Quote Originally Posted by Photo Engineer View Post
Well, to start with, I have NO ISO 400 Kodachrome. Although, by reports, it did make mud look like mud! Maybe more so!

I cannot process the film except to B&W, but then anyone can do it.

I used the example on Wikipedia as an example only. But, on average, the one on the left is chosen or something in between. This is not uncommon.

As saturation goes up, errors creep in due to errors in the dyes or in the imaging process, so for example as red saturation goes up, detail is lost because you are removing yellow and magenta which represent the real only source of detail. This is called undercut, where the saturation of one color is undercutting the presence of another color. At least that is the way we refer to this in film design.

I found 1/2 brick of a C41 coating in the freezer today. IDK what it represents, as it is a plant experiment with an FW before the emulsion # and no other detail. So, sorry, no Kodachrome. I do have a Kodachrome experience to relate though. When E6 came out, I quit using Kodachrome!

Thats it.

Haha oh well, I didn't think you would have any, I was going along with the theme of bothering you with Kodachrome things.

I AM at my witts end with all my Agfa/ORWO/foma films from the 50's that I have now shot and want developed on color, maybe I'll harass you by mail and mail you all my film one at a time, every day another Agfa NK-17 roll falls through the mail slot.. Hehe can you imagine the insanity?

I think I'll get all the Chem together, it's not hard just tedious.

I wish I could just x-process in current color chem and not destroy it in the mean time..

Well Velvia seems to handle color saturation just fine...


The Noteworthy Ones - Mamiya: 7 II, RZ67 Pro II / Canon: 1V, AE-1 / Kodak: No 1 Pocket Autographic, No 1A Pocket Autographic

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