A Celebration of E6

Great photos, everyone!

Let's keep this thread alive.

Hasselblad 500cm, Distagon 60mm CF, Velvia 100 :
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Hasselblad 500cm, Distagon 60mm CF, Provia 100F :
img837.jpg
 
I like that snow picture André it shows what E6 does best clear vibrant blue sky with delicate snow. E6 makes it look 'just right' where other capture methods would make the photographer worried about highlight transitions...
 
Photo_Smith said:
I like that snow picture André it shows what E6 does best clear vibrant blue sky with delicate snow. E6 makes it look 'just right' where other capture methods would make the photographer worried about highlight transitions...
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Thanks. I find it difficult to meter for chromes in winter because incident metering doesn't seems to work well for me in these situations. What's more, I even forgot my meter the day I took that snow picture...a bit of luck was involved I guess. I used Sunny 16 and closed down one stop because the scene was very bright.

Here's another from a clear and cold day, I did venture a bit on thin ice to take it (Hasselblad 500cm, Sonnar 150mm CF, Provia 100F) :
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I like the very light clouds at the top!






The next shows some good DR I think, except for the spot on the right that is almost completely overblown (Hasselblad 500cm, Distagon 60mm CF, Provia 100F) :
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BW400CN--those pix are just wonderful! Really nice! I particularly liked the one from the ice--glad you didn't fall in...
Paul
 
BW400CN said:
Retina IIIS and EliteChrome belong together - so sad that this film is gone (I still have some, which are now in the freezer)
​
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Michael, don't worry too much - because there is an excellent replacement for Elitchrome 100:
AgfaPhoto CT Precisa 100 in combination with
- a light warming filter like a Skylight 1A
- or use a lens with a little bit warmer colour rendition.

If you do that you will have difficulties to distinguish between Elitechrome 100 and CT Precisa.
CT Precisa is a very neutral, accurate film.
Elitechrome 100 is a bit warmer balanced. That's it.
Sharpness, resolution, fineness of grain, contrast range is all identical on both films (I've intensively tested that; friends have done that, too).

Last year we did a blind test in our photo club with Elitechrome and CT Precisa slides (with and without Skylight 1A) filter.
No one could consistently say which slide is from which film!
Even the CT Precisa slides without a filter, but shot
- with lenses with a bit warmer colour rendition
- under a bit warmer light outdoors
have been often identified as Elitechrome shots, but have been indeed shot on the CT Precisa.

So just take the Precisa in future when your Elitechrome stock is depleted and be happy.

Cheers, Jan
 
HHPhoto said:
Michael, don't worry too much - because there is an excellent replacement for Elitchrome 100:
AgfaPhoto CT Precisa 100 in combination with
- a light warming filter like a Skylight 1A
- or use a lens with a little bit warmer colour rendition.

If you do that you will have difficulties to distinguish between Elitechrome 100 and CT Precisa.
CT Precisa is a very neutral, accurate film.
Elitechrome 100 is a bit warmer balanced. That's it.
Sharpness, resolution, fineness of grain, contrast range is all identical on both films (I've intensively tested that; friends have done that, too).

Last year we did a blind test in our photo club with Elitechrome and CT Precisa slides (with and without Skylight 1A) filter.
No one could consistently say which slide is from which film!
Even the CT Precisa slides without a filter, but shot
- with lenses with a bit warmer colour rendition
- under a bit warmer light outdoors
have been often identified as Elitechrome shots, but have been indeed shot on the CT Precisa.

So just take the Precisa in future when your Elitechrome stock is depleted and be happy.

Cheers, Jan
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Are you sure? The Agfa Precisa 100 sould be nothing else as a relabeld Fuji Provia 100F, which is for sure a nice film, but very different to the EliteChrome 100.
 
BW400CN said:
Are you sure? The Agfa Precisa 100 sould be nothing else as a relabeld Fuji Provia 100F, which is for sure a nice film, but very different to the EliteChrome 100.
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Michael, yes, I am sure, or better said: we are sure, because we've made these comparisons with a group of experienced photographers.
It is correct: CT Precisa is cut from Provia 100F master rolls.
But the main difference between Elitechrome 100 and Precisa / Provia is indeed that Elitechrome is a bit warmer (more intense yellow), and the other both are strictly neutral.

