose because light needs to get through the plastic part of the film to reach the light-sensitive emulsion of the film. So the thicker the plastic, the higher the overexpose.

    over 2 years ago · report as spam
  6. neanderthalis

    neanderthalis

    A very helpful article, I like how you demonstrated the testing of films opaqueness.

    over 2 years ago · report as spam
  7. c41

    c41

    hell of a tipster!
    GREAT(!!!) work
    this is especially good because i have loads of kodak gold 200 films
    so lets make some redscale fotos

    over 2 years ago · report as spam
  8. bylcuenca

    bylcuenca

    @renenob is the man! =)

    over 2 years ago · report as spam
  9. jochan

    jochan

    great tipster!

    over 2 years ago · report as spam
  10. feelux

    feelux

    awesome! You the man, @renenob

    over 2 years ago · report as spam
  11. bernardjoy-dones

    bernardjoy-dones

    i think you you are nearing immortality...cheers!!!

    over 2 years ago · report as spam
  12. superkulisap

    superkulisap

    I wonder why we needed to overexpose (by 7-stops) the Ektapress1600 that we tested couple of months ago? Perhaps the opacity of the film was affected by its expiration date?

    You write and explain so well. Nice tipster sir! :)

    over 2 years ago · report as spam
  13. toolzinho

    toolzinho

    LOL =) Its kinda obvious that given the same components the thinner the material the easier light will come trough it :) You haven't discovered a principle but still made a great tipster =)

    over 2 years ago · report as spam
  14. nebulasixty

    nebulasixty

    thanks alot for this :)

    over 2 years ago · report as spam
  15. smashed

    smashed

    thank you so much for sharing :)

    over 2 years ago · report as spam
  16. sammi80

    sammi80

    Great article/tipster. Thanks for sharing

    over 2 years ago · report as spam
  17. blablabla-anab

    blablabla-anab

    L*O*V*E I*T you should pattent this stuff :D !!!!!!!!!!!

    over 2 years ago · report as spam
  18. yokekei

    yokekei

    great tips. thanks

    over 2 years ago · report as spam
  19. renenob

    renenob

    Thanks everyone!

    over 2 years ago · report as spam
  20. paappraiser

    paappraiser

    i have noticed that the higher iso film is darker. Possibly to reduce errors on light bounicgin back the the more sensitive negative

    over 2 years ago · report as spam
  21. paappraiser

    paappraiser

    oh by the way, fantastic article!

    over 2 years ago · report as spam
  22. mafiosa

    mafiosa

    Very interesting. I like your scientific approach.

    over 2 years ago · report as spam
  23. lostlittlekid

    lostlittlekid

    Great stuff! Thanks! :D

    over 2 years ago · report as spam
  24. renenob

    renenob

    @paappraiser, not necessarily. Solidgold 200 is ISO200, but it is so opaque.

    over 2 years ago · report as spam
  25. paappraiser

    paappraiser

    @renenob what other ones at lower speed do you see that are opaque? I generally like the kodak/fuji films so I stick with them mostly. I went through my inventory of fuji 100/400 kodak 100/400max/800 and protra160 and throughout the general kodak/fuji line it was pretty consistent. The higher in speed, the darker it was. The only differences one was kodak 200gold.. It was a little lighter than fuji 100..I have a roll of lucky 200 and it was the thinnest by far. On another note, this is one of the better redscale article I have red!

    over 2 years ago · report as spam
  26. yawn

    yawn

    i wish i could save tipsters without having to use my bookmarks. this tipster is great!

    over 2 years ago · report as spam
  27. renenob

    renenob

    @paappraiser, I still would have to check

    over 2 years ago · report as spam
  28. renenob

    renenob

    @paappraiser, I still would have to check

    over 2 years ago · report as spam
  29. qrro

    qrro

    best tipster EVER dude!!! really useful

    over 2 years ago · report as spam
  30. plasticpopsicle

    plasticpopsicle

    This is awesome, Rene!

    over 2 years ago · report as spam
  31. original_j2

    original_j2

    So useful! I really appreciate it when people explain things to such great length!

    over 2 years ago · report as spam
  32. I'm glad to read this review on redscale film! It is a thorough tutorial!

    over 2 years ago · report as spam
  33. dianalerias

    dianalerias

    awesome tip <3

    over 2 years ago · report as spam
  34. megzeazez

    megzeazez

    Beautifully written and explained. Awesome!

    over 2 years ago · report as spam
  35. andrea_gail

    andrea_gail

    Basic rule is to always expose by two stops. I redscaled a roll of Fuji Superia 400 and the images came out more red that yellow-orange. Redscale Solid Gold 200 and Lucky 200 exposed two stops higher yields excellent results. The photos come out with a nice yellow to orange tint. This leads me to believe that the cheaper the film, the more transparent the film is. Perhaps somebody can do experiments with other Kodak and Fuji films to find out. Well done! :D

    over 2 years ago · report as spam
  36. icuresick

    icuresick

    Senor, magpa-seminar ka na! haha

    over 2 years ago · report as spam
  37. deje

    deje

    @renenob And how to be with 120 film, any ideas?

    about 2 years ago · report as spam

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