edwardkaraa wrote:
It was a happy accident I would say. I really like the surreal color
The colors are not really that surreal. According to Wiki: '...The designers originally planned for the building to be clad entirely with hill country limestone quarried in Oatmanville (present-day Oak Hill), about 10 miles (16 km) to the southwest. However, the high iron content of the limestone led it to rapidly discolor with rust stains when exposed to the elements. Learning of the problem, the owners of Granite Mountain near Marble Falls offered to donate to the state, free of charge, the necessary amount of sunset red granite as an alternative. While the building is mostly built of the Oak Hill limestone, most of this is hidden behind the walls and on the foundations. Red granite was subsequently used for many state government buildings in the Austin area'.
Granted, my shooting a tungsten-balanced film without a filter leaves a cast but it's not that far removed from what I saw thru the reflex viewer on my Chamonix.
Kenj8246 wrote:
The colors are not really that surreal. According to Wiki: '...The designers originally planned for the building to be clad entirely with hill country limestone quarried in Oatmanville (present-day Oak Hill), about 10 miles (16 km) to the southwest. However, the high iron content of the limestone led it to rapidly discolor with rust stains when exposed to the elements. Learning of the problem, the owners of Granite Mountain near Marble Falls offered to donate to the state, free of charge, the necessary amount of sunset red granite as an alternative. While the building is mostly built of the Oak Hill limestone, most of this is hidden behind the walls and on the foundations. Red granite was subsequently used for many state government buildings in the Austin area'.
Granted, my shooting a tungsten-balanced film without a filter leaves a cast but it's not that far removed from what I saw thru the reflex viewer on my Chamonix.
Hope you don't mind Kenny but I could not resist making a simple tweak in Lightroom to correct that rather strong colour cast on your otherwise perfectly composed and exposed image - just love how much you can now do by combining digital with analogue
Images taken are a mixture of Rolleiflex 2.8F (square images) or Pentax 67 with 105/2.4 (3:2 ratio) all on Ektar 100 self developed with the Fuji Hunt Kit and scanned with the Nikon Coolscan 9000
Just awesome shots here, really inspiring! Just finished up 1600 miles around WA. This was an evening on Steptoe Butte South of Spokane. (think I need to start using fresh photoflo every time...)
Acros through Distagon 50 FLE
Hey guys / Nico, how can I get this Ektar to be more neutral? I'm getting results quite often that are too aqua/pink that seem to be un-fixable with any white balance settings in Vuescan or Lightroom?
here's an example;
same white balance but better;
Then a completely different day and roll that seemed to come out perfectly normal. I should double check as this may have been Portra but I get the same issue with Portra though less frequently. (could it be my lab?)
Thatspeck wrote:
Hey guys / Nico, how can I get this Ektar to be more neutral? I'm getting results quite often that are too aqua/pink that seem to be un-fixable with any white balance settings in Vuescan or Lightroom?
I suffered the same issue with Ektar and Porta film after digitizing - Ektar often a bit too bluish/magenta in some shadow areas, Porta slight greenish tint. Best solution I found is to adjust the white balance in PS within the curve adjustments. Select a black point first (darkest area in the photo) and then the white point (brightest spot in the photo). Then you can also set a grey point which might be difficult since it might lead to a yellowish/orange cast if not done carefully. I often only set black and white points instead. In my experience you need to repeat this black/white point setting for every film which you developed yourself due to slight differences in each process. But for most frames of the same film this so achieved white balance setting should work. Afterwards you might need to adjust slightly the saturation levels of specific color channels - watch out for the blue, magenta, and red with Ektar and blue, cyan, green with Porta.
Thatspeck wrote:
Hey guys / Nico, how can I get this Ektar to be more neutral? I'm getting results quite often that are too aqua/pink that seem to be un-fixable with any white balance settings in Vuescan or Lightroom?
