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Some advice how to shoot Adox Colour Implosion
I. Large Grain
Due to the relatively large grain, the film is not as suitable for wide-angle landscape shots. Not that I would not have done shots of this kind with it which I do like a lot, but you need to keep in my mind that you will not get the detail you are used to, so the motive may not work, if it is the distant car on the lonesome desert highway, which makes all the difference for you. (Same applies for the skilift on the slope opposite the valley). It will do great stuff, though, for all imagery having clear motives in the forground (in particular portraits), esp when shot through a 50mm lense.
Impact of grain varies with exposure; so once an image would be incorrectly exposed (esp under-exposed), the grain becomes extremely strong quite quickly when trying to adjust the curves to correct for the false exposure; so accurate exposure is quite recommendable (if in doubt, do bracketing in 1/2 stops).
II. Contrast
The film captures the scenery with high contrast and non-linear curves (which makes its charisma). Non-linear curves means that the highest contrast in produced in the mid-range of brightness, whereas towards the shadows and highlights it runs out overly smothly, which results in a very comfortable look of these images (the typical film-look, after all).
This does mean, however, that the contrast of the chosen motives should not be too high per se, as otherwise the film - as was typical for vintage film - will not be able to capture it. Sunset sceneries are difficult after all (although I have quite some which I like a lot).
Capturing the scene with high contrast does not necessarily mean reproducing it with high contrast, though. If not post-processed the scans will be the characteristic soft-in-contrast imagery of the 1970s. You can, however, get fairly nice results also when adjusting the contrast through curves. (I will post about this at a later point in time).
III. Colour
The magenta mask results in a distinct colour tint, which makes most of the 1970s look. Consequently, the colours will not exactly ressemble the original scenery, which often can be an asset, but which you will need to keep in mind, when shooting at dawn or at dusk. The images will have a great and particular look, but should you wish to capture the particular ambiance of dusk and dawn, an ordinary film might be a more accurate choice.
IV. Camera/Lenses
Using vintage lenses sort of makes the vintage look of the imagery perfect; as these tend to have some subtle, but distinct characteristics. I am using a CONTAX RTS with the original Zeiss Lenses (e.g. Planar 50mm). This is, however, not a must. I have seen friends using modern equipment and getting fairly interesting results as well.
V. Motives
Some issues I have mentioned already: the film works best if you choose a clear motive in the foreground as main motive and if you avoid shooting at too difficult lighting conditions.
Otherwise, choosing motives which somewhat fit the era this kind of film stems from, or otherwise are neutral, certainly is helpful, in my view. This, of course, is a question of taste. But I found my imagery taken in the ancient industrial areas of Upper Silesia (Poland), or in the desert of Western-Sahara, working better than imagery shot at the modern town center of western-German town; but still it depends on what you seek to achieve.
I will post some examples, later.
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... the echo of a distant time ...
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