Desmolicious wrote:
With C41 films, muddy colours are often a result of underexposure. But we will definitely be looking forward to your results!
My thoughts too, but I was certain I metered that one frame with the "muddy colors" right. And that is precisely what the online talk about "in camera" correction was all about, and why it got my attention. The argument was that muddy colors in the shadows (which was the case in my "muddy colors" frame) will be muddy _not_ because of underexposure but because of the temperature shift (the shadows are illuminated by blue sky, not the sun), hence those color channels will be contaminated, and post processing will not be able to fully recover them.
A roll of Ektar is ready, I already have a list of four scenes (full sun, overcast, indoor, golden hour), and I will compare with filter vs. without filter, vs. without filter + 1 stop exposure, for 3 frames per scene (which will make scanning easier too).
theHUN wrote:
My thoughts too, but I was certain I metered that one frame with the "muddy colors" right. And that is precisely what the online talk about "in camera" correction was all about, and why it got my attention. The argument was that muddy colors in the shadows (which was the case in my "muddy colors" frame) will be muddy _not_ because of underexposure but because of the temperature shift (the shadows are illuminated by blue sky, not the sun), hence those color channels will be contaminated, and post processing will not be able to fully recover them.
A roll of Ektar is ready, I already have a list of four scenes (full sun, overcast, indoor, golden hour), and I will compare with filter vs. without filter, vs. without filter + 1 stop exposure, for 3 frames per scene (which will make scanning easier too)....Show more →
Just curious, What are you hoping Ektar is going to give you that Portra 160 (& 400) don't already do - which is accurate color?
James Markus wrote:
Just curious, What are you hoping Ektar is going to give you that Portra 160 (& 400) don't already do - which is accurate color?
I was going to ask the same question. Portra is an evolution of Vericolor and has been reconfigured since it's introduction. (Remember Natural and Vivid?) It's a great film but fairly neutral. Ektar can really provide some pop and has been criticized for it's harsh colors. I'm looking forward to to the results!
James Markus wrote:
Just curious, What are you hoping Ektar is going to give you that Portra 160 (& 400) don't already do - which is accurate color?
More saturated colors. But I will compare and then decide if I like one film over the other.
Edit: I also like the pastel colors that Portra 160 delivers. What I need to experiment with is which film gives pleasing results in which situations. Perhaps one film can rule in all scenes. But I'll start with Ektar and the comparison between warming filter (vs. without) in a couple of scenes, and take it from there.
theHUN wrote:
More saturated colors. But I will compare and then decide if I like one film over the other.
Edit: I also like the pastel colors that Portra 160 delivers. What I need to experiment with is which film gives pleasing results in which situations. Perhaps one film can rule in all scenes. But I'll start with Ektar and the comparison between warming filter (vs. without) in a couple of scenes, and take it from there.
Personal experience with the films is pretty invaluable so I like this approach. Environment and subject will impact your decisions as much as what a film's theoretical attributes are.
I like Ektar colors a lot, great skins tone but without looking flat everywhere else, but I find the contrast a bit much for my use in sunny SoCal. My compromise is the cine films (50D and now testing 200D AHU) or ProImage 100. But in the end the right exposure will give me the range I need to get a good scan and I can push/pull shadows there.
I have always seen red in Ektar - maybe it's me, and my eyes certainly are messed up now. However, even in the 1990s with Ektar 1000 iso I saw red. Not red like Velvia. Just a general red layer over everything. I spent a lot of time trying to find a good white balance.; i'm sure that colours my color film choices.
I'm still getting used to this Ranica MIR 3 half-frame medium-format pinhole camera, and accidentally pointed it at myself when making a handheld double exposure a few days ago. When I hung up the negatives to dry this morning I saw this one and said, "oh wow!"
