The scene was impacted with the Fall colors hence the yellows.
If this photo was overexposed why is just the part where the sun’s intensity was the greatest that showed yellow and not the rest of the scene…?
I never used the EV key just the aperture ring…!
I'd have to disagree with Les. Anything more than plus/minus 2 EV with Ektar is going to reproduce poorly, and will risk inevitable serious difficulty attempting to correct crossover issues in terms of hue cross-contamination. You've realistically got only about half a stop more latitude either direction than typical chrome film. Just bagging "something" recognizable on the film doesn't count. What is the actual quality and usability of it? And don't try telling me anything can be post-corrected in PS. It can't. Now I need to proceed to a more involved post.
Disagreement is expected as I am only showing what I get with my workflow from capture to result. No doubt others may have different results and expectations.
As long as you don’t take umbrage…!
I'm of the sticks and stones may break my bones but words would never hurt me generation . . .
BTW, you still haven't said how your scans were made . . .
Hence the suggestion to use an ND Grad filter , to control the brightness across the whole scene , allowing for satisfactory exposure for the shadows without blowing the highlights .
I've been using them for many years , typically for keeping detail in the sky , including with Ektar .
I assume you familiar with ND grad filters ( not ND filters ) ?
If not , I mean such as these ; https://www.wexphotovideo.com/lee-100mm-nd-grad-medium-filter-set-1595922/
The scans were made by Process One with a digital scanner…!
For a contrasty film, Kodak Ektar 100 still has a good amount of exposure latitude.
Kodak Ektar 100 latitude by Les DMess, on Flickr
This of course is just straight autoexposure scanning. More can be had if you over/underexpose during the scan as well as apply post process.
No, Nikon 2. It would be going from f/4 to f/5.6. Using f/8 would amount to a 2 EV reduction in exposure.
This probably belongs on a different thread dedicated to advanced Ektar technique per se; but here goes anyway :
I try to avoid mixed-light situations when using Ektar. The most frequent dilemma is when one encounters deep blue shade in the same scene as warm open sunlight. For simple close-ups. you could employ a gold fill-reflector disc with moderation. But there is also an effective manner to deal with large or complex scenes. And it solves two problems at once - the annoying blueness of the low values themselves, as well as the challenge of excess overall contrast.
My trick involves a basic on-site film flashing option. I use a gel filter holder over the lens, via an appropriate threaded adapter. This contains four thin elements : 1) a thin 1'16 in thick piece of Sign White diffusion acrylic; 2) an 81A warming filter; 3) a supplementary .05 density magenta CC filter; and 4) a neutral density gel sufficient to achieve a net neutral density of the entire sandwich of .60, or exactly two EV (a 2-stop reduction), as measured with a densitometer or spot meter. Inexpensive Lee polyester gels are fine, since this is not an image-forming application.
The mild magenta element helps offset the greenish tinge of cheap ND filters, as well as shifting the 81A effect to a little more salmon effect. The are other possible combinations of warming filters and translucent diffusion material; but this is a fairly easy version to concoct.
I tuck this away in a the little round slip case to a collapsible fabric 18% gray disc, and keep that in my camera pack for intermittent use. Then when I've installed the diffuser/filter device over the lens, I read the exposure light of the scene in the normal manner, and set the correct f-stop and shutter speed, and final focus, just as if the gel filter frame wasn't in front of the lens at all. Then I hold the gray disc in front of that and pre-expose or technically "flash" the film. The fact that the filter packet amount to a .60 or two EV reduction from mid 18% means that the degree of exposure two stops below, or in Zonie lingo, at Zone III will be twice as much as it had been before, while at 1 stop below, only half as much, and at the midpoint or Zone V, only a negligible 1/4h extra. Therefore, this both opens up the deep shadows somewhat, reducing overall contrast, while at the same time, filling those shadows SELECTIVELY with some warmth, and offsetting the excess blue-cyan response of Ektar.
Of course, you need a camera or lens capable of double-exposures. But the elegance of this system is that, after you simply remove the gel sandwich in front of the lens, you use the same exposure and f-stop for taking the final photo itself. And although it involves a few extra minutes, it's nowhere near as time-consuming or potentially frustrating and futile as trying to post-correct
crossover issues. You can even precisely pre-flash the film in advance relative to specific lighting you anticipate shooting moving objects like wildlife in.
All this is fairly basic in principle and application, and more selective than simply resorting to stronger and stronger warming filters, which will affect the entire scene equally. But it does require a bit of practice in terms of estimating the final effect, which can of course be fine-tuned as needed in any given situation. But anyone who has experimented with flashing color film before knows not to overdo it. They key aspect is to have the same general light fall on the gray disc when you expose it as in the final shot itself.
I’m only a professional photographer when the Nikon F2 is in my hands. When I put it down I’m just an amateur photographer…!
Isn’t going from 0 to -1 on the EV scale the same as stopping down from f/4 to f/8…?
I try to avoid mixed-light situations when using Ektar. The most frequent dilemma is when one encounters deep blue shade in the same scene as warm open sunlight. For simple close-ups. you could employ a gold fill-reflector disc with moderation. But there is also an effective manner to deal with large or complex scenes. And it solves two problems at once - the annoying blueness of the low values themselves, as well as the challenge of excess overall contrast.
No. The former is one stop, the latter is two stops.
Just part of the learning curve so I've used Kodak Ektar 100 for many mixed-light situations like this of the Hoover Dam at night using the Pentax LX on aperture priority autoexposure that lasted about 45 minutes. Pretty much as is from an autoexposure scan with no color correction.
Kodak Ektar 100_31-12 by Les DMess, on Flickr
For sure I know a lot less then I don't know but only to way to find out is by using it and seeing the results in my workflow from shot to result.
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