Best warming filter for Ektachrome

[DREW WILEY]

I shot K64 in its very brief 120 version era, since there was no 25 equivalent that size. The most gorgeous Kodachromes I've ever seen were old 5x7 inch sheet version, done in a Hollywood studio.

 

[DF]

I shoot Ektachrome at or near right-angles-to-the-sun with a good polarizer to 'maximise' the film's palette, sharpness, etc.
Sorry, Kodachrome's renditions can't any longer be copied - it had a certain acutance & sharpness to it probably due to the way it was 'layered'. K14 thing, you know, not E-6.

 

[1957ExaktaVarexIIa]

I never found Kodachrome "warm". But maybe that's because I mainly shot the 25 product, not the later inferior 64 version.

To get warm and saturated colours, in my experience, it was absolutely crucial to underexpose the Kodachrome 25 half a step.
That was the reason that Kodachrome 25 always was and will be my favourite colour film .

Michael

 

[DREW WILEY]

I'm skeptical of that - certainly experimented with it. Maybe the labs themselves weren't consistent. People would slightly underexpose Kodachrome for sake of a little more dramatic slide show; but it made the image harder to print, if that was what was in mind instead. It's when "Kodalux" began screwing up the processing that I stopped shooting Kodachrome.

Ironically, the other film I shot during those days was the pre-E6 Agfachrome 50 - everything "wrong" about a slide film : huge grain, high contrast, poor green rendition, BUT the most convincing earthtones of any chrome film ever. It would even pick up fluorescent algal and lichen colors no other film could. I later printed some of that on Cibachrome, including some of my brother's 4X5 Agfa shots.

A couple of 11X14 inch K 25 prints are still on my walls. But by the time I printed them, I had switched entirely to 4x5 work and Ektachrome 64. Wish even it were still around. No, it couldn't deliver a saturated spring green or pure red, but could handle complex subtle sages and greiges like no other film before or since. It was quite blue biassed. Dye transfer printers knew how to squeeze reds out of it.

Then the Fujichrome 50 revolution arrived,the grandfather to Provia as well as Velvia. Each type had its own personality. I even loved the old grainy etherial Agfachrome 1000.

 

[George Mann]

After conducting a sighted experiment with the 81A vs the KR1.5, I see that the 81 is stiffer with a slightly more amber color.

Ektachrome + the KR1.5 produces an extremely accurate balance in daylight which is not quite warm enough for my taste. I have yet to test this film with the 81.

If the 81A + Skylight 1B produces nearly the same result as the 812, then the 812 is indeed overkill.

 

[Crysist]

These experiments and what you're suggesting remind me of what the guy was doing in this video:



I never got to shoot Kodachrome, but looking back on all the examples of it around make me so envious of the colors...

 

[BrianShaw]

After conducting a sighted experiment with the 81A vs the KR1.5, I see that the 81 is stiffer with a slightly more amber color.

Ektachrome + the KR1.5 produces an extremely accurate balance in daylight which is not quite warm enough for my taste. I have yet to test this film with the 81.

If the 81A + Skylight 1B produces nearly the same result as the 812, then the 812 is indeed overkill.

This kind of experiementation is ezactly what you need to do to achieve the warmth you desire. Only you will know what the right answer is. But... what is a "sighted experiment - looking through the filters without exposing film?

 

[George Mann]

This kind of experiementation is ezactly what you need to do to achieve the warmth you desire. Only you will know what the right answer is. But... what is a "sighted experiment - looking through the filters without exposing film?

I look thru the filters at different subjects to see how much warming each filter offers.

Using the "neutral" KR1.5 as a baseline helps me to judge the other filters theoretical affects.

 

[DREW WILEY]

Examining the scene through the filter by eyesight certainly helps. But any given film sees things a little differently,
so it's important to do that kind of testing too. Our mind often fools our eyes, however, unless we're well trained about the characteristics of that physiology/psychology interface. Learn the rules about "simultaneous color contrast", "successive" and afterimage contrast, as well as about metamerism. Learn the idiosyncrasies of your preferred presentation or repro medium. Practice makes perfect. After awhile, it all becomes intuitive.