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  1. #341
    Photo Engineer's Avatar
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    There already is a US company that sells the entire coupler set. It is posted here on APUG.

    PE

  2. #342

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    Quote Originally Posted by Photo Engineer View Post
    There already is a US company that sells the entire coupler set. It is posted here on APUG.

    PE
    Is there really?

    Ive seen all sorts of chemical formulas posted here, but im keen to find this if there is a supplier that sells the whole set of chemistry. Im working on a Wiki for Kodachrome, just for educational purposes im keen to document everything there is to know etc.

  3. #343
    AgX
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    Quote Originally Posted by Nzoomed View Post
    If anyone is interested in obtaining their own chemistry for developing Kodachrome, these people are your best bet and probably can help out with the couplers or give you the chemicals to synthesise them. Of course if you were to do this, i excepct you have reasonable experience in chemistry.
    http://www.agfa.com/sp/global/en/int...List/index.jsp
    Well, they made Kodachrome-like films in the past at their main plant. But there hardly be anyone to remember...

  4. #344
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    Kodachrome was always considered as a quality slide film but if processing is re-introduced by someone using their own soup, it will only be an image 'rescue' service.

    Kodachrome film as we all know hasn't been produced for a few years now - and thus no control strips either, something that's essential for quality processing lines.

    If K-14 processing comes back, then great ( I hope it does ! ) ..... just don't expect top quality.

    John S

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    Quote Originally Posted by John Salim View Post
    Kodachrome was always considered as a quality slide film but if processing is re-introduced by someone using their own soup, it will only be an image 'rescue' service.

    Kodachrome film as we all know hasn't been produced for a few years now - and thus no control strips either, something that's essential for quality processing lines.

    If K-14 processing comes back, then great ( I hope it does ! ) ..... just don't expect top quality.

    John S
    With Film Ferrania getting underway, anything's possible!

    Who knows, they may develop a K-14 film similar to Kodachrome someday!
    Hell, i'd be more than happy to ship my film over ti Italy for processing if it meant i could get those wonderful Kodachrome reds!

    At the end of the day though, im not worried if Kodachrome doesnt have a comeback, although it would be good if it could be processed once more for photo recovery purposes, like the space shuttle film for example.

    Anyway, if Film Ferriana can produce an E6 film with Kodachrome like qualities, i would be the happiest man alive!

  6. #346
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    That's more a function of the emulsion design, spectral sensitisation and dye coupler choice in the film I would imagine rather than a direct consequence of having the couplers in the developing solutions rather than in the films.

    Ektachrome fixed (or 'fixed' for those people who liked it) those Kodachrome foibles.

    If you want punchy separation between your colours, I recommend a polarising filter for overcast light, it does a lot more than just for sky, it'll 'subtract grey' for lack of a better way to describe it and make a lot of things much more colourful.

    There's also didymium filters you can use or red hancer/red enhancer filter or intensifier.

    What it does is block a small narrow band of the spectrum, usually somewhere between red and brown, so you don't get a smooth transition between browns, oranges and reds, but a more abrupt change.

  7. #347

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    Dream on. The heydey of transparency films is over, and the reintroduction of a few amateur-level small format films is no substitute for the loss
    of well-neutral-balanced films like Kodachrome, Astia 100F, or E100G. There is obviously a bit of the more contrasty Fuji films still on the market, including a smattering of Velvia and Provia. Now if someone has several million bucks to spare and could resurrect Kodachrome in sheet
    film, like 8x10, I'd be very interested, but probably could not afford a single box of it!

  8. #348

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    Quote Originally Posted by Athiril View Post
    That's more a function of the emulsion design, spectral sensitisation and dye coupler choice in the film I would imagine rather than a direct consequence of having the couplers in the developing solutions rather than in the films.

    Ektachrome fixed (or 'fixed' for those people who liked it) those Kodachrome foibles.

    If you want punchy separation between your colours, I recommend a polarising filter for overcast light, it does a lot more than just for sky, it'll 'subtract grey' for lack of a better way to describe it and make a lot of things much more colourful.

    There's also didymium filters you can use or red hancer/red enhancer filter or intensifier.

    What it does is block a small narrow band of the spectrum, usually somewhere between red and brown, so you don't get a smooth transition between browns, oranges and reds, but a more abrupt change.
    Yes, this is what ive been trying to work out myself and i hope that PE can shed some light on this, i expect that the dye couplers in E6 films are a significantly different chemical composition to those used in processing Kodachrome.
    From what ive read and heard from interviews etc, ive been led to believe that the unique reds of kodachrome were a result of what happens when the couplers are introduced during processing. I dont know if this is the case, but if so, i was wondering if it had anything to do with that its processed in a chemical bath full of dye couplers, (magenta being the most reactive from what i understand, which would lead to stronger reds) whereas, there is a much smaller percentage of these couplers incorporated into an E6 film. So i was thinking that kodachrome film had potential to produce more dyes since its supply of couplers is unlimited, but with E6 films, this is limited to what is in the emulsion?

    Perhaps im wrong, im certanly no film expert at all so im keen to hear what PE has to say on this matter

    Either way, its obvious that it was a trait that some perhaps considered undesirable and with modern progress its understandable why Kodak wanted to make a film that is more accurate in colour.

    However, the number one reason i like film is that i dont want perfection, I enjoy the traits that each film offers.

  9. #349

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    IIRC, not only were the color couplers for the dye layers in the color developers, but there were at least two, maybe three different color couplers. I believe one color developer was CD4, and another was CD6 (which was used only for the Kodachrome process, and is no longer made). Somewhere on APUG, PE mentioned that there is a way to turn CD4 into CD6, but I don't recall the exact wording of his post.

    C41 uses CD4, and E6 uses CD3, so these couplers are still made. I believe RA4 also uses CD3. I don't remember which color developer PE said that ECN2 uses.
    ME Super

    Shoot more film.
    There are eight ways to put a slide into a projector tray. Seven of them are wrong.

  10. #350
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    Nzoomed, you are wrong. That is the only way to put it.

    The couplers are all of the same families of chemicals, Acetoacetates or the like for yellows, pyrazolones for magenta and phenols or napthols for cyan. Sensitizing dyes are much more complex! Kodachrome couplers dissolve in the developer, while Ektachrome couplers dissolve in oil which is then incorporated into the coating.

    From there we wave a magic wand!!!!

    Kodakchrome could ruin flesh tones and blacks, muddy greens or make them vibrant and make great reds (with no detail in them). I have pictures of a red knit sweater in which the knitting cannot be seen in Kodachrome but the stitching is clear in Ektachrome. So, the "fine" qualities of Kodachrome are somewhat of an accident. As one of us said, Kodachrome could make a garbage dump look pretty!

    PE



 

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