Hi,
I'm just getting into Film Photography and bought a 35mm film camera. I was wondering if I could use one roll of film over a few days? Would the pictures go bad?
11:14PM, 10 June 2020 PDT(permalink)
Yes you can shoot film over a period of days. Most films you can be quite happily shot over a period of weeks or months may be even years. Pictures do fade a bit if left in a camera but it tends to take a long time to occur. I wouldn't worry about days. Some very slow films may degrade a bit faster like Ilford PanF+ but even then I wouldn't worry about a few days, if you are going to send it off for processing, it will take a few days in the post anyway.
Paul
48 months ago(permalink)
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My understanding is that a latent image will shift colors/tones faster than the film itself, but I agree with the earlier posters that a few days/weeks, even maybe months, will not make a difference for most purposes. The exception would be if you are shooting a bunch of related images for a book or catalog or something where the tones have to match, but that is not the case for most amateurs.
48 months ago(permalink)
You'll be fine. The idea is to process the film as soon as possible after exposure for the best results, yet you could leave a film in a camera for a year and still get acceptable results.
48 months ago(permalink)
I keep film in several cameras at the time. That means that it may take 3 - 4 months before I finish a film (well, more usually it takes a few days). I have never noticed any deterioration.
48 months ago(permalink)
vynguyyen11: Those of us that can remember the 1990s can attest that back in Ye Olde Days of photography, family cameras often had a "two christmases" roll of film. The first half of the roll would be shot one year, and the rest of the roll shot twelve months later. And to think that one of the selling points of digi was the supposed limitation of "only" 36 frames...
I posted here a few years back about an old roll of film I had shot back in the early 2000s and developed after it had sat in a box of junk for about fifteen years. It turned out just fine.
48 months ago(permalink)
The ISO "setting" on your camera does not actually set the ISO of your film, as that is physically impossible. It does tell (the light meter of) the camera what the sensitivity is of the film you're currently using. You are supposed to set it to the ISO value of your film.
In P-mode (Program mode) (and other "automatic" modes like Av and Tv), the camera uses the ISO information, to set the aperture and shutter speed for you.
It measures the light, reads the ISO you've set and then uses a combination of rules (these differ per camera brand) to choose a certain aperture and shutter speed.
When you are ready to explore more advanced film techniques, you could look into push/pull processing where you use the ISO setting to "fool" the camera and then compensate for it during the processing of your film for creative effect.
Note that, if you use a digital camera, you can set the ISO for every shot as then it's not a chemical property of the sensor, but a digital value that tells the sensor how much it should amplify the signal it receives.
In addition to Saaru's good answer, I wanted to point out that the reason you might have been switching around the ISO setting and not really noticing much difference is because film has reasonably good exposure latitude, and images can be "recovered" with some success from underexposed and overexposed film. Probably the machines/operators at the lab where you are having your film processed are doing this automatically for you.
But as Saaru mentioned, you should set the ISO setting on the camera to the ISO indicated on the film, so that the camera knows what exposure is needed for your film. This doesn't at all mean that "evening shots just turn out black". In low light, you just need to use a wide aperture and/or long exposure duration (or, add artificial light). Beware of camera shake - use a tripod in low light, or rest the camera on a wall or something.
I recommend always trying to expose film properly. If you think you can get away with underexposing your film too much - just because you want to use a faster shutter speed - you will be sure to be disappointed with your results. You must work within the constraints of film photography.
If I have ISO 100 speed film in a camera and choose to expose for ISO 400 speed film, I'm underexposing by two stops. It is true that ISO 400 film is more sensitive (and thus brighter) than ISO 100 film. But when I change my camera's ISO setting to '400' I'm not actually changing the film's sensitivity to ISO 400 - I've still got ISO 100 film loaded! What I am doing is reducing the amount of light the camera's meter says my film needs to be 'properly' exposed. So my film winds up underexposed by two stops.
In other words, the ISO setting for film cameras doesn't affect the sensitivity or 'speed' of the film at all. Rather, it affects the calibration of the camera's meter by telling it how sensitive the film that is loaded is.
When that film is developed, it needs to be pushed two stops brighter to get more or less 'proper' exposure. But the result will be lower contrast (brighter shadows) and coarser grain than if the film had been metered and exposed for ISO 100 and normally developed.
If you overexpose your film, you would normally pull process it by developing it for less time than normal. This will tend to increase contrast in the mid-tones and dark areas and muddy the shadows, but highlights that have been totally blown will not show detail, they'll just appear to be a uniform bright gray when printed.
The problem with changing the ISO setting while shooting a roll of film (unless you are thoughtfully using it as an exposure compensation control) is that the entire roll will almost certainly be developed for the same amount of time. Unless you're willing to skip every other frame when shooting, then fumble around in the dark and count sprocket holes by touch (without getting fingerprints on the actual exposed frames) in order to clip different parts of the film apart before developing it, the entire roll gets the same amount of development.
When you do a bit of both over and underexposing on the same roll and don't tell the film processors any differently, the film will be developed at box speed. When prints are made from the negatives, the machine that scans the film will usually automatically try to adjust for under/over exposure. Since most film has a pretty wide exposure latitude, in skilled hands the printing lab can usually pull decent results out of slightly over or underexposed negatives.
On cameras without dedicated exposure compensation controls, changing the ISO setting is the way exposure compensation is done in automatic exposure modes. It sounds like that is how you are using it.
Technically what you are doing is changing the Exposure Index (EI). Exposure Index is how you as a photographer choose to rate the film based on your photographic intent. For example when the subject is backlit or when the sky is a distraction.
How much you shoot depends on your style of coverage, price range and if you are working for a studio. A low end, tradtitional style wedding mill may tell you to shoot no more than 3 rolls of film. A contemporary PJ'er, whose charging enough, might shoot 30 rolls. (I don't think pro film comes in rolls shorter than 36 exp, and I wouldn't want to reload any more than necessary.)
When I'm shooting color - I'm mostly looking for great color compliments and warm shade... Usually if I can find it - that means sunlight coming through leaves as a background. Sometimes it means I have to avoid garden flowers or other things that compete with the bouquet. However, for black and white I will look for cleaner backgrounds...lighter backgrounds...interesting lines....simpler. Or - I'll zoom in for a tighter simple composition. Or, if it is during the ceremony and have black and white in my hands - I might zoom in and fill the frame with the hands as the rings are exchanged but might not do that shot in color.
Last wedding I shot, used about 500 frames with my 10D. And I did both photojournalist style and traditional poses (there's no reason you can't do both, after all portraits often are part of photojournalists work).
A partner was also shooting, and picked up about 500 more frames. There was too much duplication in the end, and I think we were shooting sometimes just out of boredom. Time spent we could've have used setting other things up.
In the end, you've only shot too little if you missed something. Shoot enough to be confident you've got all the shots. Bring extra film. You don't have to use it all, but you'll be happier having too much than too little.
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