Filter for Fluorescent correction on daylight film to be cross processed

[mark]

I want to take some images here at work where all of the lighting is fluorescent and to punch up the contrast I was going to cross process the E100VS.

I have been doing some reading and in one place the writer said there is no real way to filter fluorescent light to get rid of the color cast. Is this true?

What filter would I need, since I will be using daylight film?

 

[Gatsby1923]

There are FL filters that will get you close. BUT and a big BUT. All brands cast a slightly different hue and different bulbs are rated for different color temperatures. If you knew what kind of bulbs they where using, what the color temperature was in theory you could work out a color correction filter that would work out. I would try shooting a roll and see what happens.

Dave M.

I want to take some images here at work where all of the lighting is fluorescent and to punch up the contrast I was going to cross process the E100VS.

I have been doing some reading and in one place the writer said there is no real way to filter fluorescent light to get rid of the color cast. Is this true?

What filter would I need, since I will be using daylight film?

 

[TheFlyingCamera]

the "right" way to correct for fluorescent lighting is take a reading with a color temperature meter, and then filter with a combination of the appropriate CC gelatin filters. This is an extremely expensive solution, as color meters are very expensive, and keeping a stock of the appropriate gelatin filters is also pricey. Usually this is reserved only for professional architecture shooting where a client has the budget and the publication requirements to justify the effort.

Frankly, when cross-processing, you'll pick up enough contrast, and you'll also find that the color balance will be wacky anyway, so I wouldn't worry about compensating for the fluorescent that much.

 

[jd callow]

Don't stress too much over colour correction. This is or will be neg film much correction can be done under the enlarger, I use -- oops let me check -- an FL-d and it requires about 2/3 of a stop correction.

If shooting chromes as reversals film colour correction is very possible. It requires a colour meter and a full complement of filters. It is when you get into to mixed light that the problems begin.

As for your choice of film, 100vs. iI think you may find that the tendencies of this film coupled with the fluorescent will be very problematic. VS has a strong yellow green cast and very little tonal range when crossed. If it were me and 100vs were the only film in my bag I would use a 60cc magenta filter over expose one and two stops (after adding 2 stops for the filter) and pull the film 1 to 1.5 stops in development. The thing is you need to experiment/test first

 

[mark]

Thanks folks. Nothing like knowing what you want not knowing how to get there.

 

[Harrigan]

Mark, why not just shoot it on neg film to begin with? For commerical architecture interiors I gave up trans film and fiddling with cc filters and a color meter years ago. (Which reminds me I still have the color meter somewhere) You can shoot NPS or NPS pro or whatever the new emulsion is and print the negs with little trouble. I've done hundreds of interiors on NPS without filtering anything in a variety of weird lighting situations.

I can also tell you crossing 100VS is going to be very hard to deal with.

 

[jd callow]

As for neg film Harrigan is correct.
The pro fuji films, NPS, NPC and even NPL will manage flourescents well unfiltered. A little over expousure is helpfull though...

 

[mark]

It won't give me the look I am after. I'll do both though and see but I think cross processing is what will give me the super saturated unreal look I am after with this.

 

[Harrigan]

If you want funky then crossing 100vs might work. VS is very responsive to poor chemistry in E6 but I don't have any experience crossing it. What I mean is it gets weird if you have poor chemicals as opposed to Fuji chrome which is quite tolerant of poor chemistry, in my experience. I have pushed VS with good effects and increased contrast and saturation. I think most people cross provia but I don't have a lot experience crossing.

The fuji neg films will give you a natural or standard sort of look of course.

 

[jd callow]

I've crossed vs and the fujichromes. All Fuji chromes except 64t have a green cast which generally turns into green/magenta crossover. Provia has a very short tonal range whereas velvia and astia are somewhat better. The newer kodak emulsions (e100xx) have a yellow green cast and the tonal range goes from short to really short -- e100g to e100vs. The older kodak chromes tend to have blue/yellow crossover and largest tonal range. Under fluorescents I'd go with one of the older kodak films. They will be less affected by the lighting, and far easier to get a print from. You will still get tons of contrast and saturation. If it is insufficient for your needs move up to one of the newer emulsions, but you'll need to use on camera filtration if you plan on producing a printable neg.

Provia unfilterred under fluorescents

e100s 40cc magfilter under fluorescents

 

[mark]

Hey, I have soe provia sitting in a drawer. Never thought about using it for this. I'll give it a try.

 

[jd callow]

Under that lighting it will be very green and you'll get about 2 maybe 3 stops of information.

 

[mark]

SO if the cast is green and the wall is red, that should look pretty funky.

 

[jd callow]

it could. If what you are looking for is a big bold blocked up (as in the film maxes out) red wall then I'd choose something else or expect to have do some on camera filtration. If you want a matrix like environment then it will work (subtract blue so the green will go cyan).

It is all about what you want and to know what you get you need to experiment. I’d buy 4 rolls of one film and shoot a roll (bracket like crazy) soup inspect, refine repeat – and keep repeating till you’re happy.

Below are some examples of red. All but the attachment are crap copy shots that include plenty of flare from my lighting (same as my previous post)

A Redroom E200 no filtration

Rvp (40cc mag)

Provia (40cc mag)

A Christmas card from a couple years ago shot on e100sw (its been ps'd but the colour is accurate) 20 or 40cc magenta

 

[mark]

Thanks John, I will be playing with what i have and order more of the older films.

 

[epatsellis]

so, for somebody sitting on, oh say a few hundred sheets of expired Velvia and about 500 sheets of CDU, then heayv (40-60cc) magenta might be a start in the right direction?


erie