matt_t_butler

Robert 'Bob' Harris, the Eastman Kodak photo-educator who devised the 'Harris Shutter' suggested as a guide when using Wratten Red #25, Green #61 and Blue ##38A on the individual RGB exposures on the SAME negative to meter normally then open one stop on the 'normal' reading (adjusted exposure) for each filter when shooting colour negative. This setting will give a slight colour caste to your image that can be corrected in printing.(or Photoshop) This is a 'rule of thumb' exposure guide - my experience with using the technique with a digital camera is to expose for the more dense blue filters first to set a base exposure then close down two stops for the red and one stop for the green. This was using a Canon 5D2. If using film, I suggest as Robert Harris did, is to bracket one stop either side of the adjusted exposure to find the settings that will work for you.

I have an early Induro AT313 Alloy/8m with twist legs - It has served me well over the years.

Everything about the availability of RGB camera filters that you were afraid to ask … (Originally posted July 13, 2019) Revised Information as of September 2019 (Some companies previously listed no longer supply the filters) The numbers listed refer to Wratten Numbers LINK: :Wratten number - Wikipedia Wratten (original Eastman Kodak 1909 to early 2000s - available 2nd hand through Ebay) Tricolour photography - suggested set for ‘one-shot tricolour cameras’ with B&W negatives - #25 Red; #58 Green; #47 Blue - Early nomenclature ‘A’ (Red); ‘B2’ (Green); ‘C5’ (Blue) Tricolour set for B&W separation camera negatives - #25 Red; #61 Green; #47 Blue; Tricolour set for colour separation copy from colour transparencies #29 Red; #61 Green; #47B Blue (All the above were the Kodak recommendations but photographers devised their own sets depending on personal style, film types and Daylight or Tungsten lighting set ups.) Tricolour photography is based on Trichromy LINK : Trichromy - Wikipedia Harris Shutter 1971 (ref: Kodak Publication AE-90) Mounted gelatin filters in a drop shutter #25 (Red); #61 (Green); #38A (Blue) Wratten 2 (available through contemporary Kodak) #25, #26, #29 Red; #58, #61, #99 Green; #47, #98 Blue (#99 is a combination of #61+#16 Yellow/Orange) (#98 is a combination of #47B+#2B Pale Yellow) Tiffen Glass filters #25, #29 Red; #58, #61 Green; #47, #47B Blue LINK: https://tiffen.com/film-enhancement/ Lee Filters for 100mm system Polyester Tricolour Red #25; Green #58; Blue #47B (0.1mm thickness) These tricolor polyester filters have been designed for tricolor photography. LINK: Tricolour - Part of the LEE Camera Filter Range Kenko The SP Color Set contains Red, Green, Blue filters for ‘factorization photography’ - similar to a set by Prisma released in the 1970s. LINK: SP Color Set- Kenko Global Site (Now gives Error 404) NO LONGER MANUFACTURED Cokin Cokin P Filter kit has a Red P003, Green P004 not suitable for tricolour work. (Needs clarification) Black & White (Cokin was acquired by Kenko in 2011) Formatt Various filters in #25 Red; #61 Green; #47 Blue LINK: Camera Filters — Formatt-Hitech Formatt Hitech 67mm 47 Dark Blue Camera Filter HT67BW47 B&H NO LONGER AVAILABLE (Formatt was acquired by Kenko in 2014) Nikon R60 (Red #25); X1 (Green #11); B12 (Blue #80B) The X1 and B12 are unsuitable for true tricolour work B+W 090M is equivalent to #25 Red; 091M is a #29; STILL AVAILABLE 061 is #13 Green; 081 is a medium Blue. All are listed in their handbook but the 061 and the 081 are unsuitable for tricolour work LINK: Home

I'm also a big fan of night and long exposure photography. This was shot with a Canon 5D2 and a 70-200 /f4 Canon zoom. NYC Traffic Flow 30 sec. F11 @ 122mm ISO 100

North Williamsburg Spectrum, NYC. (RGB composite)

Thanks .... I spent well over 4 hours at the site and keenly observed the interactions of the visitors. Perhaps because I'm an Australian, an outlier, I noticed that the majority walked to the edge, took a selfie or a quick photo and walked away. Very few stood with respect or contemplation and due to the significance of the date it was very crowded. It is a complicated site .... popular with tourists but full of meaning for those affected by that heinous crime. And I was a photographer who remembered ...... New York Remembers Canon R

Not sure what genre this fits into ...... 9/11 Memorial NYC Contemplation RGB composite

New York Remembers Canon R RF 35mm f3.5 1 sec + Wratten 47B. New York Remembers (2) Canon R RF 35mm f2.8 1sec + Wratten 47B

If your location is suitable another way to stabilize the tripod - if it has a centre column hook - is to secure a length of rope around a heavy rock or driftwood placed on the ground under the middle of the tripod 'spread' and tie it off to the hook. This technique has saved me a couple of times on a windy location. Of course don't forget to pack a length of rope :(

One can reduce the colour cast problem significantly when 'scanning' colour negatives with a 35mm or digital camera using a macro 1:1 copy set up and Wratten Colour Compensating (CC) filters. In the past I have used a combination of a Wratten CC50 Blue and a CC50 Cyan placed over on a small daylight balanced light box. The rig used the two CC filters overlaid on the light box under a 35mm negative carrier or mask to hold the negative strip. Simply the combination of the filters plus the clear sections of the orange base/mask produce close to a neutral grey result. If interested for more details have look at an instructional video I made a while back : (Silent - No Audio) It is not suitable for bulk batch processing but for those interested for occasional copy work and with access to a 1:1 macro set up.

