Christopher Campbell
5-Oct-2001, 08:55
When photographing architectural interiors, I normally use Fuji transparency films (Provia 100F, Astia and RPT II). Earlier this year, however, I started using Fuji NPS and NPL to make "backup" color negatives at the same time, and found that the cyan-sensitive 4th dye layer sometimes solved mixed lighting problems (usually the presence of fluorescent lights in addition to tungsten and daylight) that could only have been addressed previously through much more time-consuming procedures such as separately filtering multiple exposures or gelling individual light sources. I have a couple of questions for more experienced users of these films:
1. Color temperature/filtration. In a mixed lighting situation, I've assumed that the film can take care of the fluorescent problem, but wondered about whether I can help these films do a better job by by metering and filtering for the non-fluorescent (LB) color balance at the time of exposure (I use a Minolta Color Meter and carry a full set of Lee filters). Do you rely entirely on the ability to make color balance corrections in printing these negatives, or do you supplement that control by metering for an average color temperature, and then exposing with an 81/82 series filter?
2. Long exposures. Since large format cameras usually require relatively long exposures for architectural interiors, and the PDF film data sheet for NPS indicates that it was designed for shutter speeds 1/8 sec. or faster, do you routinely use NPL for all your low-light daylight and tungsten illuminated spaces? I see that the "2001 ProNet Film Users Guide" indicates reciprocity corrections for NPS only up to 2 sec., while exposures of 10 sec. are "Not Recommended." For NPL, on the other hand, Fuji lists corrections up through 32 sec.
3. Printing guides. I don't make my own C-41 prints, and wonder what techniques seem to work best for helping printers make good prints. If the lighting is such that I can't supply an optimal transparency as a guide (perhaps because of fluorescent contamination), I've sometimes had trouble getting my lab to make a color-neutral print. Do you expose a sheet including a Macbeth Color Checker in the scene, or perhaps an 8x10 grey card and white card in combination?
Thanks in advance for the benefit of your experience.
1. Color temperature/filtration. In a mixed lighting situation, I've assumed that the film can take care of the fluorescent problem, but wondered about whether I can help these films do a better job by by metering and filtering for the non-fluorescent (LB) color balance at the time of exposure (I use a Minolta Color Meter and carry a full set of Lee filters). Do you rely entirely on the ability to make color balance corrections in printing these negatives, or do you supplement that control by metering for an average color temperature, and then exposing with an 81/82 series filter?
2. Long exposures. Since large format cameras usually require relatively long exposures for architectural interiors, and the PDF film data sheet for NPS indicates that it was designed for shutter speeds 1/8 sec. or faster, do you routinely use NPL for all your low-light daylight and tungsten illuminated spaces? I see that the "2001 ProNet Film Users Guide" indicates reciprocity corrections for NPS only up to 2 sec., while exposures of 10 sec. are "Not Recommended." For NPL, on the other hand, Fuji lists corrections up through 32 sec.
3. Printing guides. I don't make my own C-41 prints, and wonder what techniques seem to work best for helping printers make good prints. If the lighting is such that I can't supply an optimal transparency as a guide (perhaps because of fluorescent contamination), I've sometimes had trouble getting my lab to make a color-neutral print. Do you expose a sheet including a Macbeth Color Checker in the scene, or perhaps an 8x10 grey card and white card in combination?
Thanks in advance for the benefit of your experience.