How Best to Get the Olive Skin Complexion On B&W Film?

I managed to get this effect using Efke 25 roll film on an overcast, but slightly sunny day back in 2004. It gave my lady model a darker skin tone, as if she had a dark tan. But on later attempts, I wasn't able to replicate this dark skin tone look. Some B&W pictures I see this effect at times for no reason. I love it when B&W film gives the person a kind of glow with their skin, showing many different tones on their face. Im told Im looking for the Olive complexion look.

 

So that said, how best do I get this effect? I was using a Pentax 6x7 with an old 1970s 105mm Takumar lens, which had older coatings on it. The sunlight was just peaking through the clouds, as it was around 10:30AM, giving a little light on the subject. But shutter speeds were indeed low (since 25ASA film), with a lower lighting situation. I used a tripod as well.

 

First off, do I really need to use an ortho-pan or orthochromatic film to get this look? Or will any B&W film do?

 

 

You should be able to achieve the desired result using an appropriate filter. One which works for many people with light skin is a medium green, which reduces the red/pink tones. Looking at your shots though, it appears to me that you overexposed the shot, blowing the highlights in both the face and hair of the model. Perhaps a better exposed shot might do the job without a filter.

see

B&W filters for dark skin portraits

The diverse ethnic and racial populations of Hawaii have the "potential" for nightmares with B/W films, but SCL has hit the nail squarely. . .Exposure is the key. Granted, a filter or two might exist to help, but if ones negatives have the "correct" range of values, the skin tone of the print is an EZ dial in. Ages ago I adopted the Zone System with it's call for texture across a wide range of "Zones" within the negative. Pure Zone Heads work in wet printing with about 7 but I have noted in my scanned negs that about 12-13 exist on a file and this carries over into any print.

During all this time with the ZS, my negatives have carried values that I "wanted". Standard time/development charts will leave you with "blah" negatives. One must work on both exposure & development if one wishes to have "wow" negatives that print with the least amount of work. These two examples, both with Fed-2 cameras & Jupiter-8 lens, were developed in pyro staining chemistry far differently than any "standard chart". . .it took a bit of time to adjust my exposures (hand held meters) when I first started the pyro chemistry in the late 90's. One must make adjustment even with different pyro formula. The only post scan work on them has been either contrast or darkness. Pixel cloning (spotting) yes.

Hope this helps, Aloha, Bill

Edited December 24, 2019 by Bill Bowes

Omitted on the above is that both films (Panchromatic) were Ultrafine Xtreme 400 materials. IMHO it is a rebadged Kentmere product. Bill

A blue filter darkens up Caucasian skin and adds 'texture' and a tanned effect, while a red filter bleaches it, covers up imperfections and gives a slight 'glow'.

 

The same effects come with the colour temperature of light. Open shade under a blue sky adds tan and texture. Artificial (tungsten) or sunrise/sunset light blanches skin.