Why no still picture "T" films anymore?

AgX said:

As indicated above they are more versatile as they can be adapted to daylight with lesser loss than daylight film to tungsten lighting.

However tungsten still films are optimized for long exposure times. That difference reduces their versatility.

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That seems to be have been more pertinent with the reversal ones. Portra 100T tech sheet for example, states no corrections needed between 1/1000 to 5s, and only one stop at 60s. Very nice even for today's standards. This would be a great film for nightscapes and such, if it were still available.

trendland said:

In general:

Never use a Thungsten slide film under
daylight conditions without the correct
wratten filter.
Do it in the same way with normal slide
films under conditions less than 5600
degree kelvin indoor.
This was the importance for Super8 in the past by using slide film as for still
films too.
When they have used Thungsten Film in
the 90th they may have had theoreticaly some benefits with color negative in
studio shots.
Today it is in your own if you care about
a correct color compensation while the
shooting or in the post.
(not for slide film as I mentioned)

I can not realy find out the difference, if you have a filter on your camera either
you are filtering in your darkroom due
to quality aspects.

It may be much more simple for the
darkroom work when the negatives
are compensated before with wratten
filters.

At least it may depend on your personal
experience.

In a digital post nobody cares about
"Thungsten-Daylight Balance" of color neagatives.
In the way cholentpot use a kodakvision
500T
i therefore agree with him.

Some professionals were using 500T
up to ISO 2000 and were proud of having
smal grain.

That is a little bit unbeleavable but it may
be indeed with 65mm motion picture film.

I would ever prefer 250T but my great ever lasting love is KodakVision3 50D.

And that "D" stands for "Daylight"

with regards to you

Click to expand...

W/O filter


With filter


I can shoot nears about 800ISO without any push without the filter. With the filter it's near 400 maybe lower.

looks indeed realy fine, from the colors
also as from the grains.

This here is an additional example of
an old Thungsten film :

Kodak EPY 64 without any color corection (even not in the post)
at (estimated) 6850 degree Kevin.
The insulficient Dmax came from
massive overstorage by lokal dealer.
(-,89$ per roll EPY120

trendland said:

looks indeed realy fine, from the colors
also as from the grains.

This here is an additional example of
an old Thungsten film :

Kodak EPY 64 without any color corection (even not in the post)
at (estimated) 6850 degree Kevin.
The insulficient Dmax came from
massive overstorage by lokal dealer.
(-,89$ per roll EPY120View attachment 176093

Click to expand...

Can't beat that price.

.......was the same for me at that time ( 2006 ) I got many 5Packs EPY 120 at about 4,49$,
some single EPR 135-36 at aboud 3,50$ and at least 4x5inch E100G at 3,-$
and 5x7inch E100 at 6,-$ cause they killed their proffessional service and at first they have
sourced out their refrigerators ( very very clever !!! )

so no professional wanted this films ( they where determined 2005-2006 )

exept the EPY they where from 2003.

with regards to you

I've had good luck relighting the scene with 5000K LED bulbs and shooting daylight balanced film with no flash and no filter indoors. The daylight balanced fluorescent bulbs suffer from the dreaded fluorescent greens, but this problem seems to be a lot less to non-existent with the LED bulbs and color negative film. I've not yet worked up the nerve to try it with slide film, but at least with Christmastime snaps, I didn't notice any cross-over like I would have with daylight film, tungsten bulbs, and no filter.

Be aware, yes you can use an 80A to convert tungsten light to daylight, but in all actuality most household "tungsten" light bulbs these days are 2700K bulbs, and an 80A is designed to convert 3200K light for use with 5000K film, so there's rather a bit of yellow left over. Relighting with 5000K bulbs gets around this problem, and you don't have to use the filter.

Further information, for those who were interested in color balance due shooting with Thungsten Films :

List of Kelvin Color Temperatures : Match Flame 1700 - 1800 Kelvin

Candle Flame 1850 - 1950 Kelvin




Household Thungsten Blubs 2400 - 2900 Kelvin

Halogen Lighting 3200 Kelvin

HMI Lighting 5600 Kelvin



Outdoor Sunrise, Sunset 2000 - 2300 Kelvin



Normal Daylight 5600 Kelvin

Cloudy 6000 Kelvin

Overcast Sky 6500 Kelvin

Shade Areas 7000 Kelvin

Very Shade Areas 7500 Kelvin




Notice : for absolute corect color balancing you have to use different filters ( look on converting tables there you find the correkt type ) - but never try to balance
daylight sunrise and so on because this is contraproductive to your lighting atmosphere.

in general use only Kodak Wratten 80A with 2 Stops with color negative film




with regards to you

Michael Guzzi said:

That seems to be have been more pertinent with the reversal ones. Portra 100T tech sheet for example, states no corrections needed between 1/1000 to 5s, and only one stop at 60s. Very nice even for today's standards. This would be a great film for nightscapes and such, if it were still available.

Click to expand...

As I got it right from mind last E6 from
Kodak E100, E100G ( the professionals in Europe ) in the US I noticed some different names to same films - so I had it in mind 4minutes.

May be I am wrong but I remember as
4minutes was remacable.
Older emulsions some years before this
new improvements
were "stable" up to 20 sec. AND then 40sec.


with regards

Fuji Acros and Provia have excellent reciprocity. IIRC no corrections up to 120s/2 min, if not, I think Provia did require a 1/3-2/3 compensation for 2 minutes.
I looked through some reciprocity comparison graph and B&W in general didn't stand out as better reciprocity wise. Kodak Portra (160 & 400) has no data about it and Kodak just says to test.
Though there was a log formula for general correction, posted in LFF, quickly converging to about 2 stops after 30s.

Given that there's (still) an abundance of yellow sodium vapor lighting which appears yellow and has a monochromatic spectrum, I often wondered about T films to "neutralize" the yellow cast as well as their Reciprocity characteristics.