I know some color films have some variations over color tone and saturation. Would developer (C-41 for example) makes any difference in color saturation? How about the push/pull?
Color Saturation (Film or Developer)
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Color films are far less flexible than B&W films in terms of processing. Changes in the developer from what is recommended and pushing/pulling the film will result in several problems. Most notable are color shifts and color cross-over. How a film responds to a color developer depends on the developing agent and the color couplers used in the film. They are designed to work as a set. Using a different developing agent will result in different color values produced. In contrast to B&W film,color film contains three emulsion layers. For example, the layer at the bottom begins to develop after development has already started in the first and second layers. Therefore changes in development times effect the amount of development in each emulsion. Pushing/pulling changes the designed balance between the layers causing problems.
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If I have interpreted your question correctly, I think you are asking two things:
1. Does different makes of C41 developer result in different saturation with the same film
2. Does push /pull result in a different saturation look to the negative
My understanding is that the answer to the first question is NO and to the second question is that in my experience and based on accidentally allowing the development time to be extended by 30-45 secs is that the negative certainly becomes more contrasty and in that sense the prints thereof look to have more saturated colours but it isn't true saturation and can result in what Gerald has said.
If you want more saturation then change films. Push/pull may be necessary on occasions but doesn't result in a "free" bonus of turning say Portra colours into Ektar colours
pentaxuser
1. Does different makes of C41 developer result in different saturation with the same film
2. Does push /pull result in a different saturation look to the negative
My understanding is that the answer to the first question is NO and to the second question is that in my experience and based on accidentally allowing the development time to be extended by 30-45 secs is that the negative certainly becomes more contrasty and in that sense the prints thereof look to have more saturated colours but it isn't true saturation and can result in what Gerald has said.
If you want more saturation then change films. Push/pull may be necessary on occasions but doesn't result in a "free" bonus of turning say Portra colours into Ektar colours
pentaxuser
A single costed (SC) lens (and even more so with an uncoated) spills high lights into shadows and midtones desaturating and 'pastellising' the colours.
This is one of the reasons why Cosina Voighlander offers 35mm and 40mm lenses as SC or multi coated.
The effect is a lower contrast or less saturated colour.
Some people with Leica M8 or M9 use SC lenses for lower contrast cause of sensor dynamic range limitation.
The amount of compression or pastellisation is dependent on sceanes contrast.
Although I only use mono on bright days I use SC lenses.
This is one of the reasons why Cosina Voighlander offers 35mm and 40mm lenses as SC or multi coated.
The effect is a lower contrast or less saturated colour.
Some people with Leica M8 or M9 use SC lenses for lower contrast cause of sensor dynamic range limitation.
The amount of compression or pastellisation is dependent on sceanes contrast.
Although I only use mono on bright days I use SC lenses.
This is true. In cinematography uncoated and single coated lenses are sought after for their particular aesthetic qualities - there are even companies that remove lens coatings for a nice amount of $$$. Mutes colors, flares, the whole sha-bang. I think some scenes in Saving Private Ryan were shot w/ either sc or uc (need to double check though as I'm not 100%)
I discovered the 'pastellisation' the hard way when people asked what film was that taken on?
My friend was an artist and thought Id gone impressionist...
I had swapped lenses and had kept records cause I was testing a new purchase.
Always use a hood with a single coated lens.
But swapping MC, SC & SC minus hood lenses in a planned shot sequence allows variable saturation like a medium format with multiple backs and different film.
Alas I shoot mono >99% and use the SC effect to preflash shadows for enhanced zone1 details, with stand, and post borax bath for maximal dynamic range. I use LTM lenses with Canon LTM and Leica M cameras.
My friend was an artist and thought Id gone impressionist...
I had swapped lenses and had kept records cause I was testing a new purchase.
Always use a hood with a single coated lens.
But swapping MC, SC & SC minus hood lenses in a planned shot sequence allows variable saturation like a medium format with multiple backs and different film.
Alas I shoot mono >99% and use the SC effect to preflash shadows for enhanced zone1 details, with stand, and post borax bath for maximal dynamic range. I use LTM lenses with Canon LTM and Leica M cameras.
Could this explain why I seem to get such intense saturation from my Vivtar Ultra Wide & Slim (single optic plastic lens)?
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