 Posted: Tue Oct 20, 2009 9:37 pm Post subject: Ektachrome 100 Surprise - Good Color Rendition |
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Laurence wrote:
I've been shooting this small (planted) grove of Aspens for several years.
I've been rather disappointed at trying to achieve the color tones exactly
as seen with my eyes.
Velvia was harsh as far as this image was concerned. The green
foliage was oversaturated. The blue tree trunks tended
toward magenta.
Provia was close; however, it still had a bit too much
saturation, and did not render the edge-of-trunk highlights
very well.
I loaded some Ektachrome 100 into the Pentax 645 and
was pleasantly surprised! I thought that it had a possibility
of being pretty good, because Ektachrome 100 is touted as
being good for skin tones, and great for muted saturation
and successful rendition of the blue spectrum.
In this case, it all came together. I love the true saturation
in all of the foliage and grasses! Also, the edge-of-trunk
highlights are finally showing very close to true! The limitation
is in the scanning, as there are some blocky artifacts within
those highlights.
I will be using more of the Ektachrome 100 for these kinds of
deep woods shots that have good amount of ambient
lighting, ESPECIALLY when I want to achieve a good range of
blues. 
It's sure fun to sort of get a "project" to try to optimize
colors and saturation and tones with the different films. They
all seem to have their own specialty functions.
Look at the right edge of the right hand tree...THAT is what
I wanted to show! - that fine line of highlight that I could see
but could not render on film until the Ektachrome 100 was
used.
So, maybe some of you might want to consider Ektachrome
100 for the natural tones in this type of shooting. It can't hurt
to carry a roll or two in the camera bag, that's what I'm
doing now. 
Blue Aspens in Theler Woodlands
Pentax 645
Pentax-A 55/3.5
f:11 and 1/60th
Ektachrome 100
No sharpening or other image effects added
_________________
Assent, and you are sane;
Demur,—you ’re straightway dangerous,
And handled with a chain.
Emily Dickinson
Cameras and Lenses in Use:
Yashica Mat 124 w/ Yashinon 80/3.5,
CV Apo-Lanthar 90/3.5SL, (Thank you Klaus),
Pentax 645,
Flek 50,
Pentax-A 150
Pentax-A 120 Macro
Voigtlander Vitomatic I w/Color Skopar 50/2.8
Konica TC and zoom lenses (thanks Carsten)
Contax AX
Yashica ML 50/2
Yashica ML 35/2.8
Carl Zeiss Contax 50/1.4
Tamron Adaptall SP 17/3.5
Tamron Adaptall 28/2.5
Tamron Adaptall SP 300/2.8 LD (IF)
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