Kodak Ektar 100

[B.S.Kumar]

Has anyone tried Ektar in mixed light (fluorescent/tungsten and/or daylight) in interiors? I've used Reala for such lighting ever since Fuji started making it.

Kumar

[Greg Blank]

Actually I have been considering this, I am itching to try it. I have a 4x5 box of Ektar burning a hole in my darkcloth hate fluorescent and flash mix but have done it.

You can get Reala in 4x5? Where if; so?

Has anyone tried Ektar in mixed light (fluorescent/tungsten and/or daylight) in interiors? I've used Reala for such lighting ever since Fuji started making it.

Kumar

[B.S.Kumar]

Actually I have been considering this, I am itching to try it. I have a 4x5 box of Ektar burning a hole in my darkcloth hate fluorescent and flash mix but have done it.

You can get Reala in 4x5? Where if; so?

No such luck, unfortunately. I've shot Reala in 120 format only.

Kumar

[Greg Blank]

Ever use Fuji 160C?

No such luck, unfortunately. I've shot Reala in 120 format only.

Kumar

[B.S.Kumar]

No. When I was in India, Reala was the only 120 Fuji color negative film regularly available.

Kumar

[Ivan J. Eberle]

Reala was the first Fuji film to have the 4th layer that works like magic with mixed light sources. Since I was standardized on printing with Kodak RA4 papers which did not play well with this Fuji "4th layer", I never much enjoyed the benefits of it. Fuji Superia and others that followed share this technology as well.

But I'm going to take a WAG and suggest that most of the color neg film emulsions that are newer that have a more magenta-than-orange mask incorporate some similar wizardry (Ektar 100 and Fuji Pro 160S being two such films) for better results with mixed color-temperature lighting.

[Sascha Welter]

I know C41 is more forgiving, and I've heard it does NOT react kindly to pushing (is this correct?).

Hi! I don't see that you received a reply to this, so I'll try:

Nobody ever pushes color negative film, except to correct big mistakes ("oh, this was XY 160? I thought I had put the XY 400 into the camera!"). It's not necessary to push the stuff around.

I only shoot about 100 sheets per year, or 25 shots. I use a light meter and polarizer, and I'm usually within 1/2 stop, but every once in a while (usually when I haven't shot for a while) I need to push 1 1/2 or 2...

If you're off by 1/2 stops, you won't even notice on color negative film. If you're off by 1.5 or 2 stops, it depends a bit. You can overexpose color negative film by a big margin. I learned in school that 2-3 stops are without problem (so you can expose a 400ASA film at 100ASA without problem, and at 50ASA marginally). To underexpose is less desirable, but still a stop or so will be "survivable".

So welcome to color negative film: Forget bracketing, forget pushing+pulling, you might even occasionally forget your light meter ("sunny 16" etc.).

Oh, and contact prints won't tell much (as has been mentioned here), they correct the exposure already. Put the negatives on a light table and compare the density to get a feeling for correct exposure. Look for the the shadows and highlights, just as you would for a positive film.

[Jan Pedersen]

Ektar 100 in 4x5 is now shipping from Badger Graphic, i just received my tracking number. Good timing with spring around the corner.

[MikeH]

Sascha & Filmnut -

Thanks for your replies. I think what I need to do is shoot the same image with Ektar 100 and Velvia and look at them on the light table - I've always had a hard time with negs because they're "backwards" but maybe it's time to learn...

[drew.saunders]

Has anyone tried Ektar in mixed light (fluorescent/tungsten and/or daylight) in interiors? I've used Reala for such lighting ever since Fuji started making it.

Kumar

This is the one shot I tried with a mix of natural and artificial (museum, so probably not FL, but I'm not sure exactly what) light:

http://www.flickr.com/photos/drew_saunders/4123190661/

A little tweaking in photoshop got it there. Not too bad, overall. The base underneath the glass thing is supposed to be white.

Drew