cross processing and exposure latitude

[George Kara]

Any ideas on exposure latitude when cross processing? For example when shooting c-41 and developing in E-6, does the latitude decrease to an approx 8 stop effective range and vice versa?

Is effective exposure range determined at the pre-exposure or post development stage?

Thanks for any input.

George

 

[frugal]

I know e-6 film in c-41 chemistry gets a really narrow range (narrower than e-6 in e-6), don't know about the reverse though.

 

[jd callow]

I don't know the answer, but the c41 to E6 that I have done has been reasonably flat, and lacked a good dense black. It did have excellent tonal seperation from the dark mids through to the highs. Chromogenic Tmax was the only film I tested extensively. It worked as a slide when rated at ~12 to 25iso and souped normal. If it is pushed the higlights go pink. The overal tone of the 'slide' was cyan. I have never projected the slide. I'm not sure that helps -- but it is pretty much the sum total of my knowledge of the thing. Except that colour c41 in e6 was dull, muddy and held no interest so I didn't pursue it.

 

[nicolai]

It varies by emulsion, amount of exposure compensation, and/or processing adjustment. Unfortunately your best bet is to bracket liberally and see what happens.

 

[wirehead]

The inherrent sensitivity of the film does not change when you cross (or, not by any appreciable amount) The "traditional" look of printing crossed film on RA-4 paper means that you get a very high contrast image which gives the illusion of more lattitude than you actually have.

PE can, of course, butt in and tell me I'm hideously wrong.

 

[frugal]

The inherrent sensitivity of the film does not change when you cross (or, not by any appreciable amount) The "traditional" look of printing crossed film on RA-4 paper means that you get a very high contrast image which gives the illusion of more lattitude than you actually have.

PE can, of course, butt in and tell me I'm hideously wrong.

Getting a little off topic here, but wouldn't high contrast equal a low exposure latitude?

My understanding of exposure latitude is it's how far "out" your exposure can be and still get a reasonably usable exposure. Or, put another way, how many stops difference in exposure you can have before the shadows block up or the highlights blow out.

So if we take a mid-tone meter reading and everything that's 1/2 a stop over or under that goes to black or white you're going to end up with an extremely contrasty exposure (everything's going to be black or white with a very small amount of middle grey in between).