what film should i use?

I did a studio photo shoot using an incandesant photo reflector flood with a

500 watt- the picture came out yellowish, is it because i used kodak 200 bright

sun & flash.. should i use kodak 400 or 800 ISO?

You need to visit a well-stocked photo shop and get some "tungsten balanced" film. The alternative is to use a 80A or 80B (blue) filter.

Shelly

 

If you used Color Negative film you can fix it by scanning the negative into a computer and working on the colors with a photo program like Photo Shop ect.

 

Other than that the only Tungston Negative film I know of that is still made is Movie Film stock.... I am most likely wrong on that but Negative film can be filtered and colors changed alot easyer in printing if Wet printing is used also.

 

Most Tungston films now made are slide films.

 

Other than that a Filter like suggested above is needed... And 200 speed film is not real good film and using 400-800 wil not change the color cast only the grain size and saturation of color.

 

I suggest you get a book on film and lighting, even old books found in school and public libraries should help you.

 

I hope this helps you you sound new at this so good luck and don't be afraid to ask questions. You can't learn without asking and you can't get better without knowing what questions to ask so ask away.

 

Larry

Could any ambient light say from a table lamp or ceiling light crept in?

What you are seeing is normal. The film you used is balanced to give good color reproduction in daylight conditions or under strobe lights. Both sources have a color temperature of about 5500 deg. K. Incandescent photoflood lamps give off light with a color temperature of about 3200 to 3400 deg K., significantly warmer than daylight. Changing to a higher speed film won't help with the color balance problem. Situations like this are handled by one of two methods, both of which have been addressed in earlier replies to this question. I'll try to elaborate a little more.

 

A film balanced for tungsten light is one option. Unfortunately, there are few if any tungsten balanced color print films currently available. A quick check of Kodak's and Fuji's product catalogues shows that the only tungsten balanced films offered are ISO 64 transparency films. You can have prints made from transparencies, but getting prints from slides may be problematic for some. The other option, and by far the more practical one, is to use either the 80A (corrects 3200K lighting for 5500K balanced films) or the 80B (corrects 3400K lighting to 5500K balanced films) filter over the camera lens at exposure time. These filters are not terribly expensive, and are well worth the money if you plan to do more work like this. For the price of a few rolls of tungsten balanced transparency film and processing, you can buy a high quality color correction filter that will last you a lifetime with proper care. In the end, you will get a better result taking care of most of the color correction at exposure time than you will with any sort of Photoshop or other post processing magic. The results may not be perfect, but the results delivered by this technique will put you in a better position for fine tuning the color balance at printing time. Be aware though that these filters will cost you some light; perhaps about two stops for an 80A, maybe a bit less for an 80B. Using a faster film might be in order if you don't have a fast enough lens and/or you need to use a small f stop and/or you must hand hold the camera.

 

Cine films are a different animal and are something you'd probably want to avoid for several reasons. Both Kodak and Fuji do manufacture medium and high speed color negative cine films. First you have to consider where to source the product. There are outfits that sell short ends, typically 250 feet or less of 35mm cine film for what seems like ridiculously low prices. You will need a bulk loader, empty cassettes, and the willingness to bulk load your own film to use it. Color negative cine films require process ECN-2 which is different from the ubiquitous process C-41 used for still camera color negative films. Many commercial labs won't touch a bulk loaded cassette of film for fear of it gumming up the works of their processing machine. At one time there were more labs offering process ECN-2 services to still camera users, but no longer. There may be one or two left, but that pretty much limits where you'll be able to get the film processed to a very, very few places. Finally, cine color negative film is designed to be printed onto another piece of film for projection. It's characteristics are completely different from a film designed to produce a paper print. Can it be made to work? Yes. Is all the extra effort worth it? Not unless you like experimenting.

Frank, different yes, but not "completely different".

Enough similar to be corrected in photoshop with a couple of basic tweaks.

Shelly, in a different thread I noticed you were sold a blue-light

bulb, so perhaps your problem is solved. However it's worth saying

that Kodak/Fuji consumer film is that last thing you should be using

for a studio photo shoot. Portra 400NC responds well to yellowish

mixed lighting, and I really like Portra 800 for low contrast and

great skin tones, but the champ for mixed lighting has to be Fuji

Pro 800Z, formerly NPZ. All are available mail-order from NYC at

reasonable prices.