Stone:
1) this would be a good subject for its own thread; and
2) you should probably experiment a bit with attempting to make duplicates using optical means.
If you do, you may start to get a feel for why this is actually quite challenging.
well cibachrome from kchrome was easy for me.
colour grid for grey card grey 15mins
step wedge for tone 15 mins
perfect 8x10 15 mins
toy FSU suitcase enlarger
duping slides more difficult even with dupe film
I dont have a darkroom, and for the limited amount of film i shoot
And that is your problem. I use a brick (10 rolls) almost every week.
Now, lets go back to reality and to Ferrania.
Dave, can we expect to see in the near future Solaris FG Plus coming back? ISO 100 and 400, please!
It looks like the easiest way to duplicate slides is digitally, i dont personally see any problem with this if you can get good quality scans at high res.
Regarding contrast issues, wouldn't shooting at say N-1/pulling whatever you want to call it, solve some of the contrast issues?
As this now appears to be a scanning thread, perhaps it ought to be moved to DPUG :munch:
HiStone
The best way to get slides is to use ECN/ECP like your cine chums do. You need ECP under a loope.
Or go large eg 6x6 masked C41 neg printed on to a 6x6 unmasked C41 - peerless, you would need n-x processing to match ECN/ECP norms.
E6 was more convient for masses.
Lantern slides were contacted from negs when only mono was available.
Noel
How many times do I have to say THEY DONT MAKE ECP in 8x10 sheets....
Ok, so scanning my E6 films is a waste of time because its digital?
It appears that digital printing is the only way to print my E6 now, so i dont know what you are getting at?
Im trying to come up with a way to optically print E6 onto RA4, and projecting it digitally as an inverted image would do just this.
(...)
The lab I contacted can print from a digital file, which is great as i dont have to send my filmstrips overseas for printing.
They say they can print from a digital interpositive.
Regarding contrast issues, wouldn't shooting at say N-1/pulling whatever you want to call it, solve some of the contrast issues?
Very much indeed. As of improvements, it is promising that their factory will have a high turnover rate, so they can keep putting small improvements over each successive coating run.I'm sure Ferrania's film will be fine. I have noticed comments on color palette, saturation, grain, and such. I am not a professional photographer, and I don't make art - so if the film is close to 1980s family photos we have, I can live with that. Anything better would just be a bonus for me.
Looking at photos on the web of the most recent offerings Ferrania had, I suspect the film will be much more modern.
For those of us who get creative to shoot 126, 828, etc., I think bulk rolls of unperforated 35mm might be a good alternative or first step to the "abandoned" formats.
Film's and particularly, reversal film reds pack quite a peculiar punch. Deep, rich reds. Might not be accurate, but it can be quite aesthetically pleasing. You did explain quite a few times that Kodachrome's was due to the particular Cyan layer. For E6 it is just the reversal process in itself?As for reds in detail, here is a normally exposed slide, scanned (to get things into APUG we have to scan them in you know), and the original is EPP with the subjects being 3 racial types, 3 hair types, and 3 levels of detail in reds. You see, I have done this over and over and over so I have objective tests for comparison. Included with this are type R and type C. Some of them included Ektaflex prints and Cibachrome prints.
PE
I first saw 'Ferraniacolor' slides in about 1953 at East Ham Grammar School Photographic Society when a 'Rich' kid brought in some -- his Dad owned a Chemist shop and processed with May & Baker 'Genochrome' chemistry -- well , it was not long before I tried Ferraniacolor and made up the chemicals from the Formula -- I used to but 'Refills' ( no cassette) and reload my own as it was cheaper ! When I joined Barking Photographic Society in 1959 the Club used to send out members loaded with Ferraniacolor and photograph the annual Carnival, then rush back to the HQ process up, blow dry the films, mount and make a commentary on a tape recorder then rush to the Carnival ground and show it in a tent to the Mayor, Carnival Queen and Princesses and members of the public !!!
When I got a job as Scientific Photographer for the Geology Department, University College London at £12-00 a week, the Boss let me splash out for a Asahi Pentax S1a and I introduced COLOUR Photomicrographs to the amazed Professors and Lecturers who had never seen such things !! All on Ferraniacolor Tungsten balance film ! I still HAVE some Ferraniacolor slides ! When they changed to the CR50 emulsion I could never get such good results -- I got dark slides and a green colour cast -- never successful with CR50 -- I left in 1970. ( SORRY-- NO Scanned Ferraniacolor to show you )
Yes i probably do agree with this somewhat, i seem to have various results from the different labs who have processed my film, some scans show the grain real bad, yet were scanned at a very high resolution, other labs who gave me lower res scans had no visible grain, in saying that, one lab i used must have had a good scanner, as i got some high res prints and i didnt find the grain very noticeable at all.The current state of the art in scanning can retrieve about 4000 dots per inch which is discarding quite a bit of information relative to what is really present on the film. Also, the resolution of the scanner being way less than the object to be scanned (film grains) means sometimes the horrible problem of grain aliasing will appear, where the resulting scanned image has an exxagerated amount of grain, grain which also does not have the character of actual film grain, being just an artifact of the process. This is especially evident when scanning ISO 400 (or faster) B&W film.
Yes I agree, however I do feel its a worthy question for Dave to ask if Ferrania still hold any equipment for producing photographic paper. IDK when Ferrania stopped production of paper, but im guessing it was made into the 90's?Now back to Ferrania(with an A at the end and only one N...)
I agree with this, i bought this up after someone here asked Dave about making paper.As far as we know, they have a film coater, not paper coater. So if there is any chance of a Reversal paper, it would have then to be coated by other company.
Yes i agree, im more than happy for them to start off with 100 ISO reversal film, and looking at the photos shot on scotchchrome, im expecting that the new Ferrania Film will be an excellent replacement for Kodak, probably closer to E100gx rather than E100g by the looks of it.What I say is: Let the new Ferraniacolor reversal ISO 100 film enter the market, let Dave & friends market it effectively (a la Ilford, not a la Alaris), and should the use of E6 increase over the next two years, the reversal paper should appear as a consequence -- be it from Inoviscoat, for example.
Paper and film can be coated on the same machine with the proper precautions.
Reds in all films are dependent on the dye(s) formed. Detail and hue of reds is determined by the cyan layer. This was a problem in Kodachrome which had a poorer dye (IMHO). In E6 films it is due to another problem associated with the process itself.
PE
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