philip_pj wrote:
My mistake - I did mean 35mm E6 at 12Mp approx.
Must agree with carsten'e observation about the relaxed quality of medium and large format images, when well done. Maybe our eyes don't want to see eveything super sharp all the time. I recall one author of photo books say he used 35mm for the raw edginess of 'small format', which he preferred for his work on barns of the West (US).
It's a very active board, and LF people are very committed, and explore all issues to the max - you might enjoy it. 8x10 is easier than expected for many shooters, and (they say) you haven't seen anything quite like a contact print of an 8x10...from memory there are quite a few 8x10 cameras around also, and lenses that cover 8x10 are both cheap and plentiful. All four major makers (Schneider, Rodenstock, Fuji and Nikon) make them.
I would definitely shoot 4x5 instead of 120 film if I was into tripod work. The possibility to develop every sheet separately is very tempting, especially for B&W images. Not to mention the little "problem" with that I seldom shoot a whole roll on one day, so I have to sit around not being able to develop the same day, which is what I really want.
Anyway, two more Portra shots with the P67II, and from a roll (same as last post) that I managed to shoot on one single day!
Morfeus wrote:
Martin, nice as always. Don't you mind the purple cast on the second? Or is that what you like? No criticism, just asking.
I see no purple cast and you are the only one that have ever mentioned it, so maybe it's your screen? What I do see is that the colors are not at all "natural", but you'll probably never get that with film anyway, unless the light is exactly the temperature that the film is optimized for.
Edit: Oh, I see that AhamB also mentioned a cast. It might be my screen then.
I am on my office screen in the moment, which is not top notch, but calibrated. I'll look at it again when I am at home on my Mac. But I remember seeing that cast in your previous images when viewing them on the Mac.
Just pull the purple saturation slider in LR all to the left (-100) on the image with the tires that I liked so much from your previous set and look what happens with the tires and their surrounding areas. It really starts to pop. If you like that, I don't know
Morfeus wrote:
I am on my office screen in the moment, which is not top notch, but calibrated. I'll look at it again when I am at home on my Mac. But I remember seeing that cast in your previous images when viewing them on the Mac.
Just pull the purple saturation slider in LR all to the left (-100) on the image with the tires that I liked so much from your previous set and look what happens with the tires and their surrounding areas. It really starts to pop. If you like that, I don't know
I think I see what you mean, but it must be a property of the film itself or the scanner software. Look at the top of the aircraft and you'll see a green tint instead. So I don't think we should call it a "cast" since it's not something affecting the whole image.
It is most probably the scanner software, Martin. I have made some comparison in a controlled surrounding with 3 different scanners and 5 different slide films and the slides besides me on the lightbox. If there was a cast (mostly purple or magenta) I could rarely find it in the slide (except on one specific film sort, which might have been a lab problem).
But this is not THAT important, the images are great and I love them.
Morfeus wrote:
It is most probably the scanner software, Martin. I have made some comparison in a controlled surrounding with 3 different scanners and 5 different slide films and the slides besides me on the lightbox. If there was a cast (mostly purple or magenta) I could rarely find it in the slide (except on one specific film sort, which might have been a lab problem).
But this is not THAT important, the images are great and I love them.
I'm glad you told me about it, because I hadn't noticed otherwise. I knew that the colors were off a bit, but could not put my finger on it.
In the Epson scan software there's an option for automatic color correction (no idea of what it would say in the english version), which I haven't quite understood yet. Sometimes it makes the images better, sometimes worse. But I suspect that it's some sort of auto white balance, and that it screws the colors if you're not carful. So next time I'll try to scan as neutral as possible and then do the rest in ACR.
Now I'm off for the Stockholm Marathon to shoot some FP4+!
It is always a very good idea to scan as neutral as possible. I have struggled a lot with this. There are a lot of sources on the net that say everything is fixable in post. This is not my experience and I disagree.
Have fun at the marathon, we are waiting for the images
Makten wrote:
Three more from the same roll of Portra 400 and the SMC 6x7 55/4. I love the angle of view of this lens! It feels so different from 28 mm on 24x36.
The color does appear off, particularly in the first and last images. The darker mid tones to blacks, even in sunlight, take on a bluish magenta color but it's not the type of color cast that can be corrected easily with a single click on a neutral for WB correction. Selective color correction would be required. The greens have more yellow in them to begin with and the whites are fairly neutral yet there is that magenta-blue issue. The cause could be many things(old or poorly stored film or anywhere in the scanning chain) but I'm curious if the C41 processing may be the culprit. Anyway, I'm curious if you find out what it is.
