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09-14-2015, 08:10 AM   #1
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Because I am an idiot...

Getting some film out of the freezer for a stop in the refrigerator on its way to a camera, I found a roll of Ektachrome 64T I had forgotten about. It's discontinued, but not TOO expired, and is E6 (I think) processing, so I loaded it in the KX. Most of my shots were outside, so I screwed on a warming filter. At one spot, I wanted a different perspective, so I swapped my trusty 50 for a 135mm, moved the warming filter over, and took a few shots. When I swapped back to the 50 (see thread title), the filter stayed on the 135 in my bag.

I'm sending the roll off today, so we'll see. I took several shots of my daughter at college that I'm really hoping turn out well, but I fear she may look somewhat blue.

Anybody have any experience with unfiltered tungsten film in the great outdoors? Did I waste half a roll? If it matters, the college shots were midafternoon, with lots of sun.

09-14-2015, 08:21 AM   #2
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I only shot the Fuji Tungsten version which I believe will be similar in color characteristics. If so then it will come out with a bluish tint but should be easy to fix with a little post work. If you are planning to use a projector then that is a different matter altogether.
09-14-2015, 09:39 AM   #3
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The digital files they send you will most likely be auto color balanced by their process unless their is an option opt-out of that, I suspect.
09-14-2015, 09:47 AM   #4
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QuoteOriginally posted by LesDMess Quote
I only shot the Fuji Tungsten version which I believe will be similar in color characteristics. If so then it will come out with a bluish tint but should be easy to fix with a little post work. If you are planning to use a projector then that is a different matter altogether.
No, no projector. A few prints, probably, if the shots are worthy.

---------- Post added 09-14-15 at 11:48 AM ----------

QuoteOriginally posted by tuco Quote
The digital files they send you will most likely be auto color balanced by their process unless their is an option opt-out of that, I suspect.
I'll be hoping for this. You're thinking the auto balance will correct the blue shift?

09-14-2015, 09:59 AM   #5
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QuoteOriginally posted by Lenscap Quote

I'll be hoping for this. You're thinking the auto balance will correct the blue shift?
We'll see. But why not. If you set your digital camera to, say, shade for WB but the shots were out in the Sun you'd have a color cast that is easily corrected in post. Same with a scanned color file to some degree. And what their automagic machine doesn't do, you can try to correct yourself in either a RAW or image editor.
09-14-2015, 10:04 AM   #6
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QuoteOriginally posted by tuco Quote
We'll see. But why not. If you set your digital camera to, say, shade for WB but the shots were out in the Sun you'd have a color cast that is easily corrected in post. Same with a scanned color file to some degree. And what their automagic machine doesn't do, you can try to correct yourself in either a RAW or image editor.
Gotcha. Well, I'll keep my fingers crossed.
09-14-2015, 11:06 AM   #7
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On the expectation that Kodak and Fuji are similar in color results, this is what I got from shooting Fuji RTP II in daylight balanced light (top) and the result of autolevel (bottom). You can further optimize white balance to the known white background for even better results.

09-14-2015, 11:31 AM   #8
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I wouldn't fret too much about it - even if the result is not what you intended it's probably correctable as LesDMess mentioned. I finished off a roll of Cinestill 800t on a completely dreary and overcast day last summer and the results were very flat from the blue cast but perked right back up with just a tiny bit of correction. I also had an entire roll of Velvia go South on me with a distinct magenta and overall warming cast to the entire roll either due to its expiration or perhaps just a bad roll. A few shots I actually liked better with the surprise "effect" once I calmed down and stopped cussing. Here's just a boring shot from that tungsten Cinestill roll, before and after.





09-14-2015, 11:48 AM - 1 Like   #9
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Yeah, if I can get some correction like that, I'll be happy.

The irony is, a couple of bystanders of my acquaintance were scoffing at the idea of using film. I, of course, was blustering about how much better I like film, and "Trust me, I know what I'm doing!"

Aside from the normal desire for good photos, I reeeeeally want these to work.
09-14-2015, 11:56 AM   #10
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Note too that if the files they give you are 48-bit TIFF files you have way more latitude for adjustment than you'll get from a 24-bit color JPEG file. In fact if they give you JPEG files and you edit them, you'll be one more generation away from the original plus compressed even more. A 100% quality JPEG still has some compression going on so it starts to become a copy-from-a-copy kind of thing I'm sure you're well aware of.
09-14-2015, 12:20 PM   #11
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QuoteOriginally posted by Lenscap Quote
but I fear she may look somewhat blue
You can always give the WB a tweak in PP.

09-14-2015, 12:26 PM   #12
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QuoteOriginally posted by tuco Quote
Note too that if the files they give you are 48-bit TIFF files you have way more latitude for adjustment than you'll get from a 24-bit color JPEG file. In fact if they give you JPEG files and you edit them, you'll be one more generation away from the original plus compressed even more. A 100% quality JPEG still has some compression going on so it starts to become a copy-from-a-copy kind of thing I'm sure you're well aware of.
Agree. For optimal color and contrast processing, I always prefer the 16/48bit TIF file to the 8/24bit JPEG file. There may not be many options when sending out for scans.
09-14-2015, 12:47 PM   #13
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QuoteOriginally posted by LesDMess Quote
Agree. For optimal color and contrast processing, I always prefer the 16/48bit TIF file to the 8/24bit JPEG file. There may not be many options when sending out for scans.
Another thing people can do ( usually when you scan yourself) is scan in the ProPhoto RGB color space for max latitude with a 48-bit color file but you really need a color managed workflow. That way when if you import into, say, Lightroom you will already be editing in ProPhoto RGB.
09-14-2015, 01:06 PM   #14
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QuoteOriginally posted by LesDMess Quote
Agree. For optimal color and contrast processing, I always prefer the 16/48bit TIF file to the 8/24bit JPEG file. There may not be many options when sending out for scans.
I do as well, but my file storage and digital sanity requires that I scan to JPG except for very important work. I just can't justify storing 20-40mb TIFFs when I have a perfect copy of the negative or slide sitting happily stored in a (analog) folder.
09-14-2015, 01:33 PM   #15
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Another thing you can try after receiving the developed slides is to contact someone that has a scanner capable of scanning slides and negatives to help you. Files may be saved as TIFF or JPEG, so you and your helped must decide which format is easier for post-processing to correct WB.
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