Archived posting to the Leica Users Group, 1998/10/10
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]Nigel: The book is called the Kodak Professional Products Phot Manual and is only a year or so old. It stated it would compensate for, not correct perfectly. In the case of sports photographs, close is good enough, as the colour can be fine tuned during the separations for printing. I think they were refering to the mercury vapour lighting at sporting events in stadiums and arenas. Regards, Robert At 07:37 PM 10/10/98 EDT, you wrote: >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 >>> >>> >>> >>> >> >> > >___________________________________________________________________ >You don't need to buy Internet access to use free Internet e-mail. >Get completely free e-mail from Juno at http://www.juno.com >or call Juno at (800) 654-JUNO [654-5866] > > > >