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Calzedonia

Leica M5 - 90Elmarit - Rollei APX100

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In the middle of the road

Leica M5 - 21Elmarit - Ilford Delta Pro 6400

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The first image I posted once before here and I'm posting it again because I think the following comparison is interesting. The first image was scanned at a lab with a Noritsu Koki machine, the second version of the negative (admittedly very dusty by now, I didn't clean it!) was digitised yesterday with a DSLR together with a pixl-latr diffuser/film holder, a LED panel light source and with the "negadoctor" module of Darktable (also some level adjustments). The original scan didn't differentiate the two-tone shades of the jug very well. The jug is orange in the upper part and more red in the lower. When I compare the image today with the real objects I think it did a great job on the jug, however the cake tin in reality has a blue-green colour somewhere between the shades rendered in these two photos. Much better detail in the second I think. The film is Kodak Portra 160.

 

 

 

 

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41 minutes ago, Xícara de Café said:

The first image I posted once before here and I'm posting it again because I think the following comparison is interesting. The first image was scanned at a lab with a Noritsu Koki machine, the second version of the negative (admittedly very dusty by now, I didn't clean it!) was digitised yesterday with a DSLR together with a pixl-latr diffuser/film holder, a LED panel light source and with the "negadoctor" module of Darktable (also some level adjustments). The original scan didn't differentiate the two-tone shades of the jug very well. The jug is orange in the upper part and more red in the lower. When I compare the image today with the real objects I think it did a great job on the jug, however the cake tin in reality has a blue-green colour somewhere between the shades rendered in these two photos. Much better detail in the second I think. The film is Kodak Portra 160.

 

 

 

 

Far more tonal range in the second, fascinating! But it does look as though the white balance in the first is off. 

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Waterway
Tele-Rollei Portra 800

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2 hours ago, Xícara de Café said:

The first image I posted once before here and I'm posting it again because I think the following comparison is interesting. The first image was scanned at a lab with a Noritsu Koki machine, the second version of the negative (admittedly very dusty by now, I didn't clean it!) was digitised yesterday with a DSLR together with a pixl-latr diffuser/film holder, a LED panel light source and with the "negadoctor" module of Darktable (also some level adjustments). The original scan didn't differentiate the two-tone shades of the jug very well. The jug is orange in the upper part and more red in the lower. When I compare the image today with the real objects I think it did a great job on the jug, however the cake tin in reality has a blue-green colour somewhere between the shades rendered in these two photos. Much better detail in the second I think. The film is Kodak Portra 160.

Thanks so much for this. I've had scans done by professional labs in the U.S. that were clearly inferior to the rig (Fuji FGX-R, Mamiya 645 120 f/4 macro, and the terrific EFH negative holder) I constructed at home. I do think, however, that the conversion software matters a great deal. The classic software is Digital Lab Pro, which runs off Lightroom. Recently, there has emerged Negmaster, which runs off Photoshop (though it has a somewhat less robust version for Lightroom). I've processed the same negatives with both programs, trying to keep the presets to a minimum, and yet see subtly more pleasing results from Negmaster. Negmaster, however, is far more difficult to run as a batch file, so it's pretty time consuming. When I'm converting 135 film, I'll run one set through Digital Lab Pro--which is great at batching--and use that as a kind of contact sheet, to determine which negatives in the other set I want to develop with Negmaster. 120 film I always develop with Negmaster. Negative Lab Pro is also fantastic and super-quick for developing B&W, far easier than inverting curves, etc. Each costs around $100 US for a lifetime license, and I'm really glad I have both.

Edited by bags27
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2 hours ago, Charles Morgan said:

Far more tonal range in the second, fascinating! But it does look as though the white balance in the first is off. 

Could well be, at the Noritsu end. Will see if I find my original Darktable file to see what adjustments I made. Normally with colour scans I never needed to do much, maybe darken the image a bit. But I do remember finding the colours a bit off on this one.

13 minutes ago, bags27 said:

Recently, there has emerged Negmaster, which runs off Photoshop (though it has a somewhat less robust version for Lightroom). I've processed the same negatives with both programs, trying to keep the presets to a minimum, and yet see subtly more pleasing results from Negmaster. Negmaster, however, is far more difficult to run as a batch file, so it's pretty time consuming.

I didn't know that it runs in Photoshop. If you install Darktable, which is similar in concept to Lightroom, runs on most platforms and is free, you can do batch processing pretty easily. Just work on one representative image in the "darkroom" part of the software and when done, save the settings as a style in the "lighttable" part. Once you have the style, you can apply it to all or as many files as you wish in a folder.

Ah, I just noticed that you wrote negmaster and not negamaster 🙂 but they might be similar.

Cheers

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Surfer girls

Nikon - Ilford

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1974 - Afa Romeo Giulia Super 1.600cc. "QuadrifoglioVerde" - speed 225K/h

Nikon F2AS - AIS105mm/1,8 - Kodak Tri-X

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Almost like the scream from Munch

Nikon F3 - AIS35mm/2,0 - Ilford HP5

Photo blurred...the cries shrilly scared me to death!!!  "No photo...no photo...aaaahhhhhhhhhhhhh"

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Edited by leicamour
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Love&Psycho - marble sculpture by Antonio Canova.

Leica M5 - Noctilux - Rollei RPX25

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vor einer Stunde schrieb bags27:

Thanks so much for this. I've had scans done by professional labs in the U.S. that were clearly inferior to the rig (Fuji FGX-R, Mamiya 645 120 f/4 macro, and the terrific EFH negative holder) I constructed at home. I do think, however, that the conversion software matters a great deal. The classic software is Digital Lab Pro, which runs off Lightroom. Recently, there has emerged Negmaster, which runs off Photoshop (though it has a somewhat less robust version for Lightroom). I've processed the same negatives with both programs, trying to keep the presets to a minimum, and yet see subtly more pleasing results from Negmaster. Negmaster, however, is far more difficult to run as a batch file, so it's pretty time consuming. When I'm converting 135 film, I'll run one set through Digital Lab Pro--which is great at batching--and use that as a kind of contact sheet, to determine which negatives in the other set I want to develop with Negmaster. 120 film I always develop with Negmaster. Negative Lab Pro is also fantastic and super-quick for developing B&W, far easier than inverting curves, etc. Each costs around $100 US for a lifetime license, and I'm really glad I have both.

I had the best results with negmaster too.
The plugin is under rapid development so i think the batch developing will be optimised soon. Te results are very nice when you now how to handle the sliders. It is a bit steeper learncurve than NLP, but i like the results more. Better Colorseparation compared to NLP and more possibilities to tinker around in Camera Raw before conversion in PS if one wants.
NLP is not bad. But the last 10% you get with Negmaster…

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2021

M3, Zeiss Sonnar 50mm f/1.5, Konica VX400 long expired

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very late tulip, end of May, on our balcony

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m6 2.5/90 kodak gold 200

Joachim

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m6 1.4/35pre kodak gold 200

Joachim

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