@Steve906, if you only scan and process digitally, I don't think there are severe problems with your approach. When printing RA4, I'd expect that your approach would induce a significant color shift that could be largely corrected through filtration, and perhaps a little crossover that may or may not be noticeable.
It is the potential for crossover that is the challenge.
Changing the development time and the temperature change the contrast of the different colour components of the emulsion, but the changes will vary between those components.
If the contrast of those components don't match, you will have to deal with at least some crossover. And as some other recent Photrio discussions about colour crossover will reveal, some of us are more sensitive to crossover than others!
Particularly when pictures of people are involved.
Ektar is the one film I'd be very hesitant to go outside the established box of proven-to-work parameters with. It's a great film if used well, but it *will* bite if you draw outside the borders.Just did a roll of 120 Ektar
I've been processing color film since the Nixon administration. Again there's so much latitude in a film like Portra 400 from a exposure (-2 to +4 stops) and processing at 100°F to push 1 stop you add 30 seconds, 3:45 . But jo one bothers because you can shoot 400 speed daylight Portra at 1600 in wierd light and still get reasonable results. It looks like Cinestill is hedging, looks to me they are building in a 1 stop push, to help the typical amateur customers that use their chemistry.Latitude generally refers to tolerance in exposure, not development. C41 really works best when it's developed according to spec.
Of course, if the chemistry's datasheet says that 3:30 @ 102F are the correct variables to use, then it makes sense to stick to this. However, I would not expect severe consequences if standard C41 parameters would be used, i.e. 37.8C/100F for 3:15.
I don't think anything you have done, which is outside of the standard C41 standard, is, or will be, an issue.
I have never seen a lab that does C41 with a pre-wash, nor have I ever seen a mini-lab with a pre-wash incorporated. I myself have never done a pre-wash with the C41 process. That does not mean doing a pre-wash is incorrect, it just means the vast majority of C41 processed on the planet does not have that happen. Don't worry about it, if it works for you, just keep on doing it.
The stop bath will not really change anything, it just stops the development instantly; well, within 2 seconds of it hitting the film anyway.
If you look back at your C41 negatives, going back years if you can, you will invariably see differing variations of the mask colour, "it's what it is," comes to mind.
Looking forward to seeing some results, hopefully, they'll be positive............................
Mick.
Just to get it straight: the same film, of (roughly) the same age? Different film stocks do have different dye masks, so a difference is not a problem per se. If the same film, from the same batch, gives a different mask depending on who developed it, there is obviously an inconsistency. It's a different question if that inconsistency will create problems elsewhere in the process (i.e. if it will manifest problematically in the final image). So don't panic just yet.Ok, while cutting and examining dried negatives today, I noticed that the color of the organge mask on my negs is slightly different from negatives produced by a lab. (ouch, not a good sign!). Mine are more yellow and less orange.
I don't prewash and don't see the need for it. But there's a bit of a diatribe on the pre-wash-or-not question. However, I don't see how it would significantly affect color mask properties.
- Extended pre-washing. The C41 kit aid "1 minute" and I've done more than that (a bit over 2), thinking it's not critical.
I haven't tried citric acid stop with C41 I think. Acetic acid would be the safe bet. I doubt, however, that the influence on the dyes is as big as you may fear at this point. My experience with RA4 paper (different dyes though!!) is that contemporary color dyes withstand citric acid just fine (no visible difference with acetic acid stop). There's a bit of carry-over of wisdom/best practices from older generations of films/dyes that's not necessarily valid for today's materials.
- C41 kit does not mention a stop bath, but the advice here on photrio was to do one, I used Ilford Ilfostop for 10 seconds.
Stop bath helps extend the life of your bleach and fixer, and ensures rapid cessation of development. Both are directed more to the quality, repeatability and economy of your process than they are to the specific results you obtain on a single film.
I wonder whether part of the reason for avoiding citric acid is its propensity to encourage mould growth if it is kept and re-used.
Just to get it straight: the same film, of (roughly) the same age? Different film stocks do have different dye masks, so a difference is not a problem per se. If the same film, from the same batch, gives a different mask depending on who developed it, there is obviously an inconsistency. It's a different question if that inconsistency will create problems elsewhere in the process (i.e. if it will manifest problematically in the final image). So don't panic just yet.
Yes if it was in any way straightforward I am sure by now there would be articles and/ or pictures plus videos on it as there are on evaluating b&w negs. If there are any good instructional articles or videos I'd welcome the links to themI have been doing this for decades and I am so bad evaluating color negatives that I do not bother to try any longer.
I couldn't wait for the new scanner to arrive, so I have re-assembled my camera-scanning rig today and ran the first 5-shot strip. Here're some samples (Portra 800)
These two were during sunset:
View attachment 252673
Do these look like Portra 800 to you? I have never developed this film at a lab before, it was my first time using it.
Do you have any photos using the film where we can evaluate skin tones?
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