Color correction for Rollei Digibase CR200?

[Nzoomed]

TBH, ive never had any yellowing with my shots, and i leave the film in my camera for some months sometimes.

Only issue ive had is with light piping, usually because the labs unpick the films in bright light.

 

[wlodekmj]

TBH, ive never had any yellowing with my shots, and i leave the film in my camera for some months sometimes.

Only issue ive had is with light piping, usually because the labs unpick the films in bright light.

Thank you, that is very interesting. I wonder what the difference is between our experiences. Is the film you use very fresh - maybe direct from Wittner? Or maybe there is an environmental difference - I live in London and take most of my photographs there, though not all. Do you live far from a city, or in a city high above sea level? I could list all the possibilities that I did try out, such as variations in processing, in filtering, and more, that did not make any difference.

As for light piping at the labs - I wind 35mm film all the way back into the cassette put a sticker on the outside asking the processors to handle the cassette in low light. I don't know if they take any notice, but I do not get piping. And when I process at home I handle the cassettes in low light myself.

 

[Nzoomed]

Thank you, that is very interesting. I wonder what the difference is between our experiences. Is the film you use very fresh - maybe direct from Wittner? Or maybe there is an environmental difference - I live in London and take most of my photographs there, though not all. Do you live far from a city, or in a city high above sea level? I could list all the possibilities that I did try out, such as variations in processing, in filtering, and more, that did not make any difference.

As for light piping at the labs - I wind 35mm film all the way back into the cassette put a sticker on the outside asking the processors to handle the cassette in low light. I don't know if they take any notice, but I do not get piping. And when I process at home I handle the cassettes in low light myself.

Im trying to tell our labs to handle in low light but have no idea if they do or not.
Only ruins a frame or two at each end worst cast scenario.

I live in a coastal town, the rumour for the yellowing has been along the lines that Rollei must have had a bad batch of the stuff that was stored in a hot area.

Both lomography and wittner-cinetec have stood by their products and guranteed no yellowing.

This I can verify. Its no longer available anyway, I have no idea how long Wittner's stock will last.

 

[wlodekmj]

Im trying to tell our labs to handle in low light but have no idea if they do or not.
Only ruins a frame or two at each end worst cast scenario.
I live in a coastal town, the rumour for the yellowing has been along the lines that Rollei must have had a bad batch of the stuff that was stored in a hot area.
Both lomography and wittner-cinetec have stood by their products and guranteed no yellowing.
This I can verify. Its no longer available anyway, I have no idea how long Wittner's stock will last.

Agreed - I guess I'm lucky with the lab I use, and careful at home - so no light piping.
Yes, Maco/Rollei very likely had a batch - or several - that were badly stored. I tried to describe what I found will minimise the yellowing.
Lomography have actually described their XPro 200 as having a "citrus" tone - I'd call that yellowing.
Wittner's web site says they have planned the cutting of their remaining stock so as to keep selling _some_ versions for another year, so I think it is worth keeping up this discussion.
Thanks.

 

[Nzoomed]

Agreed - I guess I'm lucky with the lab I use, and careful at home - so no light piping.
Yes, Maco/Rollei very likely had a batch - or several - that were badly stored. I tried to describe what I found will minimise the yellowing.
Lomography have actually described their XPro 200 as having a "citrus" tone - I'd call that yellowing.
Wittner's web site says they have planned the cutting of their remaining stock so as to keep selling _some_ versions for another year, so I think it is worth keeping up this discussion.
Thanks.

OK, thats interesting to know.

Ive got a few rolls to keep me going for some time anyway. It is the cheapest E6 film on the market.
Love the retro colours, it does have a bit of grain, but not enough to bother me.

I think there was another APUG member who shot the XPRO200 and had been in contact with lomogrpahy with the yellowing and said they guaranteed it to shoot fine. Im pretty sure he posted his samples on the thread and they looked fine.

 

[wlodekmj]

Nzoomed replied when I wrote about the yellowing:

TBH, ive never had any yellowing with my shots, and i leave the film in my camera for some months sometimes.

and more recently:

Ive got a few rolls to keep me going for some time anyway. It is the cheapest E6 film on the market.
Love the retro colours, it does have a bit of grain, but not enough to bother me.

