wickedmartini

<p>Nikon 24-70mm f/2.8G ED</p>

My film of choice for this application is T-Max 100 and XTOL. It gives me the grain and contrast control that I need to produce solid black and white negatives from my color slides. The Kodak T-Max and XTOL publications also gives some decent starting guidelines for (CI) contrast control. I hope that helps.

If you remove the insert you shold be getting 6x6.

Cool perspective on the first image. I dig the color in the last image. Have fun!

I would agree with you to some extent. In most cases when I am crossing most e-6 films in c-41 I will generally run with the box speed and process normally. I can't always say the same for doing the opposite--color negative film in e-6. In many cases the best results came with some over exposure and even pushing in the process. These variations can also vary results in terms of contrast, color balance, etc. As an example, I used to love to cross Kodak's VPS in e-6. I would rate it at an EI from 25 to 50 and push 1-2 stops. I loved that stuff. All depends on your taste and technique I suppose.

What film do you plan on crossing? There are a lot of factors to consider and much of it will have to do with the film you are using, how it's exposed and how it reacts to cross processing.

What film is it and how was it exposed?

I love my 202. For the price it's a great camera, durable and faitly easy to operate. I bought mine from a dealer in China some years ago and don't use it as much as I would like to.

As someone that has worked for both companies mentioned above, you'd be surprised at how much Fuji manufactures here in the US. At one point in time--while a friend of mine was training workers in Mexico to take his job--Fuji's one time use cameras had more American parts than the Kodak model. Do a little research...

Drive down Ridge Road here in Rochester and you'll know exactly what it means...

 

What that means is that the support is made in one location, the emulsion in another, the cassettes in another, blah, blah blah... But they all meet up in Mexico for assembly or "finishing". All of this used to take place here in Rochester where the large piles of rubble are on Ridge Road.

The replacement SX-70 film can be found here: http://www.unsaleable.com/instant_photofun/

 

It's not exactly cheap either. Buy a pack of this and use the filter on the pack with more readily available and cheaper 600 series film. You'll also get some more advice (in my opinion) if you post this in the Alternative forum here at Photo.net.

 

I hope that helps.

 

mdd

Tweak in Photoshop. It almost looks "Draganized"... Google search on Draganize and look for Photoshop actions... You can find one here also: http://www.atncentral.com/

 

mdd

You can experiment a little and find some settings of your own or even try a Photoshop Velvia action. There are plenty out there. Here is one source for PS actions to get you started: http://www.atncentral.com/

 

Many camera manufacturers will put a saturated or high color setting on their cameras--Fuji included. But I like to start with a low to normal contrast image and then tweak it to my liking. I feel I have more control over the image that way.

 

Have fun!

 

Michael D. D'Avignon

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00LwWk

Julia,

 

First, there is some information and plenty of samples on the Polaroid site to check out: http://www.polaroid.com/global/printer_friendly.jsp?PRODUCT%3C%3Eprd_id=845524441759987&FOLDER%3C%3Efolder_id=282574488338439&bmUID=1185258340461&bmLocale=en_US

 

Second, try posting here in the alternative threads on Photo.net. There are plenty of helpful Polaroid enthusiasts over there and you might get some additional responses.

 

Have fun!

 

mdd

http://www.gammaphoto.com/svct_color_film.html

If you're looking for quality results and to possibly speak with someone with some expertise, try to find a good pro lab in your area. Where are you located?

There are some other possibilities here depending on how the prints were processed. Are they printed on true black and white paper? Do you know if they were processed using an activation process rather than a standard black and white paper developer? You could also be seeing the effects of residual chemistry from poor washing or even an effect often called "silvering" which can be caused by poor fixing and washing. Do the prints start to show some texture on the surface? Is it fiber or RC paper? Sorry about all of the question but there are a few different possibilities here in my opinion.

"The software that interfaces with the Frontier does indeed enlarge the image during processing. Many of the templates that are used are generally set to a resolution of approx. 302-305 dpi in order to create bleed and avoid white edges."

 

If your target resolution was 300dpi and you wanted to avoid white edges, you'd need to set the print resolution to something like 298 dpi. Printing at a *higher* resolution than 300dpi will guarantee you white edges.

 

This is why I state that the issue is not as simple as changing the resolution. The factor that is attached to the template text file in a PIC (PRO) \ Frontier system looks at this filed as a magnification factor during rendering. Setting the text file at any number higher than 300 acts to increase the image size. I tried to be a bit clearer about this but it is proprietary concept that is not all that easy to explain. If you own or have access to a PIC \ Frontier system, check out the template text files and you will see what I mean.

As far as lower contrast slide films go my two choices would be Fuji's Astia or Kodak's EPN...

The software that interfaces with the Frontier does indeed enlarge the image during processing. Many of the templates that are used are generally set to a resolution of approx. 302-305 dpi in order to create bleed and avoid white edges. Much of what is responsible for this is the PIC software that is used to control the Frontier and the printing process. The issue is not as simple as just changing the dpi of the image file itself. During the process, the customers image file is re-rendered and put into a format (proprietary RAW) that can be read and printed by the Frontier. The resolution (dpi) is changed in a template text file that renders the image slightly larger than the designated paper or printing area. That's it in a nutshell. I hope that makes some sense. If you are printing to a borderless print then this issues is pretty much unavoidable. If you want to see your image without any cropping then you would be better off printing to a bordered template with the 'no crop' option checked if possible. Or, create your image file with a border.

Dye stability of the new emulsions was greatly improved over older emulsions (EPR, EPP etc.) back with the release of films like E100S and SW. Kodachrome had better dark storage stability than Ektachrome but did not stand up to projection as well. I beleive Kodak may have some data sheets available on their web site that might give you some better numbers.

The "load in complete darkness" statement on the film can is a little strong and has more to do with the support that these films are on and not the lack of an anti-halation layer. These emulsions are on an Estar support and exposure to strong light may cause an issue known as "light piping". This is where light is able to travel down the support and slightly fog the emulsion. I have loaded hundreds of rolls of both HIE and EIR in broad daylight without any issues.

Carry on inspection should not be a problem or ask for hand inspection. I would not leave it in luggage for plane x-ray. The x-ray that general luggage receives is much stronger and will do more damage to film.

Where are you located Steve?