P3D Re: Magenta cast on Kodachrome

[fj834@xxxxxxxxxxxxxxxxxxxxx (Dr. George A. Themelis)]

For what it is worth:

1. I do not use filters in my Realist.
2. I shot Fuji 100 before and after the Kodachrome and in the Fuji
   the white was white while in the Kodachrome the white was visibly
   purple.  At the time (a year and a half ago) I attributed this to
   the freshness of the film which I shot just when I got it.

I know "film is religion" but there is no way on earth anyone can
talk me today into using Kodachrome... so I can wait two weeks to
get back my film back with no control on how it is returned and
with its usual scratches and pinholes, while I can get the E6 the
next day professionally placed in a plastic sleeve and rolled in
a large cardboard cylinder.  I agree with all the reasons Mark Dottle
mentioned for not using Kodachrome, down to the "fade as I fade".

About the "true colors" argument, "truth" is in the eyes of the 
beholder... Those accustomed to seeing Kodachrome colors naturally
do not like to see anything else... and those accustomed to newer
E6 films (like myself) find Kodachrome boring and life-less.  Just
remember the reactions of some people (used to much more mild
previous color processes) when they first saw Kodachrome slides
in the late '40s.  They thought that these are the most unreal
colors they have ever seen!  It was a scandal for them!

There is a guy in my Beta SSA folio who is paranoic about 
Kodachrome being true in color and Fuji (or anything else
totally distorted).  Most of his comments is about that...
As far as I can tell, he is blinded in his "faith" for Kodachrome.
Just to confuse him I write "Kodachrome" in my entries so he
has one less reason to hate my slides.

And another thing:

Kodachrome today is not the same as Kodachrome 10.  If Kodachrome
had the quality of Kodachrome 10 as I see it in the stereo slides from
the late '40s and '50s, I would be definitely using it.  But as far as I
can tell, today's Kodachrome is a totally different animal.  It lacks
the snap and contrast of the old Kodachrome.

George Themelis


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