The image I posted was VERY close to how the slide looked on a Just-Normlicht D-50 lightbox. I don't know if I buy into the idea that Kodachrome was supposed to be viewed under tungsten for proper viewing. Everyone I know has always, and this goes back to the late '70s, viewed on D-50 flourescent boxes, balanced to that with CC filters and shot away. Sure, we used to have slide shows as well, but no one ever really noticed a color shift between the box and the screen, but we weren't looking for one either.
I still have to think the real reason for the bluish cast to many Kodachrome scans is simply that most scanners see and interpret the K-14 dyes differently than they see E-6, and that most scanners have input profiles based on E-6 pigments only makes it all the more apparent. I'm only manually compensating for the deficiency in the profile I'm using, and as I've said previously, this latest batch of film is less blue in the shadows than the films I've scanned from decades past. It's really not that hard to do. It only takes a few seconds, but you have to know what to look for and maybe having done a lot of drum scans in the past thirteen or fourteen years, I've just learned what to look for. The really funny thing is, is that the monitor I'm using for scanning is really old and only sort of calibrated any more. It's a PressView 17 that was manufactured in '94, but still works. Not as good as the Artisan's but with the overall Hutchcolor profile and reading the numbers, the scans are really close when they get shoved over the network.
Here's one more from today. Again, shot late in the day in a not particularly great part of West Adams Street in Los Angeles, but in a neighborhood that has fantastic local color, and color that is very well suited to Kodachrome. This one is close to the film but I did pull some magenta out of the sky.