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  1. #1

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    cross processing and exposure latitude

    Any ideas on exposure latitude when cross processing? For example when shooting c-41 and developing in E-6, does the latitude decrease to an approx 8 stop effective range and vice versa?

    Is effective exposure range determined at the pre-exposure or post development stage?

    Thanks for any input.

    George

  2. #2
    frugal's Avatar
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    I know e-6 film in c-41 chemistry gets a really narrow range (narrower than e-6 in e-6), don't know about the reverse though.

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    I don't know the answer, but the c41 to E6 that I have done has been reasonably flat, and lacked a good dense black. It did have excellent tonal seperation from the dark mids through to the highs. Chromogenic Tmax was the only film I tested extensively. It worked as a slide when rated at ~12 to 25iso and souped normal. If it is pushed the higlights go pink. The overal tone of the 'slide' was cyan. I have never projected the slide. I'm not sure that helps -- but it is pretty much the sum total of my knowledge of the thing. Except that colour c41 in e6 was dull, muddy and held no interest so I didn't pursue it.

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    It varies by emulsion, amount of exposure compensation, and/or processing adjustment. Unfortunately your best bet is to bracket liberally and see what happens.

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    The inherrent sensitivity of the film does not change when you cross (or, not by any appreciable amount) The "traditional" look of printing crossed film on RA-4 paper means that you get a very high contrast image which gives the illusion of more lattitude than you actually have.

    PE can, of course, butt in and tell me I'm hideously wrong.

  6. #6
    frugal's Avatar
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    Quote Originally Posted by wirehead View Post
    The inherrent sensitivity of the film does not change when you cross (or, not by any appreciable amount) The "traditional" look of printing crossed film on RA-4 paper means that you get a very high contrast image which gives the illusion of more lattitude than you actually have.

    PE can, of course, butt in and tell me I'm hideously wrong.
    Getting a little off topic here, but wouldn't high contrast equal a low exposure latitude?

    My understanding of exposure latitude is it's how far "out" your exposure can be and still get a reasonably usable exposure. Or, put another way, how many stops difference in exposure you can have before the shadows block up or the highlights blow out.

    So if we take a mid-tone meter reading and everything that's 1/2 a stop over or under that goes to black or white you're going to end up with an extremely contrasty exposure (everything's going to be black or white with a very small amount of middle grey in between).



 

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