Astia for cross processing

[2F/2F]

Hello,

In you all's experience, what transparency film (available in 4x5 size) has the most mild effect when cross processed?

I am thinking about Astia, but want to hear at least one ore two descriptions of it from APUG users before I drop the cash on a roll. (I found some stuff on Flicker, but you never know how it has been manipulated.) I am used to Provia. Its look is a bit too heavy for what I want on this project, however. It would be really great if I could really pop solid colors without adding too much contrast, while "graying" up the darker and less saturated areas. Perhaps skip bleach or partial skip bleach would be a better choice.

Experimentation is in order. I will likely shoot a roll and develop half of it in normal C-41 and half of it skip bleached (or maybe thirds, with the lat third being pushed development), but I just want a feel for what you all have got using Astia cross processed.

Thank you in advance.

P.S. I will be combining flash and ambient exposures...possibly longish bulb exposures followed by a pop of flash near the end of the exposure. Fuji states that this film maintains intended color and reciprocity out to one minute.

[2F/2F]

Anyone? Bueller?

[Photo Engineer]

My experience tells me that EPP is almost like a negative film in balance and is very well matched in the 3 curves when processed in C-41. That is all I can say. I have seen reports that some Fuji films do not cross process as well as Kodak films. IDK personally.

I can post a comparison of EPP and VC120, both at ISO 100 in 4x5 and processed side by side. It might take me a while to find it and convert it to low res if you really want to see it.

PE

[2F/2F]

Well, hell. Thanks for the info. I have 50 sheets of EPP right here. I have Astia loaded in my holders to try out, but maybe I will unload it.

[Photo Engineer]

Someone once told me that they "thought" that some problems with Fuji was due to the 4th layer in there for fluorescent lighting. I just got that in a note with no proof, but thinking it through there is some very fuzzy but believable logic in it. You see, it removes that fluorescent green, by adding some magenta, but in cross processing it adds green by removing magenta. That is weak, but that is what I saw in the examples shown.

PE

[2F/2F]

Perhaps the effect from the extra Fuji layer could be minimized with a CC filter.

The examples I have found have been very magenta or red, though a few examples have been greenish, and I have seen a few that looked very much like the look I want; neutral as far as color casts, but exaggerated contrast and saturation, and a little "grit" in the low midtones.

Perhaps exposure causes much more of an effect on color in cross processing.

[Stephen Frizza]

Someone once told me that they "thought" that some problems with Fuji was due to the 4th layer in there for fluorescent lighting. I just got that in a note with no proof, but thinking it through there is some very fuzzy but believable logic in it. You see, it removes that fluorescent green, by adding some magenta, but in cross processing it adds green by removing magenta. That is weak, but that is what I saw in the examples shown.

PE

Pe your are 100 percent correct in this.

[timbo10ca]

Perhaps the effect from the extra Fuji layer could be minimized with a CC filter.

The examples I have found have been very magenta or red, though a few examples have been greenish, and I have seen a few that looked very much like the look I want; neutral as far as color casts, but exaggerated contrast and saturation, and a little "grit" in the low midtones.

Perhaps exposure causes much more of an effect on color in cross processing.

My results have been very Magenta. i was wondering if using a green filter while shooting would help reduce it a bit...?

[2F/2F]

You see, it removes that fluorescent green, by adding some magenta, but in cross processing it adds green by removing magenta. That is weak, but that is what I saw in the examples shown

Why would it do the opposite in cross processing? If that which is green in real life is rendered magenta on the print, that would be totally false color, and I don't see how anything other than the emulsion design itself could cause such an extreme example of false color; literally 180 degrees. It doesn't make sense to me that a layer that adds magenta to an E-6 positive (meaning that the layer itself is green colored until the film is reversed) would also add magenta to the negative (green to the print) if not reversed. It makes sense that the fourth layer would create green layer on a cross-processed E-6 film (since it was never reversed to make it magenta), and thus a magenta cast on the print. Where am I wrong in my thinking?

[Photo Engineer]

Oh, I meant the actual dye which in reversal would add magenta but in cross processing would remove magenta. As a result, the negative appears to shift magenta-green. However, the deeper effect is that it upsets the overall tone of the print through what I think or what appears to me to be increased crossover.

So, whereas the layer reacts normally in E6 it enhances a green-magenta crossover.

Nothing magic and it is just an opinion based on viewing some of the results.

PE