Recent content by nograin_nogain

Thanks so much, this is the kind of substantive feedback that makes posting here worthwhile. Honestly, the A/B split came from Koraks's earlier C41 formula rather than independent chemistry on my end, and your reply pushed me to look more carefully at whether that architecture actually applies...

Hey everyone, I've been mixing my own ECN-2 developer at home for about a year now, and after ~70 rolls through the system I wanted to share the formulas and a few observations. The base reference is Kodak's Processing KODAK Motion Picture Films, Module 7. The two-stock concentrate split was...

Since I've seen my film go more purplish/magenta, I'd probably skip the filter. If correct exposure before was 3-4 seconds, I'd increase this by a couple stops to give ~15-16 seconds. Then you can pull by 2 stops in the first developer. With fresh first dev, that would probably be a dev time of...

Check out my recent post on saving expired slide film. It might be helpful for you!

Very interesting! I definitely haven't tried that. I wanted this method to be accessible to the most people possible though, so being able to use standard E-6 chemicals was important to me with this.

Thank you for the kind words!

For the shots in my post here, I used my studio light set to 3200K. For some of the other shots in my video, I used an 85C filter.

Hey everyone, I recently shot some Fujichrome 64T Type II that expired in 2002 and wanted to share results from an experiment testing my "overexpose and pull" approach for expired slide film. Most of the advice I've seen for expired E-6 seems to be "shoot it at box speed and pray," but I...

Yes, there definitly is a mask, when processed in C-41 at least. That said, I can't speak to what happens to it when processing it in E-6. Also, Lucky's mask is a bit more reddish than orange to my eyes. You can see some close-ups of the developed film here in the video I made comparing it to...

Thanks, really appreciate it! I definitely agree, the print gives it a completely different presence. Plus, getting it on the wall afterward is a great payoff.

Following up on my earlier thread about shooting trichromes directly onto color film, I've now printed one of those frames in RA-4. One reason I mentioned for keeping the process fully analog was preserving the option for optical prints. I finally tested that with this shot of the green wave...

Following up here, I’ve made a darkroom contact sheet as a more direct, optical reference, printed on Kodak Endura Premier (lustre). The sheet shows the first five frames of the same scene from each film, shot at the same exposure and developed together in the same tank. Exposure was 70M / 40Y...

Hey Dan, You’re absolutely right about the origins of the technique. I’m not trying to recreate traditional trichrome color photography so much as explore what happens when that separation logic is applied directly to color negative film. Part of the appeal for me is keeping the entire process...

Hey everyone, I’ve been experimenting with trichrome photography for a while now, usually using three separate black and white negatives through RGB filters and recombining them digitally. On a recent trip, I decided to try a different approach and shoot trichromes directly onto color negative...

I see what you’re getting at about how scanning choices can end up masking what’s really happening in the negative itself. My intent with this first comparison was more practical than analytical, but it’s clear there’s a more rigorous way to approach this if the goal is to isolate film behavior...