Then a completely different day and roll that seemed to come out perfectly normal. I should double check as this may have been Portra but I get the same issue with Portra though less frequently. (could it be my lab?) https://c7.staticflickr.com/9/8284/28352171342_10e6393baf_b.jpg
The colour casts in your images are not too bad are these commercial scans or did you scan yourself?
The easiest way to correct the scan is to open the TIFF or DNG (preferably 16bit) file up in Photoshop and then click on Image / Adjustments / Levels - then go and select the blue channel and move the sliders ever so slightly to get rid of the blue cast. You may also need to very marginally go into the green channel and tweak that a bit.
retrofocus wrote:
I suffered the same issue with Ektar and Porta film after digitizing - Ektar often a bit too bluish/magenta in some shadow areas, Porta slight greenish tint. Best solution I found is to adjust the white balance in PS within the curve adjustments. Select a black point first (darkest area in the photo) and then the white point (brightest spot in the photo). Then you can also set a grey point which might be difficult since it might lead to a yellowish/orange cast if not done carefully. I often only set black and white points instead. In my experience you need to repeat this black/white point setting for every film which you developed yourself due to slight differences in each process. But for most frames of the same film this so achieved white balance setting should work. Afterwards you might need to adjust slightly the saturation levels of specific color channels - watch out for the blue, magenta, and red with Ektar and blue, cyan, green with Porta....Show more →
Agree this is another great method of correcting colour casts - sometimes to be used in combination with individual levels correction
nicoimages wrote:
The easiest way to correct the scan is to open the TIFF or DNG (preferably 16bit) file up in Photoshop and then click on Image / Adjustments / Levels - then go and select the blue channel and move the sliders ever so slightly to get rid of the blue cast. You may also need to very marginally go into the green channel and tweak that a bit.
That's how I started out, too - but IMO it didn't work too well or it took very long to get to a reasonable result. Even after you have set the levels correctly (for decent contrast/brightness), you still need to tweak most of the color channels separately - and this is different from digitized frame to frame. I found the method with black and white (eventually grey) point setting much faster and more reliable - it avoids the level adjustment since it will be automatically set with the correct black/white points. And it is much less work to correct slightly the color channels afterwards. This at least from my experience.
Thanks Retro, Nico and Kwoodward for the tips, soooo many variables with this, guess that's why I'm enjoying it so much Yes, these I scanned on a NIkon 8000, don't think I will try C41 processing though it would be nice to have color negatives as flat as my home processed B&W's. Assume the lab must put them in the protective plastic before completely dry (but that's yet another issue...) I tweaked the blue and green down a little in LR (in the tone curve sliders, don't have PS but will study up on setting the white/black points), also reset the white balance to more the mid day sun it was. This one was a "worst case" for the Blue/magenta issue but I think I could live with this (maybe a little too green...). Will have to get a gray card eventually
kwoodard wrote:
Hell, I still shoot one shot in great light of a gray card to use as a baseline with any new film I use. Gets me close and I tweak from there.
Yes, this works - as you said in good light. But you will face issues if the light conditions change during the course of taking photos with the same film. Then you need to re-adjust again as described above.
retrofocus wrote:
Yes, this works - as you said in good light. But you will face issues if the light conditions change during the course of taking photos with the same film. Then you need to re-adjust again as described above.
A couple more with the Fujifilm TX-1 (Xpan) and 45mm lens. Agfa Vista 200 film scanned with Nikon Coolscan 9000. Post-processed with Nik software (Viveza and Silver Efex Pro.
Yes, these I scanned on a NIkon 8000, don't think I will try C41 processing though it would be nice to have color negatives as flat as my home processed B&W's. Assume the lab must put them in the protective plastic before completely dry (but that's yet another issue...) I tweaked the blue and green down a little in LR (in the tone curve sliders, don't have PS but will study up on setting the white/black points), also reset the white balance to more the mid day sun it was. This one was a "worst case" for the Blue/magenta issue but I think I could live with this (maybe a little too green...). Will have to get a gray card eventually
