I used to shoot both Ektachrome and Kodachrome, in large format copying artwork/paintings. I would bounce between the two depending on the "warmth" or "coolness" of the pallette, usually to kind of de-emphasize. IIRC, Extachrome highlighted cool, e.g blues and Kodachrome warmth, the reds, so you could actually tone down an overly warm piece with Ektachrome and vice versa w/ Kodachrome, otherwise results were overly saturated, too cool or warm when used the otherway around.Kodak Ektachrome, mostly. Was a very steep and expensive learning curve.
Spent hundreds (in 1974-ish prices) on film and processing, sold a few pics but never came anywhere near covering costs.
Still, managed to blag press passes at some motor racing circuits, which was nice.
The FT2 (I wrongly typed FT3 above) was rock-solid reliable through it all.
Note the artists strived for neutrality in their copy work....
Anyone w/ similar experiences...??
nick