"mr. chip" <simoncrinklechip.freeserve.co.uk> wrote in message
> I've just got some Kodak EIR film and I've looked up as much as I can find
> on the net about how to use it. Most, if not all, sources say that to get
> the best colours you have to use a number 12 deep yellow filter. Now, I
> can't find this available anywhere. Jessops told me they could order itmedium> it would take a number of weeks for it to arrive. I've got a number 8the> yellow and everywhere sells this.
> So..... I was thinking... What if I got hold of another number 8 and putfor> two of them together? Would this be approximately the same depth of yellow
> as a number 12? I can't imagine it would be as dark as an orange filter.
> Or am I missing something...Like.. is the 12 a different colour to the 8,
> rather than being simply darker?
> I'd be grateful if anyone could shed some light (of any colour) on thisWith EIR it is more the colour of the filter than the density that matters.> me.
Unfiltered everything would be incredibly dominated by the film's
over-sensitivity to blue light ("Ahh woke up dis mornin', slides had all
turned turned blue... no, not that kind of blues: blue actually reproduces
as a sort of mauvey-purple. So you need to counteract this: this is why a
yellow is the optimum to get the widest range of colours. The further your
filtration is away from the yellow that is complementary to the film's peak
blue sensitivity, the more the excess blue will influence things and so
compress the total colour range you get, at the same time changing whihc
Other filtration options can give interesting and worthwhile effects, so a
little experimentation can be worthwhile - but deep yellow is 'the best'
most of the time. Orange is 'different' rather than 'like deep yellow but
less so' - try it, but you'll find the colours very different from yellow.
If you can't get a Wratten 12, B+W makes a very good deep yellow, and there