I like film...(open thread)

[edwardkaraa]

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What were you specifying as the output colour space, Edward? It should be at least Adobe RGB and preferably ProPhoto RGB.

 

Ah, that is something I didn't consider. I always scan in sRGB since it's the most commonly used color space, and also I have read that most film doesn't contain information that exceeds this space (I know this would be a controversial statement).

[edwardkaraa]

img119.JPG

 

IIIA, 50mm 2.5 Hektor, Foma 100

 

Wayne, you make quite banal scenes from rural america look so interesting and timeless. Great work!

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[edwardkaraa]

Another sunflower scene with the 16mm extension tube and 80mm planar

On Velvia 50

summer flowers.jpg

 

Very nice bold color and composition Adam! Almost the antithesis of Philip's portra 160 shot

[chrism]

Cabot Trail 16 by chrism229, on Flickr

 

Cabot Trail 15 by chrism229, on Flickr

 

C.

[philipus]

Oops, I do use Vuescan. I used Nikon Scan for many years with my old Coolscan V ED but left it in favour of Vuescan which I much prefer. I still have an old Snow Leopard installation on my computer though to be able to run Nikon Scan if neeeded.

 

Lovely soft contrast and colors, Philip! (Don't tell me you scanned with vuescan, because if you did I'm gonna shoot myself )

 

I always scan in Adobe RGB, but use sRGB for editing since most of my photos end up on Flickr. I know browsers these days can read ICC profiles but I doubt that most users have that set up so defaulting to sRGB is a good idea.

 

If I edit an image in Adobe RGB or any other wide-gamut colour space a lot of the colour corrections are lost when the image is changed to sRGB because the colours look more muted somehow. There's probably a way around this though which I haven't found.

 

 

Ah, that is something I didn't consider. I always scan in sRGB since it's the most commonly used color space, and also I have read that most film doesn't contain information that exceeds this space (I know this would be a controversial statement).

[plasticman]

Speaking for myself I never leave an image alone once it's left the scanner and can spend quite a while trying to find the right (whatever that means...) colour balance.

But - correct me if I'm wrong Philip - I believe you do the same as me, and output a linear raw (negative) tiff file from Vuescan, and 'develop' the color version from that. (Or rather, I used Vuescan for about 5 years and just recently switched to Silverfast, but develop my files in much the same way).

 

I'd say this workflow gives much more control over the final output than when using each scanning software's in-built film profiles - with the proviso that some color differences still persist in the raw file from each software's supposedly 'un-manipulated' output.

[philipus]

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You're absolutely right, Mani. Sorry, I should have been clearer.

 

Yes for colour neg I scan linear raw and use ColorPerfect to remove the orange mask. I have a Photoshop "action" which first applies sRGB to the TIFF file and then opens the file in the ColorPerfect plugin. But in that plugin I usually only flip through the presets using the (oddly named) "Restore Settings" button to find a baseline colour which is good enough for further colour work, which I then do in Adobe Camera Raw.

 

I am allergic to any built-in film profiles, whether in Vuescan or ColorPerfect and scanning as linear raw nicely circumvents these. However, for transparency film I have given up trying to get acceptable results with ColorPerfect and scan them as non-linear (meaning just normal but with Vuescans generic "slidefilm" preset) TIFF files which I then open directly in Adobe Camera Raw.

 

 

br

Philip

 

 

But - correct me if I'm wrong Philip - I believe you do the same as me, and output a linear raw (negative) tiff file from Vuescan, and 'develop' the color version from that. (Or rather, I used Vuescan for about 5 years and just recently switched to Silverfast, but develop my files in much the same way).

 

I'd say this workflow gives much more control over the final output than when using each scanning software's in-built film profiles - with the proviso that some color differences still persist in the raw file from each software's supposedly 'un-manipulated' output.

[edwardkaraa]

But - correct me if I'm wrong Philip - I believe you do the same as me, and output a linear raw (negative) tiff file from Vuescan, and 'develop' the color version from that. (Or rather, I used Vuescan for about 5 years and just recently switched to Silverfast, but develop my files in much the same way).

 

I'd say this workflow gives much more control over the final output than when using each scanning software's in-built film profiles - with the proviso that some color differences still persist in the raw file from each software's supposedly 'un-manipulated' output.

 

 

You're absolutely right, Mani. Sorry, I should have been clearer.

 

Yes for colour neg I scan linear raw and use ColorPerfect to remove the orange mask. I have a Photoshop "action" which first applies sRGB to the TIFF file and then opens the file in the ColorPerfect plugin. But in that plugin I usually only flip through the presets using the (oddly named) "Restore Settings" button to find a baseline colour which is good enough for further colour work, which I then do in Adobe Camera Raw.

 

I am allergic to any built-in film profiles, whether in Vuescan or ColorPerfect and scanning as linear raw nicely circumvents these. However, for transparency film I have given up trying to get acceptable results with ColorPerfect and scan them as non-linear (meaning just normal but with Vuescans generic "slidefilm" preset) TIFF files which I then open directly in Adobe Camera Raw.

 

 

br

Philip

 

Very interesting and educative. Thank you both!

[Steve Ricoh]

Some home brew...

