Where can I learn about the colorimetric properties of film?

[Derek L]

I'm interested in learning about the construction and colorimetric, tonal, chemical, etc., properties of color film (both negative and slide). Could anyone suggest a good reference book?

I value completeness, technical detail, and rigor. There's a lot of information available on black and white film in various zone system texts, but I couldn't find anything suitable on color film.

I am particularly interested in learning about how it reproduces color and black/white tones versus a "straight" digital capture, and what were the guiding aesthetic principles of film scientists in creating its unique color response. For example, it's well-known that rendering skin tones correctly was one goal—at least for certain emulsions.

My ultimate goal is to understand what gives film its unique look, and how it might be recreated in software from digital files. For instance, it is well established that one can desaturate shadows in photoshop for a "cinematic" or "film" look, but I want to understand why this works in terms of the chemistry/physics involved. My interest is in general principles and not in emulating a particular film stock.

Thank you!

 

[Mr Bill]

Hi, it's hard to know exactly what you're looking for, but some books were discussed during this thread:

https://www.photrio.com/forum/threa...eristic-curve-in-negative-films.155654/page-3

Something that is not made real clear is that the published "characteristic curves" by film manufacturers are for a "neutral" exposure (roughly equivalent to photographing a gray object). When you photograph things that are colored, the individual color layers won't follow that same exact response - there are interactions between the color-sensitive layers. As a simplistic example consider the developer entering the film emulsion, then making its way to the bottom "color layer." If there has been no exposure to the upper layers, this developer is "fresh." But if the upper layers ARE exposed (and developed), then the developer will be partially exhausted by the time it diffuses through to the bottom layer.

You can find some basic information on color films in the manufacturer's data sheets. For example, this one for Portra 160 -
http://imaging.kodakalaris.com/sites/prod/files/files/products/e4051_Portra_160.pdf

Do you have any background in this sort of thing already?

 

[Derek L]

As far as background, I've looked at those technical data sheets, and I'm in the process of reading some zone system books that talk a lot about sensitometry. I'm technically minded, but don't have any training in chemistry.

I'll take a close look at that thread. Thanks!

An edit: I've ordered the books by Hunt and Giorgianni. They seem exactly what I'm looking for. Thank you!

 

[Mr Bill]

[Update: I wrote this before seeing that you've already placed orders, so hopefully they'll work out for you; it's a pretty stiff learning curve.]

You're welcome.

Regarding sensitometry, Kodak had published this "Sensitometry Workbook" that may be useful to you. Before going on to far, I think it's useful to have a working understanding of basic sensitometry, and I think this workbook may be useful.

https://www.kodak.com/uploadedfiles...en_motion_education_sensitometry_workbook.pdf

If you're comfortable with the sensitometry I personally think that R. W. G. Hunt's book would be a great foundation with respect to film.

https://www.amazon.com/Reproduction...p_s_a_1_1?keywords=the+reproduction+of+colour

It seems to still be pretty pricey but can probably be found in larger libraries. Not everyone likes the writing style and content, etc., so perhaps better to start out with a library copy.

Best of luck with your research.

 

[Derek L]

Thank you! That workbook is a fun read.

 

[Mr Bill]

Thank you! That workbook is a fun read.

Cool! That tells me you ordered the right books.

 

[MattKing]

I am not able to provide you with any specific references, but I would not be surprised if you end up finding more of what you are looking for in the resources for motion picture stock.
I do know that in the days when Eastman Kodak had multiple film manufacturing lines spread around the world, different emulsions were calibrated for different colour preferences in different local markets.
The motion picture stocks were apparently quite individual. As an example, the Kodak Pathe (France) motion picture camera stocks were characteristically different than the same product number camera stocks made in Rochester.