Of course you can shift a print's overall tonality with filtration or in the printing stage, but are there any emulsions which, when cross-processed, give a strong magenta cast to certain colours the way some Ektachromes give a strong blue, while leaving the other colours essentially alone?

Just looking for a good starting point to experiment with some fun (albeit prob'ly out-dated) fashion shots...

shawn

-- shawn gibson (shawngibson_prophoto@yahoo.com), February 06, 2000

Answers

Hi Shawn,

Cross processing is a hit and miss thing until you can find a lab that give you the kind of result you desire. As you know, I love doing cross processing, but I have still yet to find a lab that would process it to give me the result I want. In cross processing, everything becomes a factor: temperature, chemicals, durations, your exposure, the temperature of light source, the make-up. Every store uses different combinations. The only thing I can say is to try different stores and see which one gives you the effect you want. Then, stick to that lab for that effect. Good luck.

David Hou

-- David Hou (dna2367@hotmail.com), February 06, 2000.

Cross-processing film is a very repeatable experience; you do need to do considerable experimentation up front [before you try it on a paying job]. But once you have done your homework, it is no different than running any other film through its native chemistry. If it was totally unpredictable, then the technique would have proven to be too dangerous economically to employ on commercial assignments, and the sheer number of shots that you see published each month testify to the eagerness of both high-end clients, and top photographers, to embrace this technique.

I will agree that it is difficult to manipulate a films "x" factor [meaning: if you take Kodak EPP, and cross-process it in C-41, you will get look "x", which is readily identifiable by its yellow/green shadows in this instance]. If however, you do not like that palette, and want purple shadows, you will be on a long road that probably will not allow you to 'get there from here' in trying to change EPPs end result from cross processing.

So, each film has its own look when cross-processed, it is best to try a lot of different films to find the look you are after. Trying to change a films "x" factor is almost impossible. Adding filtration, either to your lights or the lens, then cross processing the film is a lot of variables to control, and has never proven to yield desirable results for me.

Here is my list of bulletproof films/processing notes on the subject:

Kodak: EPP rate at ei80, process C-41 +1/2 VPS III [no longer available!] rate at ei100, process E-6 +2 1/2 PHR [no longer available!] rated at ei12, processed E-6 +2 1/2 [yields a close facsimile to a continuous red tone image, no other colors present]

Fuji: RVP: rate at ei40, process C-41 +1 RAP: rate at ei80, process C-41 +1/2 RHP: rate at ei320, process C-41 normal NPS: rate at ei80, process E-6 + 2 1/2 [crappy look, but you DID say you wanted magenta! Youll find it here, but too muddy for my tastes]

Agfa: RSX 200: rated at 200, processed C-41 normal Ultra 50: rated at ei50, processed E-6 +2 =

Im too much of a simpleton to post images via the current system; so specific samples will have to wait until I have the time to read HTML for Weenies.

My best,

-- Robert Anderson (randerson1@uswest.net), February 07, 2000.

Yikes! That got mangled once uploaded. See what I mean, just imagine my attempt at placing 6 images via HTML!

HAHAHA!

-- Robert Anderson (randerson1@uswest.net), February 07, 2000.

wow you've really done a lot with cross processing! try posting your image again...i'm really curious.

RAP: rate at ei80, process C-41

what happens with this one? I love RAP; also, have you tried RDPIII in C41?

Thanks Robert. shawn

-- shawn gibson (SeeInsideForever@yahoo.com), February 07, 2000.

I really wanted to know about cross processing, so I experimented with just about every pro-film available. I only listed the ones that yielded usable results and are still readily available here in the US [with the noted exceptions].

RAP crosses well, Fuji E-6 in general yields a more volatile look than Kodaks versions, but Kodak E-6 seems to be the favorite among the big fashion shooters. The basic theory in doing this is that the slower the native film speed, the more whacked out the colors. Ultra 50/RVP = very dense shadows, very cartoony colors. E200/RSX200 = twisted look that you can't quite put your finger on. RHP = think Ellen Von Unworth.

100F [aka Provia III] has a pretty cool look to it. Too contrasty though. The shadows block up REAL bad, and I haven't had the time to shoot it under ringflash/flatter lighting conditions. I'll report back when I have done so, it looks very promising as an attention grabber.

I've given more thought to your original post, and think you should try NPS. Nick Knight has used NPS [very purple/magenta] as published in British Vogue a few years back. He used a ringflash, and got a very "certain" look, but too hard-core for most subjects.

And a couple of more notes: you do not need to bracket once you have figured out your particular set of cause/effect results using your lab. I have never understood the philosophy of bracketing while shooting models. It inevitably ends up that the ONE killer expression/fluid pose/perfect everything ends up on the +/- bracketed frame.

The real fun comes in scanning crossed negs [E-6 processed C-41]. I'll try and get some up loaded, but the requirement of having them posted somewhere is a drag for me, my site is written in FLASH, and I can't add anything to it. I'll work on it, or maybe send you a 10MB email!

Good luck.

-- Robert Anderson (randerson1@uswest.net), February 07, 2000.

Thanks Robert. I'll try NPS (for the first time ever...) next time I shoot. And now in in trouble with the Von Unwerth thing. She is definitely one of my favourite colour fashion shooters (along with Comte, who just blows me away; he is a painter with colour...). Ironically, I really don't like LaChapelle, or I should say I'm really indifferent to him...

I'd love to see your work (sorry...).

shawn

-- shawn gibson (SeeInsideForever@yahoo.com), February 07, 2000.