Anybody know what kind of correcting green filter to correct ektars red / magneta shift in camera.

[legstowalkmyself]

Its hard to tell from online images of filters which one is subtle enough and ive always noticed correcting filters give a different rendering than just post photoshop editing.

 

[DREW WILEY]

The common problem with Ektar film is JUST THE OPPOSITE - a shift toward cyan in the blues and shadows. Therefore a very gentle magenta corrective filter like a 1B pinkish skylight filter would be in order when taking shots, not a green one!

That misinterpretation informs one not to causally trust what you see over the web. Who knows what things were not properly calibrated, or got screwed up in the scanning and editing process to arrive at that mistaken conclusion.

 

[legstowalkmyself]

The common problem with Ektar film is JUST THE OPPOSITE - a shift toward cyan in the blues and shadows. Therefore a very gentle magenta corrective filter like a 1B pinkish skylight filter would be in order when taking shots, not a green one!

That misinterpretation informs one not to causally trust what you see over the web. Who knows what things were not properly calibrated, or got screwed up in the scanning and editing process to arrive at that mistaken conclusion.

Finding that hard to believe honesty, I majority darkroom print everything and consistently I have to do a cyan filtration with ektar 100 to even out the red

 

[koraks]

I have to do a cyan filtration with ektar 100 to even out the red

That's odd. Firstly, filtering the cyan channel is uncommon and the only case I've found it necessary is with ECN-2 processed Vision3 film, which has a massive green shift compared to C41. Secondly, if you add cyan to the filter pack, you're adding red to the print. Finally, I've shot and darkroom printed a fair share of Ektar and while it's certainly every bit as saturated as it's touted to be, I find it's not biased in any particular direction.

Ektar 100 printed on Fuji DPII
This print was made as part of a comparison of enlarger lenses. I didn't pay all that much attention to color balancing. It's slightly cool, which is consistent with this scene being in a relatively deep shade in downtown Milan.

 

[legstowalkmyself]

That's odd. Firstly, filtering the cyan channel is uncommon and the only case I've found it necessary is with ECN-2 processed Vision3 film, which has a massive green shift compared to C41. Secondly, if you add cyan to the filter pack, you're adding red to the print. Finally, I've shot and darkroom printed a fair share of Ektar and while it's certainly every bit as saturated as it's touted to be, I find it's not biased in any particular direction.

Ektar 100 printed on Fuji DPII
This print was made as part of a comparison of enlarger lenses. I didn't pay all that much attention to color balancing. It's slightly cool, which is consistent with this scene being in a relatively deep shade in downtown Milan.

I think you know what I mean, adding cyan by subtractive process I add cyan though adding equal parts M and Y to add cyan. Thats a really good photo though, love the colors. Not at my computer rn but I'll show you what I mean in a second with some examples

 

[koraks]

Okay, gotcha. Well, I've never found Ektar to consistently lean towards red or any other color; it's pretty faithful, but since it's so saturated and today's paper is also kind of vivid to begin with, color balancing can be tricky, especially on the 'richer' papers like DPII and Maxima (and previously Endura, which was a dream team together with Ektar BTW).

 

[DREW WILEY]

I'm 1000% certain of what I said. The slight cyan imbalance was a known characteristic of Ektar all along; read some of PE's old comments if you don't believe me; he was involved at Kodak. But you apparently misunderstand this, and Koraks has provided the probable explanation.

Do film per se corrections via a filter on the lens at the time of the shot; it's more effective that way. Colorhead settings are relative to the paper instead, so a different aspect of the topic, which has to be done, as it were, backwards in color negative applications. Scanning etc yet another set of variables.

 

[legstowalkmyself]

I'm 1000% certain of what I said. The slight cyan imbalance was a known characteristic of Ektar all along; read some of PE's old comments if you don't believe me; he was involved at Kodak. But you apparently misunderstand this, and Koraks has provided the probable explanation.

Do film per se corrections via a filter on the lens at the time of the shot; it's more effective that way. Colorhead settings are relative to the paper instead, so a different aspect of the topic, which has to be done, as it were, backwards in color negative applications. Scanning etc yet another set of variables.

Ok ill trust you, im sure you know and are far more experienced than myself. I also forget too that my pentax 67 105mm has a super strange orange / reddish tint to it compared to my 75mm. I tend to get mixed up lol. But let me test this when im home

 

[DREW WILEY]

I shoot Ektar in all formats up to 8x10, and enlarge it up to 30X40 inches on both Fuji Super C and the deluxe Fujiflex Supergloss (hopefully Maxima next). My enlargers and their lenses are exceptional. Given all that investment, my testing procedure of color film is also necessarily intense.

Once you do get it all balanced out, Ektar can be a remarkable product. Just take your time to figure out one variable at a time.

 

[dynachrome]

I don't develop or print color negatives myself but I do use Ektar 100. I have noticed the blue shade in the shadows. Also, I normally rate the film at 80 in bright sunlight but only 50 or 64 in cloudy light. This probably has more to do with how my prints are made than with the film itself but it seems to work for me. Let me use this opportunity to wish all participants and watchers of the forum Happy Holidays!

 

[DREW WILEY]

Well, my morning break before the howling wind and rain start up again will be to rake up all the fallen branches from last night, covering the driveway. No time for the darkroom this week. Tomorrow should be nice for a shoreline walk with the camera.

Per rating Ektar, if your light meter is properly calibrated, go with actual box speed of 100. Cutting the speed down in order to slightly overexpose the film in certain circumstances can work, by shifting the shadow exposure further up the curve with less risk of shadow hue errors, but at the potential penalty of overexposing the high values, and tempting hue errors up there instead.

What works better is to color-correct the blue-cyan propensity of the film to begin with, by applying an appropriate warming filter at the time of shot, along with the relevant filter factor.

Correcting mixed lighting, some in open warm sunlight, and some in deep bluish shade, is a little more complicated, but also doable using a combination of warming filtration and selective film flashing. I think I've explained that before on this forum.