My experience is exactly vice versa. Kodak has a tendency to red/magenta but NEVER went cyan and Fuji quite often. This depends on Lab obviously but even with PS13 and Fuji Gera I found the Fuji skys not acceptable for me.
Sadly all Digitals I tried go cyan quite easily.
Hi Andreas,
both surprising me and interesting.
Because I use PS 13 and Fuji Gera, too (and a local E6 lab).
And I've never had any problems with a cyan cast with Provia 100F.
But a light shift to cyan in the blues with Kodak Elitechrome 100 and E100G (of course dependant on the subject and light temperature).
I know some other photographers with the same experience.
And it's also documented by Rowland Mowrey, former Kodak engineer (he explained that on apug some years ago):
'Kodak emphazises warm tones, especially yellow in its color films. Yellow is quite saturated in Kodak films.
The yellow layer contains a small amount of cyan dye forming coupler. This is done to adjust color reproduction. Wherever there is a saturated yellow, there is a tiny bit of cyan, too'.
One reason of our different results could be the lenses. Lenses differ in their spectral transmission, and these differences are often very visible in direct comparison: Some lenses render colors very warm, emphazising yellow and red, some have a magenta cast, some are neutral and some tend towards blue / cyan or green.
To give Provia 100F more the look of Kodak Elitechrome (or E100G) just use a Skylight 1A or 1B filter (to get the warmer tone) or use the polarizer (as you seem to have a preference for deep blue skys).
Cheers, Jan
