Kodak Vision3 – Koraks tinkers

Scanned to mush – The effect of CT carry-on luggage on color film

This is the result of an unintended experiment I conducted recently. A single roll of film I forgot in a bag went through a CT carry-on luggage scanner on the airport. It’s a nice opportunity to see what this single scan does to (in this case) Kodak Vision3 50D film. It’s worse than I had imagined!

Silicon or gelatin – Look at the pictures

When it comes to my prints, I’m never really happy. There’s friction, always. As a result, I’m always searching, and this search takes me all over the place. In this case, I find myself on that decades-old divide of film or digital. No ‘versus’ debate for me – I hope we’re all past that point. But the question is still with me: how do the different processes translate into the final print?

On a Color Mission – Comparing two RA4 color papers

With FUJIFILM being the only remaining manufacturer of RA4 color printing paper in the West, one of the questions remains how their products compare. Let’s have a look at an entry-level product in their portfolio pitched against a one of their top-level products and see what real-world differences there are.

Flipping the movie – Color negative inversion process video

Old hat, you might say. Almost exactly a year ago, I published a blog about how I scan and color balance color negative film. I now follow up on this with a video that demonstrates my approach. I start by inverting a couple of color negatives of my own (coincidentally shot on Kodak Vision3 250D ECN2 film). I then move on to some color negative scans YouTuber Analogue Andy provided me with. It’s a wordy kind of video, but for those who prefer to watch instead of (or in addition to) read, it may be useful. Enjoy!

The flipside – A closer look at printing color negatives

In previous blogs, I’ve focused on how color paper responds to a light source. When it comes to printing photos, this leaves out a rather relevant bit – the negative. In this blog, I’m going to explore the interactions between light source, negative and color paper. Hopefully, this will give some more insight into which LEDs work best for color printing (although I have a pretty good idea already…)

Not just muted – Vision3 250D colors

My interest in Vision3 films was initially sparked a few years ago because of the muted color palette it would give. So my exploration at that time focused on portraiture and other subject matter that I considered this film a good match for. But this is not to say that these films are necessarily limited to just muted, desaturated images with low contrast. Here’s an example.

Rem-oval: getting rid of the remjet on Vision3 ECN2 film

Kodak Vision3 film is not really intended for still photography, but that doesn’t stop many photographers from using it. Companies like CineStill offer this film without the remjet layer, but I personally prefer the remjet-backed original. That of course does leave the challenge of dealing with the remjet when processing this film. Fortunately, this is pretty easy and it does not require any specialized chemistry or equipment.

How I broke my fixer

“My genius knows no bounds”, Jeremy Clarkson says something. I often feel the exact opposite: my own stupidity never ceases to amaze me! Here’s another one that had me stumped for a while: a weird red/cyan cast on my ECN2 negatives. Annoying!

Ciao from Sicily – Some postcards

I’ve participated in the postcard exchange on Photrio recently, and I thought I might share some of the cards I’ve sent out. The month prior to the exchange, we spent a few days on Sicily, so I decided to use some frames from that trip for the cards.