Tariq Gibran wrote:
The color does appear off, particularly in the first and last images. The darker mid tones to blacks, even in sunlight, take on a bluish magenta color but it's not the type of color cast that can be corrected easily with a single click on a neutral for WB correction. Selective color correction would be required. The greens have more yellow in them to begin with and the whites are fairly neutral yet there is that magenta-blue issue. The cause could be many things(old or poorly stored film or anywhere in the scanning chain) but I'm curious if the C41 processing may be the culprit. Anyway, I'm curious if you find out what it is....Show more →
First of all, this is not an issue to me. I know the colors are "off" but it looks good and I know that they just cannot be right when shooting a daylight film in anything else but daylight.
Now, the scanner software has no idea of what the image should look like (nor do I). The curves for red, green and blue are automatically generated and are totally different from each other, which would take me like an hour to do manually, and the end result would probably be worse anyway.
The film is fresh and I doubt the development has anything to do with the colors, since you can use the Tetenal kit at 30°C as well. And I'm pretty sure the temperature has been somewhere within 37-39°C, which should be close enough to 38°C.
The negs look good and some of the images have better colors than other, so I can't think of anything else than the scanner software that could be involved in the "issue".
Makten wrote:
First of all, this is not an issue to me. I know the colors are "off" but it looks good and I know that they just cannot be right when shooting a daylight film in anything else but daylight.
Now, the scanner software has no idea of what the image should look like (nor do I). The curves for red, green and blue are automatically generated and are totally different from each other, which would take me like an hour to do manually, and the end result would probably be worse anyway.
The film is fresh and I doubt the development has anything to do with the colors, since you can use the Tetenal kit at 30°C as well. And I'm pretty sure the temperature has been somewhere within 37-39°C, which should be close enough to 38°C.
The negs look good and some of the images have better colors than other, so I can't think of anything else than the scanner software that could be involved in the "issue". ...Show more →
What light source are these shots taken in? Are you saying it's not daylight? If your happy with the results and they are as you intended, that's great. I like your images a lot. I was just noting that I also see the color shift and, as I am about to try this Tetenal kit, was curious if it might have something to do with the shift.
I too use the Epson 700 to scan film with and, even with the basic Epson software, it often gets the balance between the color channels correct which is why I suggested the film or processing may be responsible for the color shift.
Morfeus wrote:
I am glad that you are ok, Martin. Heard what happened with the bus at the marathon, knew you where there and was a bit worried.
I was in the other end of town. Not one single shot from the marathon either. I really, really hate to shoot among people.
Tariq Gibran wrote:
What light source are these shots taken in? Are you saying it's not daylight?
The shots from the lake (with the small tree too) was in very warm, late afternoon haze. The "dusk" shot was obviously shot at dusk!
If your happy with the results and they are as you intended, that's great. I like your images a lot. I was just noting that I also see the color shift and, as I am about to try this Tetenal kit, was curious if it might have something to do with the shift.
I too use the Epson 700 to scan film with and, even with the basic Epson software, it often gets the balance between the color channels correct which is why I suggested the film or processing may be responsible for the color shift.
How do you use the scanner software? I run it in some sort of auto-everything mode, but I usually lower contrast a bit since it wants to clip the highlights too much.
I can see the same thing in my Ektar shots: http://www.flickr.com/photos/makten/sets/72157626655742000/
...so I doubt it's the film. But some have a green cast and some a purple, which I suppose indicates that it's not the development either.
Makten wrote:
I can see the same thing in my Ektar shots: http://www.flickr.com/photos/makten/sets/72157626655742000/
...so I doubt it's the film. But some have a green cast and some a purple, which I suppose indicates that it's not the development either.
I scanned two rolls 135 Ektar 100 yesterday. The slight green cast is on every frame from 72 frames. But this is easily correctable with the white balance in LR/ACR (see my last post in the Leica thread).
Martin, I do not know the Epson software, but do you have the possibilty in scanning 48bit RGB tiffs with NO auto-something, just negative to positive conversion and setting the white and black point manually for every frame?
What I do see is that the colors are not at all "natural", but you'll probably never get that with film anyway, unless the light is exactly the temperature that the film is optimized for.
