Fuji Reala

If you push (or pull) it means you want to compensate for exposure. But you do not want any compensation, do not say anything to them and just have the lab develop it as 'normal'.
 
Jon Claremont said:
If you push (or pull) it means you want to compensate for exposure. But you do not want any compensation, do not say anything to them and just have the lab develop it as 'normal'.
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but lets say if i overexposed by 1 or 2 stop
the images will be blown out right?
will the labs see it and fix it for me? or do i actually have to alert them about it?
and how does one alert them in premailers?
writing a post-it note?
sorry i am new to all these....
 
Do nothing. Any prints and scans may well have been altered because they think you've made a mistake. But your negs are your negs and will have the exposure you intended.
 
jon
thanks alot for the clarification.
so labs still mess with the prints.

correct me if i am wrong but one cannot push pull the negatives or chrome (slides) right? (because its the medium itself that captures the image)
 
haagen_dazs said:
have a question.
if i overexpose the film and sent the film in (prepaid mailers) for processing..
will the labs do the push pull thingy for me?

edit: i am talking about the fuji labs in arizona (or did they move? cant remember)
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If you do it on purpose to get a certain effect, then don't tell them anything. If you accidentally shoot at the wrong iso or over/underexpose your entire roll, tell them to properly compensate. Some of the mailers may require you to add additional $ for it (I remember reading, for example, A&I used to ask you to put a check for an additional $1 or $2 for push/pull).

Oh, by the way, I accidetnally shot a roll of iso 100 slide film at iso 200. I asked the lab to compensate, and they did so, results were good.

Jano
 
haagen_dazs said:
jon
thanks alot for the clarification.
so labs still mess with the prints.

correct me if i am wrong but one cannot push pull the negatives or chrome (slides) right? (because its the medium itself that captures the image)
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They can push/pull if you messed up. But you want to expose differently on purpose you you stay tight lipped about it.

I use ten year old E6 (slide film) and give to a C41 (print film) mini lab and never say anything.

Also, I have a camera that spools the film on the cassette inside out, but I just toss it on the counter and don't get into a conversation with the old grumpy guy or his stupid son.
 
Jon:

Now you've peaked my curiosity... what do E6 prints appear like with C41 processing? Might you have a few examples of this?

Thanks

Scott
 
sherm said:
Jon:

Now you've peaked my curiosity... what do E6 prints appear like with C41 processing? Might you have a few examples of this?
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Scott, it's different everytime and will depend on the film you use. Here are a few of mine, having used expired velveeta film:
http://www.rangefinderforum.com/photopost/showphoto.php?photo=27993&cat=500&ppuser=2711
http://www.rangefinderforum.com/photopost/showphoto.php?photo=27994&cat=500&ppuser=2711
http://www.rangefinderforum.com/photopost/showphoto.php?photo=27995&cat=500&ppuser=2711

:)
 
haagen_dazs said:
what is E6 and C41 actually?
type of processing style or something?
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The naming convention for the chemical processes as provided by the manufactuers.

E6 - slide film

C-41 - Color neg film
 
I've always shot color negative film with my meter set at 1/3ed above the rated speed (under exposed) for good color saturation. Color slide film, in my experience, has a smaller range of acceptable f stop variation than negative film and so needs more careful handling. I also use a polarizing filter whenever possible when shooting color films. Of course with rangefinders this can be problematic.

Cheers,
Eli
 
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