From: Daniel Williams (dtwilliams3@home.com)
Date: 01/19/01-10:20:00 PM Z
Boy, this takes me back. I have two prints I made 1975 with very much the
same process on my dresser. I know I shot a an EI of 10,000 +/- depending
on contrast. I no longer remember in which magazine I read the article
(Peterson's Photographic?), I have a file in a box in my basement which I'm
fairly certain has that article.
I shot maybe a 2 dozen rolls that I processed this way. It works as
advertised. The results are very interesting. It does produce a gritty
color with a Pointilism feel to the prints. Your printing filtration will be
like nothing you ever used. The orange mask is missing and must be
compensated for.
With this much push, contrast is a real problem (or opportunity depending on
what you are after). I had most success with indoor portraits with no added
light and outdoor on overcast days. I did some night shots with mixed
results.
I gave up color work many years ago but, if I ever get into it again, I
would definitely try this again. The film processing is kind of a pain in
the rear but the results, after you get a feel for the process, are
predictable and intriguing.
Dan Williams
Enumclaw, Washington
----- Original Message -----
This was a private reply. It is being posted here at the request of the
sender so that all may benefit.
On Fri, 19 Jan 2001 10:24:55 -0300 ebenavidez@anses.gov.ar writes:
> Tony, I´m having some problems in accesing the alt-phto-list, so I´m
> answering your question privately.
>
> Please post my answer in the alt-photo-list.
>
> Regards.
>
> Eduardo Benavidez. Argentina.
>
> ------------
>
> Here is the full process as you wanted:
>
>
>
> Amazing visual events can occur by taking color slide film and
> processing it to produce negatives. It is possible to push the film
up to a
> speed of 10,000, dramatically increasing the color saturation, raise
the
> level of contrast, and crate a pointillistic grain structure.
>
> Get a thirty-six-exposure roll of Kodak Ektachrome 200
> Professional film.
> Set the film speed at 1,200. Bracket your exposures 1/2 and 1 full
> f/stop in both directions. If you push the film any higher, you will
> need to be extremely careful in your exposures to retain acceptable
shadow
> detail. You will be able to shoot in very low levels of light or use
very > high shutter speeds to stop action.
>
> Contrast will be greatly increased, as in all push processes. A
> scene of low contrast will come out to be one of at least average
contrast.
> A scene of high contrast will come out looking like it was shot on
litho
> film.
>
> There will be a noticeable increase in color saturation. Colors
> can begin to vibrate, look very intense, take on a "Day-Glo"
appearance, and
> become deeper and more brilliant. The grain will appear quite
oversized.
> You can literally pick out the different points of color.
>
> Overall, the composition will tend to become more abstract,
> bold, impressionistic, and striking. The process is great for creating
a
> mood. It is not suited for a situation that requires clarity and
sharp
> detail. It should offer the same oppurtunity to see things in a
different
> manner. Predawn, after sunset, and night now become times that are
> accessible for you to photograph. This is not the time to go and shoot
the > beach at noon. With these poster-like colors, the images
tend to cry out > to be printed bigger than normal. Consider
getting some larger paper to > print on if you find these images
successful.
>
> After exposing the roll, the film will be developed twice,
> once for black-and-white and then again for color. After
> completing the black-and-white process you can either dry the film and
carry > out the color process at a later time or continue on and
complete both
> processes in succession. Be certain not to use any type of
wetting
> solution like Photo-Flo if the film is dried before doing the
color > process. At this point, watermarks will not matter
because the film is going > to be developed again and the
wetting agent can cause difficulties > in the color
development.
>
> After completing the black-and-white process develop the film
> following normal C-41 development procedures. The color developing
process
> will add color couplers and the density and color saturation
will
> appear more normal. The entire process may be carried out under normal
room
> lights. Be certain to maintain accurate temperatures.
>
> After the film has dried, inspect it. It will appear pink because
> the slide film does not contain the orange mask as do regular color
negatives.
> Make a contact sheet to see exactly what you have to work with. The
> highlights should be fairly dense and bold and the shadow detail will
look
> thin. The colors should be intense with the grain quite visible.
Negatives
> with good detail in the shadow area and with highlights that are not
blocked
> indicate proper exposure. You should have exposures at 600, 800,
1,200, and
> 2,400. Check to see which film speed worked best.
>
> Because there is no orange mask you will probably have to add
> about 20-30 points of yellow to your regular starting filter pack. A
> low-contrast scene should print like a normal negative. A contrasty
scene may > require exposure times of over a minute. Although the
colors will be much more
> saturated and the grain very noticeable, the overall color balance
of the > scene should remain the same as you saw it. This
process does not create > false colors like infrared, but it
enhances what is already there.
>
> Use this process to step into some new areas that you felt were off
> limits with your conventional use of materials, Normally you
would
> use color materials to depict a scene. Now is your chance to open up
and
> express your feelings and mood about a subject.
>
> The following table for the black-and-white portion of the
> maximization process will give fairly accurate and consistant results:
> Best viewed in a monospace font.
> 1. Acufine (1,200) 12 min 75 F 30 sec. agitation
> Acufine (10,000) 25 min 75 F 30 sec. agitation
> 2. Water rinse 30 sec 75 F Continuous agitation
> 3. Fixer, without hardener 5 min 75 F 1 minute agitation
> 4. Wash 15 min 75 F
> 5. Bleach (C-41) 15 min 75 F 1 minute agitation
> 6. Wash 30 min 75 F
> 7. OPTIONAL Dry Room Temp.
>
> After the black-and-white portion of the maximization is
> completed, the same roll must be processed a second time with the
normal C-41
> development procedures, or you can dry the film and finish the C-41
process > at a later time. The finished negative
will appear extremely thin and
> kind of creamy-pink in color; this is normal.
>
> ------------
>
> Regards.
>
> Eduardo Benavidez.
>
Tony Ascrizzi - Electric Vehicle Systems
34 Paine St.
Worcester, MA 01605 (508) 799-5650
Web Page -->http://ElectricVehicleSystems.com
President -->New England Electric Auto Association
http://www.eaaev.org/neeaa
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