Awesome video, Alex! You said that the explanation is anticlimatic, but it made me remember when I was looking for references of Provia 100F cross processed in C-41 and found it very grainy compared to E-6, and also has a green cast in some situations, so I guess it's interesting to know that E-6 has an influence on final grain itself
Nice video! I tried to shoot this film in iso100 with 85b, then develop by using ilford ddx(40C, 11min), using ecn2 chemicals for the 2nd development, and it shows completely no color shift. However, I failed at the second try, maybe the ecn2 chemicals became too old.
Speaking of film that is clearly made for E6 but is presented as a color negative, have you ever shot Rollei Crossbird? I got insanely bueatiful results, and I cannont begin to understand why Rollei tells everyone this film has to be processed in C41
I have, actually, and it reeks of expired Velvia, looking at the negs. It could easily be something else but visually it's nearly identical. I will actually be bracketing a strip from my last roll to try E-6 development... at some stage.
Honestly I don't see the reason to colour correct E-6 Phoenix. It's never going to reach parity with other slide films, so why not lean into the crazy aesthetics? Grab a smoke filter and you have blue bladerunner. Experiment with the colours, see how weird this film can actually get?
I'm personally a huge fan of the 85B+mag look. I have to try correcting them to show people what can be done, not necessarily because I prefer it that way!
This was an excellent guide but it was also a really thorough dive into the look of slide films' grain characteristics! That was super cool, I never even considered that! Also, how did you test so many different development procedures on rolls, did you forfeit a roll for each development?
Thank you! If I am extremely careful with loading, I am able to open the camera inside a changing bag and cut the film *exactly* after the sixth frame. Including leaders this gets me 4x 6-shot strips per roll. I try to plan my shots so that if I cut into the sixth frame it isn't a huge deal.
I wonder how this film would look if you used C-41 developer (CD-4) rather than the E-6 developer (CD-3) for the color development step. I'm tempted to try this with my next E-6 kit.
Great job. Very scientific approach to everything. Did you try using light instead of chemical reversal to see what effect that had? (Or was I not paying attention) Just a side note- "back in the day" - before scanning and photoshop - photogs would often fine tune color with a color meter and CC filters- such as Kodak Wratten. These were much like the filters you'd use to print color in a B&W enlarger with a filter tray. Often these guys would have a test shoot in the AM, send the film to the lab at lunch, and then do the final shoot. You had to get color right in the transparency for reproduction separations. Anyways- there are filters out there like Magenta CC10, CC20, etc if you really want to go nuts in balancing. No one really does it anymore (maybe the cine folks?) since photoshop is so easy (See shooting Kodak 500T in daylight with no 85 filter)
Reversal using light isn't something I'm terribly interested in trying. Reversal processes are very long so I'm more picky about what I try with those than negative process runs. I do wish I had a proper set of CC filters - they'd be very handy for Velvia and FP-100C45 long exposures.
If I have a roll rated at 400 and need to push 1 stop to reach even exposure, would a cross development in E6 be a good idea? Or should I just get developed 1stop push in C41?
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Good job, looking forward analysis in ECN-2
Awesome video, Alex! You said that the explanation is anticlimatic, but it made me remember when I was looking for references of Provia 100F cross processed in C-41 and found it very grainy compared to E-6, and also has a green cast in some situations, so I guess it's interesting to know that E-6 has an influence on final grain itself
True! Anticlimactic as it may be it's still useful :) Thanks Laura!
I am thinking I will shoot a roll of the film like this closer to Halloween! ❤️
Truly some remarkable work! Glad someone is breaking the chemistry down so well and coming to some actual conclusions :)
That's some real nerd level stuff! I love it!
Nice video!
I tried to shoot this film in iso100 with 85b, then develop by using ilford ddx(40C, 11min), using ecn2 chemicals for the 2nd development, and it shows completely no color shift. However, I failed at the second try, maybe the ecn2 chemicals became too old.
Could you show me the results somewhere? I'd be very curious to see them. How did the second attempt fail exactly?
Speaking of film that is clearly made for E6 but is presented as a color negative, have you ever shot Rollei Crossbird? I got insanely bueatiful results, and I cannont begin to understand why Rollei tells everyone this film has to be processed in C41
I have, actually, and it reeks of expired Velvia, looking at the negs. It could easily be something else but visually it's nearly identical. I will actually be bracketing a strip from my last roll to try E-6 development... at some stage.
Nice!
Thanks for a informative video!
I was about to bracket half a roll for E-6 development, So this saved me a bunch of underexposed shots. Thanks
Amazingly thorough! Thank you!
Honestly I don't see the reason to colour correct E-6 Phoenix. It's never going to reach parity with other slide films, so why not lean into the crazy aesthetics? Grab a smoke filter and you have blue bladerunner. Experiment with the colours, see how weird this film can actually get?
I'm personally a huge fan of the 85B+mag look. I have to try correcting them to show people what can be done, not necessarily because I prefer it that way!
This was an excellent guide but it was also a really thorough dive into the look of slide films' grain characteristics! That was super cool, I never even considered that!
Also, how did you test so many different development procedures on rolls, did you forfeit a roll for each development?
Thank you! If I am extremely careful with loading, I am able to open the camera inside a changing bag and cut the film *exactly* after the sixth frame. Including leaders this gets me 4x 6-shot strips per roll. I try to plan my shots so that if I cut into the sixth frame it isn't a huge deal.
I wonder how this film would look if you used C-41 developer (CD-4) rather than the E-6 developer (CD-3) for the color development step. I'm tempted to try this with my next E-6 kit.
nerd...
Liz, thank you.
Great job. Very scientific approach to everything. Did you try using light instead of chemical reversal to see what effect that had? (Or was I not paying attention) Just a side note- "back in the day" - before scanning and photoshop - photogs would often fine tune color with a color meter and CC filters- such as Kodak Wratten. These were much like the filters you'd use to print color in a B&W enlarger with a filter tray. Often these guys would have a test shoot in the AM, send the film to the lab at lunch, and then do the final shoot. You had to get color right in the transparency for reproduction separations. Anyways- there are filters out there like Magenta CC10, CC20, etc if you really want to go nuts in balancing. No one really does it anymore (maybe the cine folks?) since photoshop is so easy (See shooting Kodak 500T in daylight with no 85 filter)
Reversal using light isn't something I'm terribly interested in trying. Reversal processes are very long so I'm more picky about what I try with those than negative process runs.
I do wish I had a proper set of CC filters - they'd be very handy for Velvia and FP-100C45 long exposures.
If I have a roll rated at 400 and need to push 1 stop to reach even exposure, would a cross development in E6 be a good idea? Or should I just get developed 1stop push in C41?
E-6 would be a terrible idea - the "native ISO" is less than 20 in E-6. When I shoot at 500 I push +2 in C-41 so try +1 or +2 for 400.
Maybe Harman can learn something from you. Next film will be Harman Shaka 400 🙂
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