Most forgiving print film for mixed lighting situations?

[g_c4]

<p>I shoot mostly slide film (Provia 100F and 400X), so don't know much about print film. That said, I frequently am attempting to shoot pictures of family and friends in mixed indoor lighting.<br>

For example, my living room is a mix of halogen and fluorescent. Sometimes with flash. I also frequently shoot in rooms light by tungsten, and augment with flash.<br /> <br /> Are any of the print films more "forgiving" of mixed lighting, especially for skin tones? I was thinking perhaps Portra 160NC or 400. Any advice from those who have a lot of experience shooting print film in mixed lighting?</p>

[bobcossar]

<p>Absolute best is Fuji's Reala. Second choice would be Fuji's NPH Cheers, Bob</p>

[michael_kuhne]

<p>Fuji's Superia Xtra 400 and 800 ISO are especially formulated for mixed lighting. I have found them to be very good. </p>

[patrick_mont]

<p>I think you might have been right. Give Portra 400 a try. You will probably want 400 NC (natural color) not 400 VC (vivid color) but it is up to you. Good Luck. Patrick</p>

[Ed_Ingold]

<p>The most forgiving film for mixed lighting is B&W. There are times you simply can't fix things in post unless you convert to B&W. The other solution is to match lighting. If you use a flash, use a gel to match its color temperature with the environment. Unfortunately, many large spaces use metal vapor lights to save energy costs. These lights do not have a continuous spectrum and are nearly impossible to dial out or match. That's the time to break out Tri-X.</p>

[paul_miller10]

<p>Fuji Reala. When I was shooting architecture Reala constantly amazed me with how well it did in mixed light source environments. Reala has a cyan dye layer that other negative films don't have.</p>

[matthew_newton]

<p>Reala seems to do a pretty darned good job in mixed lighting, as does Superia 400 and 800. The worst I'll see is a very warm cast from tungsten or Flourescent (CFL) lighting. As an example of mixed lighting, this is a picture with mixed Tungsten (the lights on the tree), a CFL off frame to the right (a 60w equivelent on the otherside of the room) and natural light from a sliding glass door to the left (dusk and overcast, so very blue natural lighting). Superia 400.<br>

Oh and the paint on the walls is a light/medium blue color, just so you don't think there is a massive color cast on them.</p><div></div>

[paf iii]

<p>When I used to shoot inside automotive dealerships The Lighting was completely mixed ,Fluorescent, tungsten, incandescent plus daylight I always shot with Reala.</p>

[john_shriver]

<p>The Fuji films that still have the "fourth layer" (cyan sensitive) are known to cope well with fluorescent lamps. However, they appear to be reformulating many of their films without that fourth layer. Read the package before buying.</p>

 

[randrew1]

<p>Portra 160 and 400 films were designed to accommodate mixed lighting. Reala does a good job as well.</p>

[g_c4]

<p>Thank you all very much. Very helpful advice, and some options I hadn't thought of.</p>

[manuel barrera houston,]

<p>Thank you all, as a guy who learned, is learning digital, who recently started emperimenting with film, this is a great thread for me. I learned a lot. Thanks and to the person who posed the question.</p>