d photo Posted March 29, 2006 Share Posted March 29, 2006 -Which is....? (For studioflash light). Bjarke Str�m Link to comment Share on other sites More sharing options...
rustymadd Posted March 29, 2006 Share Posted March 29, 2006 I always liked Fuji Astia (ISO 100). C Painter Link to comment Share on other sites More sharing options...
rustymadd Posted March 29, 2006 Share Posted March 29, 2006 Shoot! I forgot you said POSITIVE. Try Fujicolor Press 100 or 200. C Painter Link to comment Share on other sites More sharing options...
david chau Posted March 29, 2006 Share Posted March 29, 2006 people say the lowest contract slide film is astia 100f, thats in the fuji range, i think kodak have they equivalant too e100g i think Link to comment Share on other sites More sharing options...
discpad Posted March 29, 2006 Share Posted March 29, 2006 Ektachrome EPN is the most dead-neutral color reversal film made... But it's rarely suitable except in special cases. However, my question is this: What are you shooting: Food, portraits, architcecture, landscape, jewelry, flowers, glassware, ??? Link to comment Share on other sites More sharing options...
john_shriver Posted March 29, 2006 Share Posted March 29, 2006 I'd agree that Kodak EPN is the most neutral low-contrast film, but it's at least one or maybe two generations behind grain wise. Catalog shoots are often medium and large format, so they don't care about the grain. It also has shelf life issues. E100G is the modern replacement, very fine grain. Quite neutral as well, very suited for studio use. Maybe more contrast, but not too much. Link to comment Share on other sites More sharing options...
kipling Posted March 30, 2006 Share Posted March 30, 2006 fuji astia imo Link to comment Share on other sites More sharing options...
john_murphy1 Posted March 30, 2006 Share Posted March 30, 2006 Assuming by "neutral" you mean that the colors are true, then definitely do not use Astia. It is beautiful for portraits, but not neutral in any sense of the word.</p> The usual answer to this question is Provia. Under strobes it is reasonably neutral, but it sometimes looks a little blue.</p> By the way, be careful when judging the neutrality of transparency films online. Since they need to be scanned and profiled, there are inaccuracies that can result, rendering comparisons difficult. Link to comment Share on other sites More sharing options...
scott_eaton Posted March 30, 2006 Share Posted March 30, 2006 First, Astia is not neutral. While it's a wonderfull, low contrast film high lattitude film, it's not neutral. Better choice than Velvia though if you need more accurate color representation. For the millionth time, Provia is not a 'cool' film, and if you'll take the time to shoot a greyscale with it you'll see that. Provia has very recessed yellow saturation which unlike Velvia and Astia helps it record greens and teals properly. Otherwise yes, Provia is the most neutral of the Fuji films, especially when it comes to stronger colors. EPN and EPP are known for their exellent neutrality, but they are rather grainy, low tech films. They also block up and distort very saturated reds/oranges. Good for subject matter that isn't very saturated *if* you are shooting them in larger formats to minimize their low tech grain. E100G - good compromise, along with Provia. The Kodak film will handle contrast better and perhaps skin tones, while Provia will handle stronger colors better. Link to comment Share on other sites More sharing options...
discpad Posted March 30, 2006 Share Posted March 30, 2006 Bjarke never answered the question on the subject matter he is shooting!! Link to comment Share on other sites More sharing options...
ilkka_nissila Posted March 30, 2006 Share Posted March 30, 2006 I guess what "neutral" means needs to be qualified with a definition. IMO all the non-outdoor pro Ektachromes are way bluish even when used with electronic flash. I don't care what a grayscale looks like, I care about what real subject look like in the photos. EPN is pretty neutral though. Link to comment Share on other sites More sharing options...
blakley Posted March 30, 2006 Share Posted March 30, 2006 EPN is the one. Biologists use it when they want to record accurate specimen colors. Link to comment Share on other sites More sharing options...
david_senesac Posted March 31, 2006 Share Posted March 31, 2006 Scott regularly provides knowledgeable answers here about film which I'll thank him here for. I shot EPN with 6x7 before Provia came out and it is indeed results in superb color fidelity transparencies. However I went to Provia immediately because it is considerably sharper while still providing relatively good color fidelity. It also does a pretty decent job at capturing well saturated landscapes as with fall aspen or spring wildflowers where the usual fav saturated films often result in garish blocked up color. ...David Link to comment Share on other sites More sharing options...
robert_potts1 Posted March 31, 2006 Share Posted March 31, 2006 There is no neutral color slide film for real world conditions. Astia is probably the best but even it can turn some things ruddy or muddy. Provia turns red to purple, orange to brown, and makes your gray clouds blue. The Kodak films mentioned do about the same. This is neither here nor there. You are going to have to figure out your light and the nature of your subject and proceed from there. Filtering may also be in order. Link to comment Share on other sites More sharing options...
david_senesac Posted March 31, 2006 Share Posted March 31, 2006 robert potts >>>"There is no neutral color slide film for real world conditions. Astia is probably the best but even it can turn some things ruddy or muddy. Provia turns red to purple, orange to brown, and makes your gray clouds blue. The Kodak films mentioned do about the same. This is neither here nor there. You are going to have to figure out your light and the nature of your subject and proceed from there. Filtering may also be in order." Your opinion grates directly with my and others experience unless you are commenting on minor relatively insignificant differences. I don't have the calibrated lab film color test information with colorimeter readings to refute your statement but I would imagine someone here does. I am confident Provia is considerably more accurate than popular saturated films. ...David www.davidsenesac.com Link to comment Share on other sites More sharing options...
