Cross processing colour film

[gr82bart]

I'm trying to understand these techniques where you take E-6 transparency film and process it in C-41 chemistry and take C-41 negative film and process it in E-6 chemistry.

What sre the results like? I assume in the first, you get a negative and have to print from them and in the second you get a transparency or slide? Why would you do this?

Do you need to use filters or make any special camera adjustments when taking the pic before you can use these techniques? What are some ideal conditions to do this?

Are there examples on the web to see the results?

Thanks in advance.

Art.

 

[gr82bart]

Found this really informative site with examples:
http://hotwired.lycos.com/webmonkey/99/23/index3a_page4.html?tw=design

Also these photographers who use the techniques a lot:
http://www.n-gised.com and http://www.philipp-guenther.de

Art.

 

[Thomassauerwein]

The best results for me have been E-6 run through C-41 I found you need to under expose the film by at least 1 stop more depending on the contrast of the light. The wonderful thing this does is totally saturates the colors in the set. if you use this process for portraiture you have to be really careful with shadows on the face. I'll put an example of one of my I did some years ago in the non- gallery section

 

[Flotsam]

Go here and ask about it.
http://www.lomo.us/forums/
Some of these LOMO people have done a lot of experimenting in cross processing and really know their stuff. They get some remarkable results.

-Neal

 

[Robert Kennedy]

I've done E-6 in C-41 and C-41 in E-6.

When you do C-41 in E-6 you will basically get a transparency with a nice orangey base. This CAN work, but you have to plan on that base. It will be there.

Now, E-6 in C-41 is a bit different. Since you get a negative with NO base color, this changes things a bit. You get some AMAZING color saturation. You also get WHITE-whites and BLACK-blacks. All your highlights will blow out, and all your shadows will be as dense as fruitcake.

As to exposure, with me, I just shoot Ektachrome VS100 (or whatever it is now) at 100 and get it developed at 100.

Then again I WANT the look you get from that setup. I like the density and saturation.

I also have the prints done to spec. I tell them to "print from skin", which is to set the minilab to make sure that skin-tones are balanced and to let the rest fall where it may. It can be AMAZING in a portrait. You get some neat effects.

You also have to keep in mind there is a bit of voodoo here. If you want something consistent and safe, this is not it! You could, I am sure, get repeatable results, but that is no fun! This is something to be played with!

 

[gr82bart]

Well, I shot two rolls of Kodak Porta 160VC and cross prossessed them in E-6 and two rolls of Fuji Provia 100F and cross processed those in C-41.

The Kodak Porta came out a bit glue-green overall, but pretty kewl results none the less. Not a wow, just OK. The Fuji though was contrast and saturation heaven - very, very cool.

Shot all film at 2 stops over.

I will definitely experiment some more. Anyone try thr new Kodak Ektachrome G series? What about the Kodak colour infrared film?

Art.