With a Skylight 1A filter, or a lens with a bit warmer colour transmission, you get very similar results with Precisa compared to Elitechrome.

A very interesting result of our tests: We also used different lenses from different manufacturers: Nikon, Canon, Zeiss, Leica, Sigma.
And the differences in colour transmission of lenses have been often much bigger than the differences between Elitechrome and Precisa / Provia !
For example Elitechrome shot with a 85er Nikkor, which is a little on the blue/cold side with its colour transmission, looks colder than for example Precisa shot with a Sigma 70-210 Zoom, which has a warmer, more yellowish color rendition.

In the past we had a lens test series published here in Germany (BAS test) in which also the colour rendition of the lens has been tested, and the results show the different characters in color transmission of the lenses.

Cheers, Jan
 
Thanks alot for your advise - I ordered one roll of the Agfa Precisa 100 to test it - maybe you found the solution for me!

so let´s see what the Retina gives me with this Film - because I sometimes wished a bit colder tones.
 
BW400CN said:
Thanks alot for your advise - I ordered one roll of the Agfa Precisa 100 to test it - maybe you found the solution for me!

so let´s see what the Retina gives me with this Film - because I sometimes wished a bit colder tones.
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You're welcome.
Well, only one film is probably not enough to really get an evaluation of the characteristics of a film.....;)

Well, and getting a bit warmer, or sometimes a bit colder tones:
Heliopan is offering filters for all you need, including Skylight filters and color correction filters (also for blue, if you want a bit colder tones).
http://www.heliopan.de/produkte/skylightfilter/

And the easiest and most powerful way to get the tones you want: Use the daylight and its natural color temperature:
From the morning until 12:00 you have lower color temperatures and warmer tones (the earlier in the day, the lower the color temperature).
From 12:00 to 15:00 you have high color temperatures with colder tones (more blue in the light).
After 15:00 the color temperature is getting lower with again warmer tones (with maximum in the evening at sunset).
And in the shades, and when clouds are covering the sun, there is a higher color temperature with more blue in the light.
Knowing all that means we can use it as we want, for the 'look' we want.
"Reading the light" is the 'success formula' for good color photography.

In fact, it is quite easy. I've ever got the look I wanted, independant from the film, no matter whether I've used Elitechrome 100, E100G, Provia 100F, CT Precisa or Sensia.
And in those cases I want higher color saturation, I just take Velvia 50 or 100.

Have fun, enjoy your slides,
cheers,
Jan
 
Ah, and Michael, just an addition:
If you want a bit warmer color rendition (like Elitechrome) and one stop more speed, just use the Wittner Chrome 200D (it is Agfa-Gevaert Aviphot Chrome film, which is the Agfa RSX II 200 emulsion coated on a archivable PET base).
This film is even cheaper than CT Precisa, very low prices:

http://www.wittner-kinotechnik.de/katalog/04_filmm/kleinbild.php#3016

Cheers, Jan
 
I thought I'd try some Rollie CR200 transparency film in 120 format. This is how it returned. Looks sorta otherworldly in the colour department. All my other (Fuji ) trannies
come back looking more like what I saw. Any others with experiences like mine? Says it's made by Agfa. Peter


med_U41336I1389482091.SEQ.1.jpg
 
Moto--actually, that's pretty nice! You could claim smog--actually, we have exactly that kind of light here in N GA during severe T'storms, or heaven forbid--tornados. In fact, one really good way of knowing you're in for some severe weather is the light turns grayish-green..I'd keep it.
Paul
 
Thanks for the reply "Paulbe", unfortunately pretty well all the exposures have this strange
cast to them. And Vancouver doesn't look like this, including the snow,which was nice and
white the day this was taken. Peter
ps; I think I should also repost this in the film developing thread
 
There was a talk about a bad batch of CR200 (yellow cast), but your example is much worse than those.

I only shot two rolls of CR200 in 135 format recently and it was nothing like yours.

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