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  1. #21
    Sirius Glass's Avatar
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    Quote Originally Posted by TheFlyingCamera View Post
    If you over-expose your color neg film, you run a risk of developing a cross-over in color filtration that can be impossible to correct. The more you over-expose, the greater the risk. This risk also goes up if your film is out-dated/stored in sub-optimal conditions. By a cross-over, I mean that when printing, you observe a specific color cast to the print. When you adjust filtration to the point that the originally observed cast goes away, you find a secondary color cast that for all intents and purposes cannot be filtered out (you find yourself chasing a never-ending filtration and exposure trail - as you make one filter modification, your exposure shifts, so you make another filter change and exposure changes again, which then requires another filter change and exposure change, etc etc). It's not common, but its not rare either - something best avoided if at all possible by practicing reasonable care in storing, handling, exposing and processing your film (you can also get crossovers from sloppy lab work with old/exhausted/out-of-balance chemistry, which is probably the most common cause of crossovers).
    Again right on the money, but in his heart Chris really knew that already. Right, Chris?? [15 words & emoticon]
    Warning!! Handling a Hasselblad can be harmful to your financial well being!

    Nothing beats a great piece of glass!

    I leave the digital work for the urologists and proctologists.

  2. #22
    ChristopherCoy's Avatar
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    Quote Originally Posted by Sirius Glass View Post
    Again right on the money, but in his heart Chris really knew that already. Right, Chris?? [15 words & emoticon]


    Actually, through the various explanations I'm only beginning to slightly understand what people are talking about when it comes to filters and color casts. I got Scotts explanation about the 'chase, and I'm assuming that if you over expose and get a yellow cast, when you try to fix that you may get a blue cast, and if you try to get that you may get some other color cast. I'm associating that explanation to the times when I am digitally editing and I repair a white balance, but then get something that is too green or too red, and then when I fix that, it goes yellow or blue etc etc etc...


    If you think I'm doing this for kicks you're diluted. My color negative experience amounts to the 35mm rolls that I bought and developed at Walmart once upon a time. I haven't a clue how color works.

  3. #23
    Sirius Glass's Avatar
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    Well keep at it and you will get there. No one is born with the knowledge; we all have to learn it. [22 words]
    Warning!! Handling a Hasselblad can be harmful to your financial well being!

    Nothing beats a great piece of glass!

    I leave the digital work for the urologists and proctologists.

  4. #24
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    Quote Originally Posted by Mainecoonmaniac View Post
    If you blow your highlights out on your digital camera, it's pretty much gone. It's like blowing out highlights on transparency film.
    Except that on transparency film it looks much better than on digital!
    I do use a digital device in my photographic pursuits when necessary.
    When someone rags on me for using film, I use a middle digit, upraised.

  5. #25
    lxdude's Avatar
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    Quote Originally Posted by ChristopherCoy View Post


    If you think I'm doing this for kicks you're diluted.
    Oh no, not dilutions again!!




    Though I guess deluded people are in a sense diluted... i.e., not at full strength.
    I do use a digital device in my photographic pursuits when necessary.
    When someone rags on me for using film, I use a middle digit, upraised.

  6. #26
    Sirius Glass's Avatar
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    Better dilutions or delusion than deletions, but that is another thread.
    Warning!! Handling a Hasselblad can be harmful to your financial well being!

    Nothing beats a great piece of glass!

    I leave the digital work for the urologists and proctologists.

  7. #27
    Athiril's Avatar
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    I haven't printed it optically, but I incident metered in the shade and exposed for that for particular scene on Portra 400. This was mixed with heavy shade and hard sun, the subject I wanted was in the shade, so I exposed for my subject.

    Everything in the hard sun came out, nice mid tones in both at the same time.

    The difference in incident readings between the sunny area and shadey area was 5 stops.


    So the sunny area was overexposed by 5 stops (for subjects there), and the neg still held the detail fine.

  8. #28
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    Quote Originally Posted by ChristopherCoy View Post
    If you think I'm doing this for kicks you're diluted.
    Classic!
    Kick his ass, Sea Bass!

  9. #29
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    Quote Originally Posted by Dinesh View Post
    Classic!
    I'm not diluted, but I'm dilated to hear you are diluted
    Ben

  10. #30

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    What Flying Camera said about crossover in enlaring is directly equivalent to what I stated about
    cross-contamination of the dye curves. It's the practical result and it often can't be fixed, even by
    the know-it-all Photoshop crowd. Some color neg films, esp amateur ones, are designed for a lot of
    exposure error, but might still give acceptable skintones. But most other colors go to hell, and pretty much anything analogous in the scene turns to skintone. You might want to use this bias creatively, but it helps to know the ropes.

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