Archived posting to the Leica Users Group, 1998/10/10

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Subject: Re: [Leica] Pushing Kodachrome 200
From: nbwatson@juno.com (N. B. Watson)
Date: Sat, 10 Oct 1998 19:37:43 EDT

When was that information in the Data Guide written?  At one time, most
commercial lighting was either mercury vapour (outdoor) or cool-white
fluorescent (indoor) and they were both decidedly green on daylight
balanced film.  The filter of choice for fluorescent was an FLD (not
exactly a CCxxR but on the magenta side), but Hg-vapour looked ghastly no
matter.  Nowadays I'm seeing mostly halogen lighting in outdoor arena,
and indoors a mixture of "warm-white" "day-light" and old-style "cool"
white fluorescent tubes (and I literally mean a mixture...if the original
installation was homongeous, after a time the tubes get replaced
piecemeal with different types).  In addition, fluorescent tubes change
colour as they age.  I wouldn't trust a film's colour shift as a result
of push processing or reciprocity failure, to solve lighting balance
problems.  If you shoot a lot of chrome under existing artificial
lighting ,  the best (although expensive) way is a colour meter and a
good variety of CC filters.   Of course there's probably a way to do this
digitally...perhaps just shoot it in B&W and colourise it any bloody way
you want on the computer : )  Myself, I'm just getting the hang of
e-mail.

Regards,
Nigel

On Sat, 10 Oct 1998 19:24:25 -0300 "Robert G. Stevens"
<robsteve@istar.ca> writes:
>Eric:
>
>I went to shoot some University Football today and since it was a dull 
>day,
>I decided to read the Kodak Data Guide regarding pushing slide film.  
>In
>the data guide, I ran accross this statement about Kodachrome 200 . It
>stated " When the film is push processed, the color balance will shift 
>in
>the magenta-red direction, compensating for some of the greenish 
>artificial
>illumination present in most stadiums and other large facilities.".  
>This
>supports your statement about Allen Harvey.
>
>In the end, I used Agfa RSX 100 pushed one stop.  I just finished
>developing the two rolls I shot this afternoon.  When they dry, I will 
>post
>a web page if I have any good shots.  I was using an R7 with motor and 
>a
>Leica 400 2.8 and a manfrotto monopod.
>
>On the subject of slide film, I have been using RSX 100, for the past 
>few
>weeks because it is so cheap in 100 foot rolls.  I paid $66 CAD or 
>about
>$43 USD for it as fresh unexpired film at my local dealer.  I see it 
>is
>about $78 USD from the New York Mail orders.  It is pretty good film, 
>but
>not the same as Kodak's E100 or the Fuji films when it comes to fine 
>grain.
> Since it was cheap, I thought it would make a good film for sporting
>events and the such times when fine grain doesn't matter.  It does a 
>good
>job on the fall colors as well.  I shot my first roll of it of fall 
>colors
>to test it.
>
>Regards,
>
>Robert Stevens
>
>
>
>At 08:23 PM 10/9/98 -0500, you wrote:
>
>>David Allen Harvey shoots Kodachrome 200 in florescent light pushed 
>to 500.
>>The magenta cast pretty much corrects for the green. He got into 
>Magnum. So
>>he knows what he's doing. 
>>
>> 
>>
>>Eric Welch
>>St. Joseph, MO
>>http://www.ponyexpress.net/~ewelch
>>
>>Better to understand a little than to misunderstand a lot
>>
>>
>>
>>
>
>

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