RE: [Leica] Fluorescent filtration

["Tim Atherton" <timphoto@nt.sympatico.ca>]

At the risk of turning into a LF list!, check out this review of NPS.

I have used the procedure Henning suggests - works well - many clients seem
happy with LF prints from the negs, without bothering with transparencies -
even for publication. I think there may be more of the Fuji four layer films
available now (does Reala have this in 35mm?):

http://www.viewcamera.com/FUJI.HTM

Tim A



> -----Original Message-----
> From: owner-leica-users@mejac.palo-alto.ca.us
> [mailto:owner-leica-users@mejac.palo-alto.ca.us]On Behalf Of Malcolm
> McCullough
> Sent: June 30, 1999 10:29 AM
> To: leica-users@mejac.palo-alto.ca.us
> Subject: Re: [Leica] Fluorescent filtration
>
>
>
> >What about the non continuous spectrum issue. How would a meter deal
> >with that?
> >The 4 layer films might make it a moot point.
> >Mark Rabiner
> >
>
> 'Good question, glad you asked it'.
>
> I think that the simple answer is that the meter can only deal with it
> about as well as three-layer film with practical filters can. I mentioned
> this very briefly in my previous post. Even if the meter was a spectrum
> analyser the final results would still show the effect of the
> non-continuous spectrum because practical filters cannot correct for the
> sharp peaks. This is true whether they are on the lamp or the lens. For
> colour-critical work you would have to use tubes with a high CRI (possibly
> replacing the normally-installed tubes with your own) or re-light
> altogether.
>
> By the way, rosco make sleeve filters which can be slipped over fluoro
> tubes. Neat, huh?
>
> After reading Henning's suggestion, I will try his method (Thanks
> Henning).
> I have long intended to learn how to use Vericolor ('chrome?) slide film.
> My reservation in the past has been because most of my artificial light
> shooting has been with fast tungsten film (EPJ pushed one, lovely,
> especially with the yellow sodium street lighting which turns to gold) and
> I have preferred the results of this to (prints made from) unfiltered neg
> film. I haven't tried the new Fuji neg emulsions though. After
> some initial
> disappointments using the latest Eastman Vision 500T movie film
> in the M6 I
> have finally got some rather pleasing prints off it, but the cost of
> developing it is very high so I do not intend to do it regularly. It has a
> definite 'movie' look which is different from still films. There is a new
> 800T film available, by the way. I know that this subject has
> been thrashed
> out here a few times, so I hasten to add that I am not referring to the
> Dale Labs type of operation, but to hand prints made from negative
> developed in a decent MP lab.
>
> I digress, slightly. Back to Mark's original question. My answer
> reminds me
> of the blurb about the infamous Electro-Voice RearAxial SoftImage speakers
> (the only ones ever to have 'absence' as well as 'presence'). They worked
> on an amazingly simple principle, but no-one has ever been able to explain
> it. Now, if we were sitting in the Dog and Bull, and I had a beer mat to
> draw on and a couple of pints of Young's Special inside, a couple
> of inches
> of snow outside...
>
> Regards,
> Malcolm
> Singapore
> ...and the barmaid was asking us if we had no homes to go to, and...
> If.
>