Originally posted by timw4mail That's really natural color for Ektar. Ektar seems to be a finicky film when it comes to color, sometimes great, with more saturation, sometimes just way too saturated.
I've read that and seen that, but I've never had any problems with color or saturation with Ektar. I think a lot of the issues people have with Ektar come from bad processing (temperature or old/exhausted chemistry causing color shifts), bad metering (old cameras with off-shutter speeds, old light meters, low batteries in either camera or meter, a wrong guess at the light if going off of Sunny 16, or a fooled meter), or bad scanning/post processing, with "bad" in this case meaning something detrimental to the process that causes an unintended consequence in the final digital or printed image from the negative and not necessarily poor technique. There's a lot that can go wrong with color film, and more so if you starting messing with more than one of those variables at a time. I think a lot of film shooters make it too hard on themselves honestly by using old worn out cameras or meters and then using multiple labs and scanners/scanning techniques, and taking advice from blogs and forum posts on the internet from other users who may or may not have the same goals as you with their film or even know how film is supposed to look and work (hint: film images are not supposed to be a grainy off-color lomo mess if they're done right. There's nothing wrong with a lomo image if that's your intent, but you should know and understand how to make a straight image first BEFORE heading off to Lomography land).
I generally shoot it at box speed in cameras with known good metering (from shooting slides and from matching the meter readings from my various film bodies to my K-30) and send it to good labs that know how to scan (The FIND Lab or The Darkroom generally) and get great results.
Things get a little orange at sunset, but then again the light was a bit on the warm side that evening too...
...but a cooling filter would probably cure most of it. I've also read that Noritsu's scan cooler than Frontiers, and I think I generally ask for the Noritsu scans from FIND with Kodak Film. I'm not sure what the Darkroom uses off-hand.
It works for me in a studio setting too (this was one of the last rolls I had developed at my local grocery chain before they pulled their developing equipment, and they uses a Frontier which might explain the warmer color cast)
Long exposures work too
And when its dark and you're on the move, set your meter to 400 or 800 (I can't remember which I did for these, but probably 800) and let the color shift fade in to the darkness.
But that's just my opinion man...