If I understand it correctly, it is possible to correct crossover digitally by post-processing the different colour channels in different ways - primarily by changing their contrast in differing amounts.In fact, you cannot restore the true color of a properly processed negative by any digital post processing. It's a delusion.
Well; you're not using cd4 but cd2, right? That is very likely to cause some color issues.Chemistry cannot be the cause
You are absolutely right, my friendIf I understand it correctly, it is possible to correct crossover digitally by post-processing the different colour channels in different ways - primarily by changing their contrast in differing amounts.
I doubt that it is possible to do this automatically, and would most likely require post processing knowledge and experience beyond what I possess, but it is possible, just not easy.
And what is the problem in using (CD3) or (CD2) with this recipe?You are absolutely right, my friend
God bless you.
I strongly respect your point of view.1. We are discussing a color negative process (like C-41) in this thread, right? And corresponding negative films. Not ECN-2, and especially not E-6.
2. There is a difference between CD-1 and CD-2. Yes, both of these substances are color developing substances. But, CD-2 is designed primarily for processing color reversible films. It is interchangeable with CD-3 (approximately 1: 2). But it is not compatible in the correct process with CD-1 or CD-4 (if this isn't a cross-process).
3. We cannot draw conclusions about the quality of the processed film, since you didn't do reference processing in the “right” process (C-41) and you do not have control strips. But color balance disturbances are clearly visible. Therefore, by default, it is worth considering that errors are precisely in the composition of chemistry and / or in the processing process itself.
These are images developed by the developer (ECn-2) ,,No problem. Thanks.
I was just as wrong when designing my process. Therefore, I clearly see some specific signs of deviation of the results. Just already trained eye.
View attachment 247385
Here is an example of one of my developments with incorrect chemistry. Pay attention to the characteristic excess of purple, the distorted green color and the general imbalance.
And in contrast - the correct development:
View attachment 247386
Well my teacher ..If you start with a selection of fresh film, reasonably well maintained cameras with sharp lenses, accurate exposure settings and whatnot, then I see a point in using a very well maintained process. You will be able to predict very accurately, what kind of result you get with a given film, and this may well help your artistic expression. However, you have to be able to afford it. And you have to make a strong point, that some piece of art really benefits from accurate and predictable colors, especially, if the much higher cost limits you in several other ways.
My working formula for the color negative process is:
(per 500 ml of working solution):
Distilled water 350ml (50-60 degrees C)
-------------------------------------------------------
Trilon B (EDTA-2Na) ...........................1g
Hydroxylamine Sulfate ........................1g
...
The cyan cast you see after inversion is normal, because your inversion process doesn't correct for the orange mask in the negatives. If you use scanning software, or a color negative specific inversion routine, you'll get (more) correct color. There's a process you can do in Photoshop or GIMP -- as I recall, you sample the color from the rebate between frames, fill a layer with that color, set the layer mode to multiply, and that will correct out the mask (which also has an imagewise component, so you can't correct it with simple color controls).
I think the method Donald refers to uses "divide" rather than "multiply", but I agree that you should research it directly.set the layer mode to multiply
I think the method Donald refers to uses "divide" rather than "multiply", but I agree that you should research it directly.
I wonder if "multiply" will give you something really weird and fun!
I would extend the stop bath to :60 to be safe. This should be a clearing bath as well as a stop bath, add 10 grams/liter of sodium sulfte to your 2% acetic acid stop bath.
I use a ferricyanide bleach with a 5 minute wash between bleach and fixer. If any bleach is left in the film when it goes into the fixer, it can oxidize the fixer and cause unremovable sulferization in the emulsion.
The bleach is overly complex. Just use 80 grams of ferricyanide and 20 grams of potassium bromide to make 1 liter of bleach. Bleach for 3 minutes at 100F.
If you can get Kodak C-41 fixer, that is probably the easiest and most economical way to go.
The developer formula will likely need a pH adjustment. The formula I posted on page 1 is the absolute best formula I've come across, I don't even bother checking the pH and get perfect results.
I think the method Donald refers to uses "divide" rather than "multiply", but I agree that you should research it directly.
I wonder if "multiply" will give you something really weird and fun!
You're probably correct. I've been getting good results by finding the preset in Vuescan that best matches the film I'm scanning (Vuescan updates literally every week or two to add support for various scanners -- why don't they add film profiles that match what you can buy now, as well as supporting obsolete films you might be scanning when you convert negatives from the '80s?) -- with the result that I never got around to trying the layer method. Fortunately, it's easy enough to check; once you have the layer filled with the mask color, you can try different draw modes until you get one that produces a good balance in the image.
I'd recommend using EDTA iron salt bleach. It's fairly easy to make at home. Also, you have not specified the processing mode for your film. My recipe is tested primarily for continuous agitation and normal temperature conditions.Thank you Donald Qualls!
I used VueScan and and the result is better.
I understood what to strive for!
It is necessary to remove the orange backing.
https://drive.google.com/file/d/1k_V1itzh1gv1CgYkRZ24_5la4uIJMhUM/view?usp=sharing
https://drive.google.com/file/d/1R209RCD5aEegqL8YR895FJJWhDaOaXyZ/view?usp=sharing
https://drive.google.com/file/d/1fmCq1_IqpyrewL8SrF__byySq6TtoV1G/view?usp=sharing
https://drive.google.com/file/d/1F9vRC5iG5ab1p3pxj5TLSgZN_bzCnzjB/view?usp=sharing
https://drive.google.com/file/d/17tF_liTGR6J1v9JpDHWoZRv2RXtc8iNM/view?usp=sharing
I'd recommend using EDTA iron salt bleach. It's fairly easy to make at home. Also, you have not specified the processing mode for your film. My recipe is tested primarily for continuous agitation and normal temperature conditions.
p.s. I'd not recommend you to use a stop bath at all. With Fe(III)EDTA bleach, it isn't needed, but with ferricyanide bleach, it is also dangerous (can potentially lead to cyanogenesis).
As far as I understand, you are from Russia - you can write to me in the PM if you need advice.
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