East River, NYC Sun Glitter (RGB composite)

More on the Spiratone Vibracolor filters ...... The Vibracolor 'Purple' appears to be a Wratten #36 - ('D' under the original identification system). Does anyone have information as to what the #36 ( listed as 'Deep Magenta' in early Wratten filter info) was used for?

pRoFessional pricing .... ?

'Shirley' type 35mm filmed charts were used to calibrate R, G, B values on professional (now mainly analog/legacy) telecines towards the end of the 1900s. Kodak produced these to facilitate daily telecine line up and setting a standard base for consequent colour grading sessions. When filming non caucasian actors it was the skill and craft of the DOP's to light them correctly due to the limited dynamic range of early colour emulsions. 21st century digital production cameras with their sophisticated LUTs (custom Look Up Tables) allow contemporary DOP's a range of colour palettes that handle most exposure situations.

One of the advantages of mirrorless cameras (in particular the EOS R series) is the Electronic View Finder (EVF). Yes, it has a small lag when it comes to refreshing the viewfinder image but all the shooting info is also displayed along with the actual scene as exposed. Another advantage is that with bright outdoor situations the EVF overcomes the viewing issues on the standard dSLR camera's rear LCD screen.

For those with deep pockets or Lotto winners .... The Kinetta is used by major archives around the world. Film Scanning | Colorlab

Here is a simple chart showing the approximate change in focal length of Full Frame lenses when shooting video on a Canon EOS R in 4K manual mode. The list includes a set of common legacy lenses, some that may be rattling around in your camera bag.

The Canon R (2018) is perhaps not in the 'affordable' range but the versatility of being able to use Canon FD, EF and RF lenses as well as (heresy!) Nikon and other brands with adapters is definitely fun and functional. Rumours of an affordable entry mirrorless RP circulate ..... LINK: Canon EOS RP Specifications [CR1]

I have used a 5D2 since 2009 primarily for shooting 4K image sequences for time lapse projects - used in TV commercials and documentaries. This is still a good camera - the original shutter count must be well over 700,000 actuations and still going! As you mention video is not a concern but to 'future-proof' my real time/live action shooting I have purchased an EOS R for its 4K video recording when required. There are effective work arounds to overcome the 1.7x crop limitation. The fact that you take time for composition (a bit like setting up for time lapse work) means you don't have to worry about rapid AF, fast frame rates and the like. The 5D2 has a particular 'look' - perhaps because the RGB filters in its Bayer sensor were a little more denser than later models that had 'thinner' RGB application to achieve higher ISO's. Instead of upgrading your camera, treat yourself to new lens?

The R is great for night time work when using the EVF - for framing/focus when adjusted for low light viewing. A big difference between using the optical viewfinder. Just my opinion. (I have been using a 5D2 with its single card slot for around ten years - still a good workhorse.)

The design philosophy behind the R range appears to be image stabilisation in the lens rather than the body. The RF 35mm/f1.8 Macro lens is an example of this future trend. Small and compact, offering up to 5 extra shooting stops handheld. (I have one.) There are rumours of the introduction of a new mirrorless Canon RP body at a lower price point possibly with a cheaper 'kit' zoom lens than the current (2018) RF 24-105/4L. For Canon R purchasers who don't have existing EOS glass Canon no doubt will be introducing additional new low cost lenses and L lenses - all incorporating lens IS over the coming years

I was fortunate to acquire several ex special effects 35mm cine cameras that came with an entire set of Canon FD lenses. During the 1980s and 1990s many special effects film companies used 'hard-fronted' 35mm cine cameras to shoot movie effects elements. Hard fronted cameras had the existing lens turret removed and replaced by a fixed mount that took 35mm stills camera lenses of the preferred brand. This particular example is a modified single frame 35mm cine time lapse camera (a Bell & Howell 100 foot load 'Eyemo') with a 135mm/f2 moderate telephoto lens that produced and still produces superbly sharp images. (This is a non reflex camera - focus by the lens barrel distance scale calibrated after a series of 'blind' focus tests!) LINK : Eyemo - Wikipedia FD 135mm/f2 moderate telephoto mounted on a modified Bell & Howell 'Eyemo' 35mm single frame/1fps cine camera with parallax side finder.

Contrary to the current social justice Zeitgeist - I am not offended. ;)

It is not very scientific, one would say purely academic even - but here is the same location (NYC HiLine) photographed sequentially through a set of RGB and then CMY filters on a digital camera with regular Bayer array. Images composited in FCPX. RGB composite CYM composite

Perhaps you're correct, by eye it appears the Green record is 'cleaner' - probably due to the 2 x Green pixels. (Having a lot of green subject matter in the shot blocks information in the R and B records.) In theory the 'mid grays' of the concrete fence bottom RHS and in the different cloud densities in the scene below should appear equally exposed in each record. Some photographers did add an additional B&W record to the RGB layers to snap up the contrast. ..... and yes, they don't call it time lapse for nothing - a lot of time gets lapsed out of one's life.