f16sunshine
Moderator
I've become interested in doing a few CP rolls. Please tell me what films lend what traits to cross processing. So far I've only done one roll of Velvia and it is very red hued. Not what I was hoping for this time but, could be useful in the future. Are there other tricks besides film? Can exposure lend traits re: color hue? I'm tottally new here. Any advice is apreciated.
sienarot
Well-known
I think it's just the film choice that gives it the hue. I've cross processed fuji provia and T64 and they come out with a greenish-blue hue.
ZorkiKat
ЗоркийК&
If you have your crossprocessed negatives scanned (as the usual case now), what you see is for the most part how the scanner/scanner software interpreted the negatives as it was set to run for the day.
Even when optically printed, the colour bias of a print from a CP'ed negative is still based on how the filter packs were set for printing.
Even when optically printed, the colour bias of a print from a CP'ed negative is still based on how the filter packs were set for printing.
sepiareverb
genius and moron
Nothing scanned, and I've not done this in years, but I always liked the results I got with E100VS run in C-41. Very saturated color, with little detail.
MichaelW
Established
The Agfa Precisa was great, if you can find any, also RSX. The colours didn't shift much, just got more saturated & contrast increased.
Fuji films generally don't cross process well, esp Velvia.
Kodak films are popular, I haven't done much but think they tend to blue/green. EPP was reasonably similar to Precisa. I do know that some of the Kodak films are popular with wedding photographers for the odd roll of xpro.
Tungsten films go really blue in daylight, you can get some good results with testing.
Try a flickr search, you should see some examples that will help guide you. My advice is always treat the first couple of rolls as tests. Shoot a range of subject matter in a range of lighting, bracket, and make sure there is colour in the scene that you can remember for comparison.
Fuji films generally don't cross process well, esp Velvia.
Kodak films are popular, I haven't done much but think they tend to blue/green. EPP was reasonably similar to Precisa. I do know that some of the Kodak films are popular with wedding photographers for the odd roll of xpro.
Tungsten films go really blue in daylight, you can get some good results with testing.
Try a flickr search, you should see some examples that will help guide you. My advice is always treat the first couple of rolls as tests. Shoot a range of subject matter in a range of lighting, bracket, and make sure there is colour in the scene that you can remember for comparison.
Juan Valdenebro
Truth is beauty
I have experience of years in cross processing lots of E6 films (slides) using C41 to end up with negatives... Both with labs and home developing.
As someone said before, E100VS by Kodak is interesting for nice colors... Basically there are two things people look for when trying it: a) Ugly general color shifts to a green or magenta dominant depending on film and exposition (By the way, I really dislike it...) or b) A wild boost in contrast with blacks in the shadows and yellower skins, along other color intensifications in the way it's been done in fashion work for decades. The late P1600 (Kodak) was great for extended C41, if you can find some of it: it died years ago...
Avoid Fuji films. As a rule, all films by Kodak being ISO100 are the best material, even the cheap ones like elite chrome. In particular, I use and love EPP (Ektachrome 100 Plus), and expose it normally and develop it in a normal lab C41.
An example here with a 150mm Sonnar and studio lights (the shot of a couple):
http://www.flickr.com/photos/40894234@N07/
Cheers,
Juan
As someone said before, E100VS by Kodak is interesting for nice colors... Basically there are two things people look for when trying it: a) Ugly general color shifts to a green or magenta dominant depending on film and exposition (By the way, I really dislike it...) or b) A wild boost in contrast with blacks in the shadows and yellower skins, along other color intensifications in the way it's been done in fashion work for decades. The late P1600 (Kodak) was great for extended C41, if you can find some of it: it died years ago...
Avoid Fuji films. As a rule, all films by Kodak being ISO100 are the best material, even the cheap ones like elite chrome. In particular, I use and love EPP (Ektachrome 100 Plus), and expose it normally and develop it in a normal lab C41.
An example here with a 150mm Sonnar and studio lights (the shot of a couple):
http://www.flickr.com/photos/40894234@N07/
Cheers,
Juan
ZorkiKat
ЗоркийК&
Fuji tends to go yellow and accents greens.
Kodak tranny films go red.
Avoid chromes which are saturated. The resulting negatives turn out too dense for printing or even scanning.
When we used to do crossed chromes 15 years ago, we usually aimed to get hot highlights and almost dead shadows. Overexposure with Ektachromes or almost normal exposure with saturated Fujichromes were the norm. The abnormal look (strong shifts and harsh contrasts) was the justification for the process.
(Fujichrome 100, Lubitel 166B, Studio Strobe lighting)
(Ektachrome 100, Smena-8M )
Kodak tranny films go red.
Avoid chromes which are saturated. The resulting negatives turn out too dense for printing or even scanning.
When we used to do crossed chromes 15 years ago, we usually aimed to get hot highlights and almost dead shadows. Overexposure with Ektachromes or almost normal exposure with saturated Fujichromes were the norm. The abnormal look (strong shifts and harsh contrasts) was the justification for the process.
(Fujichrome 100, Lubitel 166B, Studio Strobe lighting)
(Ektachrome 100, Smena-8M )
W
wlewisiii
Guest
Anyone tried Fuji Astia? I've got a pile of rebranded Astia in my film fridge that I'll never use as slide film. But if it might be interesting cross processed... ?
William
William