C 41 at Different Temperatures, part 2

[@dylangergutierrez]

In terms of KZbin film photographers, you're the most rigorous I've seen. When I want to see how to do something right, I come to your channel. I don't always do film stuff the "correct" way, but it's incredibly helpful to see how far away doing things incorrectly will get you from the intended results. Thank you!

[@theknivjocke]

Indeed, he's of the darkroom generation. You have to be rigorous, else you'll keep banging your head against the wall. I really appreciate him for this as well.

[@robeng6231]

That's a very interesting result. I was expecting the 20 C prints to show significant color shifts in the gray scale patches, considering how bad the characteristic curves looked. In the video, however, I can't really notice any major difference in the gray patches. This seems to indicate that the effect is subtle, and that it could probably be managed well in a hybrid workflow. The real advantage of longer processing times is that it could produce more consistent results with simple inversion tanks. Nobody will convince me that this can be done consistently with simple tanks at high temp, in only 3 minutes. C41 is an industrial process that requires machines to enable temperature control and speed with consistent results. A Jobo is a simple machine, but it is a machine, and it's not cheap.

[@theknivjocke]

Many thanks for taking the time to do this one optically as well! It seems almost impossible to get accurate information on such things when printing optically these days. I'm thinking of when I was trying to decide on a 400 ASA color negative film stock a few years ago: lots of opinions on Fuji being cool, Ektar being red, Portra being warm, whatever. It turns out that's really only when scanning, not when printing optically. Although I do feel that I get a very slight crossover with 400H: underexposed images tend towards green. But 1: I didn't see that mentioned by the digital folks, and 2: I haven't attempted to correct this by experimenting with my C-41 temperature yet.

[@stratocactus]

I didn't expect the 20°C indoor portrait to look that nice. Nice skin tones, a bit of desaturation and blue hue in the shadows. I even enjoy it better than the standard 38°C (judging from my computer obviously). Outdoor shot at 20°C didn't do it for me though.

[@theknivjocke]

I think the color saturation was probably increased quite a bit in the scan. I can't even make Ektar look like that on c-paper.

[@TheNakedPhotographer]

These weren’t scanned, I photographed the prints. The 20c prints have the most crossover. My skin is too yellow, but the shadows are bluish. If I correct the skin I would make the shadows even more blue. If I correct the shadows, then my skin would become jaundiced. It’s a lose/lose situation

[@BobOgden1]

I've certainly had worse from minilabs back in the day

[@shanematuszek9009]

Thanks!

[@TheNakedPhotographer]

You bet!

[@jamesgreen6885]

Great test. Would be interesting to do the same experiment with RA4 chemistry

[@theknivjocke]

I believe that's what he did.

[@jamesgreen6885]

@@theknivjockeI mean use the same negative and change temperature and duration of the RA4 chemistry

[@theknivjocke]

@@jamesgreen6885 Good point, yes that would be interesting as well.

[@laurlutr3468]

I saw you also use the Cinestill CS41 Kit. If you process film with it, do you use the kit at 102°F / 39°C like in the Cinestill manual or do you use the standard C41 temps (100°F/38°C)? And did you notice any differences in comparison to other C41 kits (Tetenal, Jobo, ...)?

[@TheNakedPhotographer]

I used it once and got blue/yellow crossover. I’ve not used it since

[@Lebenspiel]

Sometimes I match my steps with yours, sometimes you do total sorcery in my point of view.

[@bartoszkrawczyk4976]

Great test! One thing is not clear to me though. Were those prints corrected digitally, or with enlarger filters? Is it hard to correct it with enlarger, or manageable within the range of filters in color enlarger?

[@theknivjocke]

I believe that this time he did the corrections with the enlarger filters, and judging the corrections by the gray patch that he mentions. The major issue will be crossover: while the mid grey is grey, the darker grey and the lighter grey will have different color casts, at the same time. This is something that you realistically (barring very exotic and time consuming methods) can't correct for with the enlarger, since you adjust all shades together. As for whether the enlarger filters will have the range: certainly. He didn't mention what changes he made to the filtering, but to me it looks similar to what switching between eg Fuji 400H and Kodak Ektar would require.

[@bartoszkrawczyk4976]

@@theknivjocke Thanks for the comment. I see, that can be problematic.

[@cavb748]

In this video I really liked the 30c, the blues and yellows look more saturated, I will like to use this effect for some ideas, not for everything. Besides the hydrogen peroxide, is there any other way to increase saturation in RA-4 prints... but without increasing contrast, or by increasing contrast a little as possible?

[@TheNakedPhotographer]

I did a video showing bleach and redevelopment

[@cavb748]

@@TheNakedPhotographer Very helpfull, saw it and liked it. I tested the technic but I will love to find another way to increase saturation without brightening the highlights... Is it not possible?