d photo Posted April 1, 2006 Author Share Posted April 1, 2006 Hello, sorry I forgot that I posted this one... I want to check out the colour balance of my studioflash, I have a problem with pictures that turn out green, I thought that I might need to change the flash "bulb". Sorry about the time gone... BS. Link to comment Share on other sites More sharing options...
discpad Posted April 1, 2006 Share Posted April 1, 2006 BS wrote, "I want to check out the colour balance of my studioflash, I have a problem with pictures that turn out green, I thought that I might need to change the flash `bulb'" [tube]. Ahh, now we're getting somewhere! What you are telling us is that you are getting a shift on the green-magenta axis, which can have a number of causes. **If** the daylight/electronic flash film is exposed properly with a strobe, the "color temperature" (actually the bablane on the yellow-blue axis) should be between 5,000K and 5,500K. However, gas discharge lighting will have "peaks" in the output at various frequencies (wavelengths), not unlike a loudspeaker. But, xenon is relatively "pure" with color film "tuned" to the output color of the xenon (and any other gases blended in, if any). ___________________________________ So, where does that leave us? Either the light source itself has become contaminated, by either the xenon discharge tube's gas becoming contaminated, or there is other, stray light contaminating the image, especially if it's coming from a fluorescent bulb. (And, this has become more prevalent as many places are replacing incandescent bulbs by screwing in fluorescent bulbs in table lamps, ceiling fixtures, and anyplace else.) So, what you need to do is rule out any light contamination by taking your camera outside on a clear, sunny day and shooting a few frames in natural sunlight, and then evaluate. ___________________________________ All that being said about the light, there's another area you should watch: The film processing. Keeping an E-6 line in control is like balancing a chandelier, and when parameters go off, it can be tricky to bring it back in line... And, it can vary with the film being developed! In this case, we need to zero in on the color developer pH: With older Kodak films, changes in pH of this bath would result in shifts on the blue-yellow axis; while their newer E100G/GX and all Fuji E-6 films shift on the green-magenta axis. You should ask to see the lab's test strips &/or plots, to see if the problem is at the lab, and not with your exposure. ___________________________________ SO, there we have it: Shoot half a roll inside w/strobes & half in the sunny outdoors; and take it to the lab & evaluate whether the green cast is on both halves of the roll. Plain & simple, ehh? Link to comment Share on other sites More sharing options...
d photo Posted April 2, 2006 Author Share Posted April 2, 2006 Well, there is no "lighttubes" in the room I use as studio, and the walls are painted red so the green cast cant come from there neither... I normally use col. neg. film, I just wanted to rule out my neg. scanner with the pos. film. I bought the flash kit used so the bulb tubes might be outdated, so green colour cast�s can turn up then (contamination as you mentioned, never heard of it...?). What pussels me is that on the same film some are all-right (well slightly green-/yellowish) and some VERY green, I�ll upload some pics tomorrow. Can the cast come from the flashhead not being fully reloaded, as they also is slightly underexposed. I�m not at home now, and I wont be until tomorrow evening, Ill catch up on it tomorrow evening (Europe-time), thank you all for your kind help....! BS. Link to comment Share on other sites More sharing options...
d photo Posted April 3, 2006 Author Share Posted April 3, 2006 I�m no expert in computers, so I cant upload a picture here, but go to my portfolio, I have made an folder called "for forum use" where you can see my problem with this green cast... http://www.photo.net/photodb/member-photos?user_id=2107934 The first two are the one I told you about (ended up in B/W) the third is from the same shoot, still rather greenish but much better... (Just quick, straight, low res, very dusted scans, Ill add the final B/W later, these does neither me or sweet little Mia justice). Later I have done pics that turned out only slightly green (as no. 3), it is just for this half a film it were this bad, what happened...? BS. Link to comment Share on other sites More sharing options...
discpad Posted April 3, 2006 Share Posted April 3, 2006 Bjarke, this photo http://www.photo.net/photo/4293691 almost definitely points to the light source (depending of course on the backdrop color), and not the lab's color developer pH. [CAVEAT: I'm taking on faith your not showing other shots taken on that same roll outdoors, which you claim are good.] Dude, you don't have a film or developing problem: It's in your studio light source, plain & simple. In fact, it looks like you have a green gel over the main strobe! Link to comment Share on other sites More sharing options...
d photo Posted April 4, 2006 Author Share Posted April 4, 2006 I almost knew that it is the studioflash, but why is it so much on these few frames, most of it were (fairly) ok, yet still green-/yellowish (the third pic is from the same session). -I have had the same (fairly) ok quality since, it is just this half a roll that came out that green.... Will it help to change the flash tubes...? -Again, thanks for your time.... BS. Link to comment Share on other sites More sharing options...
discpad Posted April 5, 2006 Share Posted April 5, 2006 It could either the tube being too hot/cold; or a flash voltage regulation problem between shots. But, it could also be a tube. If you lock the white balance on daylight with any digital camera (shut off auto white balance), you can use that for testing to zero in on which flash is turning green, instead of wasting film... Link to comment Share on other sites More sharing options...
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