Hi 2F/2F —

Thanks for assisting here. I grok the correlation on the black-blue skies bit. I have relied on this page for reference on blue-sky rendering based on filter selection. In his examples, the sky darkens towards the zenith, while lightens near the horizon. The only shots I made with my EIR roll with skies were near the horizon where blue mixes with diffusion from haze, prticles, and other light-scattering materials, so this makes sense.

The fluorescent lighting situation, however, remains an unsolved question.

The trio of imaging layers in EIR — and how they correspond to light wavelengths — are familiar to me and have been (hence no surprise whatsoever when a naturally ginger-headed boy with his sax came up green-skinned (versus pink), while a Mediterranean, olive-skinned woman came up more or less looking, well, "fleshy"). Thanks to the guy who shoots and sells the repackaged Aerochrome III, I also know to use light green lipstick to render lips more reddish and "natural" looking. Thus, from years before I contemplated buying a roll of EIR (aware of what it looked like for most of my life, but didn't know what it was by name until about 1998), I was cognisant of how EIR images render a false colour representation based on technical specifications. I also know how colour emulsions in general — including Kodachrome, a different beast entirely — works. I may not be a chemist or optics expert, but these are the kind of fundamentals one should get to know about their film before they shoot it. This is why I understand, for instance, how tungsten colour reversal emulsions work and love them for that reason (as you do, too!).

Understanding that fluorescent lighting tends to skew depending on which type of indoor fluorescent lighting is used ("daylight" is cool bluish, and there's also the "warm" pinkish variety), it still comes as a surprise to see the fluorescent lighting outcome. I would presume that a fluorescent filter like FL/FL-D, atop the primary orange/099/#12/etc. filter, might work, as the former is designed to cut the spikes in that emission source — which spikes in both the red and green primarily, and the blue and violet secondarily. For this reason, I doubt a yellow #12/Y48/etc. filter would be sufficient to contend with fluorescent spikes.

Care to ponder?

Quote Originally Posted by 2F/2F View Post
The reason filters don't work as normal with this film is because it is a "false color" film.
"False color" means that each layer is not physically dyed the same color of the light that exposed it, like with normal pos. film. With a #12 in place, with this film, on the final transparency, IR light is captured in red, red light is captured in green, green light is captured in blue, and blue light is not captured at all (AKA black).