Einst_Stein Posted March 13, 2021 Share #1 Posted March 13, 2021 (edited) Advertisement (gone after registration) Using camera to copy day light balanced negative film, I usually click the white or black or grey portion that I know of (either negative view or after converted to positive) as the first shot of white balance. I wonder if it matters day light or tungsten balanced? Edited March 13, 2021 by Einst_Stein Link to post Share on other sites More sharing options...
Advertisement Posted March 13, 2021 Posted March 13, 2021 Hi Einst_Stein, Take a look here Color negatives for Camera Copy: Does it matter Daylight or Tungsten balanced?. I'm sure you'll find what you were looking for!
tommonego@gmail.com Posted March 13, 2021 Share #2 Posted March 13, 2021 It would depend on your light source, though you can adjust it in ACR and probably other RAW editors. I use an old slide copier which uses an ELH 3200K bulb, so I set the camera to tungsten. If you are using an LED panel then i would set it to daylight or what ever the panel is listed for. For b&w it doesn't matter much, if I forget to set the camera I can just move the ACR Color Balance slider to 3200K an I get a neutral image. Color I would careful, the camera color balance setting could make a difference. The one time I forgot to set the camera to Tungsten, I reshot the negatives on tungsten. Interestingly I use a CL to copy my negatives and the tungsten setting comes in at 3150 not 3200. Link to post Share on other sites More sharing options...
Einst_Stein Posted March 13, 2021 Author Share #3 Posted March 13, 2021 (edited) Taking Kodak 200T and 200D for example, 200T is rated ISO 200 with tungstten light or ISO 125 after adding 85 filter; 200D is rated ISO 200 in daylight without any filter. Option 0: Shoot 200D in day light at ISO 200 without any filter, scan it with digital camera, and do WB by clicking at grey card. Option 1: Shoot 200T in day light at ISO 200 without any filter, scan it with digital camera, and do WB by clicking at grey card. Option 2: Shoot 200T in day light at ISO 125 without 85 filter, scan it with digital camera, and also do WB by clicking at grey card. Now, what shoud I expect from the three options, (the focus is the color balance and exposure accuracy). Edited March 13, 2021 by Einst_Stein Link to post Share on other sites More sharing options...
tommonego@gmail.com Posted March 14, 2021 Share #4 Posted March 14, 2021 Not surewhat nyou are asking, the films have their own color balance, so you can use them with the corrrect lighting and filtration. WB is a little pointless unless you will filter for it, and you don't want to stack glass filters. The way to filter is with Wratten gels in one holder, and you need a library of them.With daylight slide film I almost always used an 81B filter. Option 0: This should be approached like using any daylight film, should be no problem, maybe use an 81B in shade. Once you have calculated the color balance of your light source you are using to digitize you should be good to go on with either daylight or tungsten. Option 1& 2: Tungsten film without filtration in daylight will give you a definite blue cast, which in theory you can filter out with PP, not like fluorescent or murcury light which is difficult to filter in PP. Best to use an 85, 85B, 85C with tungsten film in daylight. One tip I received about digitaizing color negative film is to take a color balance reading off a clear spot on the negative. This helps clean us the reversal of the negative. I realized you were talking about the WB of your light source while photographing the negative. Link to post Share on other sites More sharing options...
Einst_Stein Posted March 14, 2021 Author Share #5 Posted March 14, 2021 Shooting digital in tungsten light can be PP for WB. I have daylight film shot in Tungsten and PP for WB after digital conversion. So I wonder if Tungsten balanced film shot in daylight can be PP for WB. I also wonder what is the drawback compated to use colir balance filter before shooting. Link to post Share on other sites More sharing options...
giannis Posted March 14, 2021 Share #6 Posted March 14, 2021 20 hours ago, Einst_Stein said: Taking Kodak 200T and 200D for example, 200T is rated ISO 200 with tungstten light or ISO 125 after adding 85 filter; 200D is rated ISO 200 in daylight without any filter. Option 0: Shoot 200D in day light at ISO 200 without any filter, scan it with digital camera, and do WB by clicking at grey card. Option 1: Shoot 200T in day light at ISO 200 without any filter, scan it with digital camera, and do WB by clicking at grey card. Option 2: Shoot 200T in day light at ISO 125 without 85 filter, scan it with digital camera, and also do WB by clicking at grey card. Now, what shoud I expect from the three options, (the focus is the color balance and exposure accuracy). As long as you use a grey card, all the options are equivalent. Any change comes from the differences in stock, it's not like 200T and 200D are absolutely identical other than white balance. That said you might get marginal differences with a warming filter vs unfiltered+adjusting white balance in post, since adjusting white balance in post means "pushing" specific channels (like the yellow channel when trying to convert tungsten film to daylight). Not very field relevant though. The important part is that you won't always have a grey card with you, or be able to use it for every different scene, so if you have a warming filter, it's good to use it to get a more accurate starting point. At the very least, it'll reduce the amount of time you spend editing. Also the warming filter is less than a stop of light, and 200T, or even 500T, are plenty fast to use with a filter in daylight without much penalty in practicality. ISO125 and ISO320 is plenty fast on daylight. And the big advantage comes in tungsten. Portra 400 is ISO100 in tungsten with an 80A, while 500T is ISO500, over 2 stops faster, in situations where you probably need the speed. For me it's a matter of practicality: I can sacrifice 2/3rds of a stop in an already fast film in situations where there's plenty of light around (daylight), so I can get over 2 stops in situations where there isn't much light around (artificial lit interiors, etc.). 500T seems to be the most versatile in that regard. So my personal preference is 50D and 500T. 50D I use as I'd use Ektar: lots of detail and low grain for when there's plenty of light, strong sunlight, or using strobes. 500T I use for everything else, substituting the faster Portras and Superias. Link to post Share on other sites More sharing options...
Einst_Stein Posted March 14, 2021 Author Share #7 Posted March 14, 2021 Advertisement (gone after registration) Thanks a lot. So, doing PP WB compared to pre color balance filter is essntially like WB on an under exposed image? Implies pre color balance filter has the advantage of more correct exposure? Link to post Share on other sites More sharing options...
giannis Posted March 14, 2021 Share #8 Posted March 14, 2021 Yes exactly. This is mostly an issue when shooting daylight film in tungsten light, because then you have to "push" the blue channel two stops to get neutral colour balance, and 2 stops underexposure (for the blue channel) is a lot. Using tungsten film in daylight, you'd have to "push" the yellow channel less than a stop, so if your exposures are correct (or even slightly overexposed), the quality loss is minimal and in most cases not field relevant. That said, if you have the filters and the light allows, it's always better to use them than not use them. Link to post Share on other sites More sharing options...
Einst_Stein Posted March 14, 2021 Author Share #9 Posted March 14, 2021 It is clear to me now! Thanks. Link to post Share on other sites More sharing options...
giannis Posted March 14, 2021 Share #10 Posted March 14, 2021 Cheers, glad to be of help! Link to post Share on other sites More sharing options...
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