I think there was another APUG member who shot the XPRO200 and had been in contact with lomogrpahy with the yellowing and said they guaranteed it to shoot fine. Im pretty sure he posted his samples on the thread and they looked fine.

Thank you for these remarks. After reading the first one, I tried a fresh roll of Wittnerchrome 200D, kept in my camera for several weeks, and indeed it did not go yellow by much, though it was a little more yellow than a roll of Precisa CT100 (film like Provia 100F) that I exposed at the same time. For example a grass lawn looked a healthy green on the Precisa but a bit yellow and dry on the Wittnerchrome.

I still hold to my advice concerning Aviphot from all sources - store it well and get it processed soon after exposure, especially Rolleichrome CR200 from Maco, and Lomochrome XPRO200, which I have had go yellow to varying extents, depending on the batch and how well the film has been stored. Even though Lomo guarantee their film, that is when it leaves them, and I have had some markedy yellow results from Lomochrome when I bought it from shops that had kept it on their shelves for some months.

 

[Nzoomed]

Nzoomed replied when I wrote about the yellowing:



and more recently:


Thank you for these remarks. After reading the first one, I tried a fresh roll of Wittnerchrome 200D, kept in my camera for several weeks, and indeed it did not go yellow by much, though it was a little more yellow than a roll of Precisa CT100 (film like Provia 100F) that I exposed at the same time. For example a grass lawn looked a healthy green on the Precisa but a bit yellow and dry on the Wittnerchrome.

I still hold to my advice concerning Aviphot from all sources - store it well and get it processed soon after exposure, especially Rolleichrome CR200 from Maco, and Lomochrome XPRO200, which I have had go yellow to varying extents, depending on the batch and how well the film has been stored. Even though Lomo guarantee their film, that is when it leaves them, and I have had some markedy yellow results from Lomochrome when I bought it from shops that had kept it on their shelves for some months.

From what ive been reading from everyones experiences, it seems to be very prone to damage from heat.
I think it must be one of these films that needs to be processed ASAP and kept refrigerated.

Ive got some rolls that are waiting to get processed that have been sitting in my fridge for some months.
Would be a good thing I guess to get them processed. Will be interesting to compare the results.

I know PE has said that Agfa films typically dont store well, even frozen.

 

[rhmimac]

From what ive been reading from everyones experiences, it seems to be very prone to damage from heat.
I think it must be one of these films that needs to be processed ASAP and kept refrigerated.

Ive got some rolls that are waiting to get processed that have been sitting in my fridge for some months.
Would be a good thing I guess to get them processed. Will be interesting to compare the results.

I know PE has said that Agfa films typically dont store well, even frozen.

My last roll CR200 from Maco had an yellow to orange cast. So no more CR200 for me. I think the quality has passed under the acceptance line for me.

 

[trendland]

The qualty problems with cr200 are often discused.

It an interim problem.Some have no problems at all with the colors.

Some have massiv problems.

It depends in the storage of some masterrols after the bankruptcy of
AGFA.

In general one can say that the last
AGFA E6 stuff (original CT100 - never confuse with Fuji Provia,RSXII 50, RSXII100) - witch is especialy designed of the same
emulsion family and generaly comparible
with cr200 are more sensible in regards to overstorage compared with fuji E6.

But the more relevant problem here (with
Cr200) is not overstorage - it seams to be that there have been an interims storage from people they have dealed with large amounds of AGFA masterrols
(not Rollei) by absolute unprofessionall handling - high temperatures, extremly
bad conditions over some month.
I am very sorry to say that but i have no doupts that Rollei finished some of that
bad masterrols (without knollage of bad
storage conditions)

One can not have sympathy with Rollei
on the other hand, that they havent done
extensive tests before.





with regards

 

[trendland]

....fotgot some facts.

If you have RSXII and old Agfa CT 100
well stored - beware not to wait a longer time after shooting.

The best way is expecially with this stuff
immediately developing.

Otherwise the results are looking like
Thungsten Film not shoot at 3200 Kevin,
but rather like shoot at candle light.

Bad CR 200 looks like daylight sensitised E6 at 1900 kelvin (chimney
fire) !!!!!!


with regards