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.

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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.

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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.

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Balancing act – A brief look at ECN2 vs. C41 colors

When ‘Cinestill’ film came around, I just had to try it – although I have mostly used the original Kodak Vision3 stock instead of the remjet-less Cinestill variants. Frankly, I didn’t get along with it, and I’ve been quite vocal about it on the forums, too. But a couple of years after my initial bout of experimentation, I felt it was time for a re-assessment. Here’s a brief reflection on color balance of Kodak Vision3 250D film. After all, color balance is perhaps the most pressing matter when it comes to using Vision3 films for still photography.

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