So since I can't make analog prints from ciba/velvia (easily) anymore, should I be looking for a saturated negative film alternative? Any recommendations for the punchiest colors possible? I've never shot any negative film that I've developed myself, only Velvia...
Most saturated color negative film?
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Kodak Ektar 100 is pretty punchy, but is largely without the sunburned skin look for people.
"Punchiest colors possible" -- consider cross-processing Provia or Ektachrome (expired or forthcoming) since you're coming from a background with slide film anyway. This is an RA4 print from a cross-processed negative (Ektachrome).
![ce0085[1].jpg](https://www.photrio.com/forum/data/attachments/184/184163-b5c764b2b57cf40fdf290c4470f91346.jpg "ce0085[1].jpg")
Kodak's Ektar and Pro Image ISO 100 C-41 films look good in that department.
Chris what is your final delivery mechanism? Hard copy (c-print or digital print) or digital (web)? Just curious.
I suggest Ektar and Portra 160. This was done with Portra 160:
I suggest Ektar and Portra 160. This was done with Portra 160:
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Chris what is your final delivery mechanism? Hard copy (c-print or digital print) or digital (web)? Just curious.
I suggest Ektar and Portra 160. This was done with Portra 160:
I wonder sometimes about people who want to have more saturation
....Excellent color composing !!!!!!
with regards
I wonder sometimes about people who want to have more saturation
Excellent color composing !!!!!!
with regards
Thank you trendland!
Discontinued and hard to find: Kodak Vivid Color and Kodak Ultra Color.
Readily available: Ektar
Readily available: Ektar
Portra 160 gives very nice warm colors and the grain is not bad, the 400 still has good grain for a 400 ISO film, much much more fine that Tri-X 400 for example.
If Pro Image is the same as ProFoto XL then I agree.
My favorite color film now is Ektar 100 - though I think I'm living in sin because I know the colors are saturated beyond normal. I don't want to produce Rockwellian imagery.
Probably the all time most saturated was Agfa Ultra.
Kent in SD
Kent in SD
Beautiful! Final will be dichro enlarger wet print.
I have not used a lot of different color films but Kodak Ektar is the one I choose for color saturation in negative film.
I personally prefer Portra 160 or 400 as the colors seem a bit more natural.
Of course as you already know, Fuji Velvia 50 is the hands down saturation champion.
I personally prefer Portra 160 or 400 as the colors seem a bit more natural.
Of course as you already know, Fuji Velvia 50 is the hands down saturation champion.
You have to look at the paper as well. Fuji dpII and fujiflex are really saturated and contrasty
Cross processed film may produce Color shifts that won't balance when printing. Sometimes it works good sometimes it doesn't.
Another vote for Ektar. It's starting to become my favorite color film. I love the ultra saturated look of Velvia for landscapes, but it lacks the dynamic range of a good negative film, which can be a problem with landscapes. I love the skin tones and forgiveness of Portra, but it lacks the punch of slide film and leaves landscapes kind of meh. Ektar seems to do well with both landscapes and portraits, and pretty much anything else I throw at it. It's over saturated, yet still renders skin tones well. It's somewhat forgiving, and really fine grained. It does leave a trademark cast on the sky though. But I like that. Sure, it's got it's quirks and I still use other films often, but I always keep some Ektar on me because it seems to fit squarely between Velvia and Portra in uses and never disappoints.
Portra definetly produces some very good skin tones and very accurate color representation.
I have yet to try Ektar 100 because it's twice as expensive as other C-41 35mm films, but it sure looks very good in terms of saturation and has very vivid colors.
I have yet to try Ektar 100 because it's twice as expensive as other C-41 35mm films, but it sure looks very good in terms of saturation and has very vivid colors.
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I have a few frozen rolls of Ektar 25. I'm going to break one out this week and see what it can do.
The subject line “saturated color negative film’ makes me think back to the early 1980’s at Kodak. Kodak had always prided themselves on accurate color reproduction, and Fuji shook things up with a new series of high color saturation color negative films. It turned out that consumers wanted the colors they remembered and not the colors that were actually there - things like green grass and bright blue sky and not yellow-brown grass and muddy skies. I was in a new technology lab and we used a new digital imaging technique to create different color reproduction images for customer preference testing. (The technique involved ‘unbuilding’ an image into it’s scene log luminance data and then ‘building’ new images with new color reproduction data. This made it possible to create a series of images that were exactly the same except for changes in color reproduction. No closed eyes, etc differences between images to confuse things.) The technique worked great!
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