{"id":31714,"date":"2022-04-09T11:01:34","date_gmt":"2022-04-09T10:01:34","guid":{"rendered":"https:\/\/phillipreeve.net\/blog\/?p=31714"},"modified":"2023-06-20T11:35:30","modified_gmt":"2023-06-20T10:35:30","slug":"analogue-adventures-part-5-silbersalz35-films","status":"publish","type":"post","link":"https:\/\/phillipreeve.net\/blog\/analogue-adventures-part-5-silbersalz35-films\/","title":{"rendered":"Analogue Adventures – Part 5: Silbersalz35 Films"},"content":{"rendered":"

Introduction<\/h2>\n
\"\"
Silbersalz35 500T<\/figcaption><\/figure>\n

A small company with the name of Silbersalz35<\/a> from Stuttgart is offering repacked Kodak Vision 3 cinema film to be used in ordinary still photography 35mm cameras. They offer four different films: 50D, 200T, 250D and 500T which I all tried. There are some quirks – but also a lot to like – so let’s have a closer look.
\nProcessing and scanning was done at Silbersalz35<\/a> in Germany.
\nUpdate:<\/strong> in the end of 2022 Silbersalz35 changed their scanning procedure, now you get 10mp files with the option of getting 140mp files for additional money.
\n<\/em><\/p>\n

\"analogue
Leica M6 | 200T | Voigtl\u00e4nder VM 35mm 1.2 | f\/1.2<\/figcaption><\/figure>\n
\"analogue
Leica M6 | 200T | Voigtl\u00e4nder VM 35mm 1.2 | f\/1.2<\/figcaption><\/figure>\n
\"analogue
Leica M6 | 500T | Voigtl\u00e4nder VM 35mm 1.2 | f\/1.2<\/figcaption><\/figure>\n
\"analogue
Leica M6 | 50D | Voigtl\u00e4nder VM 35mm 1.2 | f\/1.2<\/figcaption><\/figure>\n

<\/p>\n

Silbersalz35<\/h2>\n

In a few words: the guys at Silbersalz35<\/a> take one of these 35mm cinema film rolls, cuts it into pieces and repacks those smaller parts into typical 35mm film canisters with DX coding.<\/p>\n

\"\"
\u00a9Kodak<\/figcaption><\/figure>\n

For the development – in order to get best results with this film – the ECN-2 process is needed, which is way more complicated and costly than the commonly used C-41 process. And it is hard to find someone who can do it.
\nSo when you buy these films (~21\u20ac\/roll in 03\/22) not only the development but also 21.4mp 16-bit scanning with a claimed 13 stops of dynamic range is included in the package.<\/p>\n

This makes it a pretty good deal compared to other high quality films – if you don’t want to take care of development and scanning yourself (I don’t).<\/p>\n

For more details also have a look at the Silbersalz35 FAQ<\/a>.<\/p>\n

Working with Cinema Film<\/h2>\n
\"analogue
Leica M6 | 250D | Voigtl\u00e4nder VM 35mm 1.2 | f\/2.8<\/figcaption><\/figure>\n

Working with cinema film is quite different to normal stock photography film. The latter is meant to give you a distinct, punchy look out of the box – which I am sure is why it appeals to many people: fancy looking pictures without having to edit them first.<\/p>\n

Cinema film on the other hand is more like shooting digital: you get a rather flat image that you need to color grade in post for it to yield the look you desire. You can think of it a bit like shooting with a logarithmic profile<\/a> but with your analogue camera.<\/p>\n

This leads to a comparably high dynamic range and – unlike digital – with film there is more information stored in the highlights versus the shadows, so to capture most of that dynamic range it is recommended to overexpose by about 1 stop. This is already reflected in the DX coding.<\/p>\n

My Leica M6 doesn’t care about DX coding, I shot the films like this:
\n50D – ISO25
\n200T – ISO125
\n250D – ISO160
\n500T – ISO400<\/p>\n

It might sound unappealing at first that you shoot analogue and still have to edit your pictures, therefore each picture you will get in 3 versions:<\/p>\n