 

Au Palyvestre by JM__, on Flickr

 

Au Palyvestre by JM__, on Flickr

 

Minilux - TriX-  plus some  experimental processing and scanning !

These show a clear distinction between analogue and digital, I just hope someone doesn't develop a Photoshop plugin to emulate the look!

An Internet search can lead to numerous methods to make digital look like film, but there's a scarcity of information for the photographer to make film look distinctly different from digital.

Digital photography is physics whereas analogue is about chemistry, there's a big difference and it's good to see someone exploiting the fact. Excellent J-M!

[Wayne]

Wayne, you make quite banal scenes from rural america look so interesting and timeless. Great work!

Thank you so much for the kind remark. The comment is special to me because it is what I hope for. 

[mikemgb]

My project this evening, a roll of vintage film to develop.

 

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This was an unexpected gift from a friend, the Agfa camera containing a mostly used roll of film. Also, the two canisters contain three rolls of developed film that appear to be from World War 2, more details on those as I scan them.

 

Also not shown is a book on camera maintenance by Joseph Lippincott and two rolls of "new in box" Eastman 4-x Negative film 7224. I have good friends!

[philipus]

Wow, great friends indeed. Very much looking forward to seeing what's on those rolls.

 

 

My project this evening, a roll of vintage film to develop.

 

agfa.jpg

 

This was an unexpected gift from a friend, the Agfa camera containing a mostly used roll of film. Also, the two canisters contain three rolls of developed film that appear to be from World War 2, more details on those as I scan them.

 

Also not shown is a book on camera maintenance by Joseph Lippincott and two rolls of "new in box" Eastman 4-x Negative film 7224. I have good friends!

[philipus]

Some more macro exploration of our new garden. From the same roll as before.

 

Flickr

 

Flickr

[DirkR440]

Porsche

(Rolleiflex 3.5F with CineStill 800)

 

I just bought the CineStill 50 today, I'm looking forward to take some pictures on the weekend:

 

Porsche by Dirk Raffel, auf Flickr

[gbealnz]

Back to the alleyways of Corniglia.

R6

24mm Elmarit R.

Portra 400.

Plustek 8100

Gary

 

 

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[Guest JMF]

Thank you for posting these. I admire all of your photographs, but found these to be a special treat. I can't say what it is....but then, I guess that is the point.

 

Best,

 

Wayne

 

 

These show a clear distinction between analogue and digital, I just hope someone doesn't develop a Photoshop plugin to emulate the look!

An Internet search can lead to numerous methods to make digital look like film, but there's a scarcity of information for the photographer to make film look distinctly different from digital.

Digital photography is physics whereas analogue is about chemistry, there's a big difference and it's good to see someone exploiting the fact. Excellent J-M!

 

 

 

Thanks a lot for your very kind comments Wayne and Steve !

 

AF 7513 by JM__, on Flickr

 

 

Cheers, JM.

[stray cat]

Fantastic photograph Phil. I'm sure Wayne would love it too

 

That's interesting Edward - and thank you for your kind comment - but I've been feeling Wayne's work has influenced me significantly recently and I did choose that picture with that in mind...

 

Ah, that is something I didn't consider. I always scan in sRGB since it's the most commonly used color space, and also I have read that most film doesn't contain information that exceeds this space (I know this would be a controversial statement).

 

Most film contains the capacity for information that far exceeds sRGB, Edward. sRGB is the smallest colour space:

 

https://www.google.com.au/search?q=&client=firefox-b-ab&tbm=isch&tbs=rimg:CdBQOTex_1Ij_1IjhYiWQVh4q1Jc8UxwOJ5v89c4bZ_1HWZxwjJ-WqEz23NmHq2DFUZarHac47nelmfdpG7AUI4jVKPcCoSCViJZBWHirUlEZj-ivjRiiCmKhIJzxTHA4nm_1z0RMoM7jG1UkPkqEglzhtn8dZnHCBHQhw7DpYcjrCoSCcn5aoTPbc2YEfTsTd6dbLeKKhIJerYMVRlqsdoREW5DRwkh-iwqEglzjud6WZ92kRE-Vtr9-eWXLCoSCbsBQjiNUo9wEaFA9G6GWP0l&tbo=u&sa=X&ved=0ahUKEwiGp5Tiq4_XAhXHpJQKHW_QBNAQ9C8IHw&biw=2560&bih=1247&dpr=2#imgrc=tcDM98gFADuwCM:

 

 

Velvia, for example, will contain much, much more depth in the purple and red spectrum than sRGB is capable of showing, but if you scan in a wider colour space such as ProPhoto RGB, then convert to sRGB for screen then you are likely to get a much wider gamut than had you constrained the colours from the start by scanning in sRGB (which is only designed for web screen applications).

 

So you kind gimp your colours by scanning in sRGB from the start. Scanning in a wider colour space and then converting to sRGB later to display on screen gives you more opportunity of having a wider screen gamut and it also of course gives you the flexibility to print or whatever.

 

Back to the alleyways of Corniglia.

R6

24mm Elmarit R.

Portra 400.

Plustek 8100

Gary

 

This is great Gary, a really complex, multi-faceted scene well seen and captured.

[Wayne]

My project this evening, a roll of vintage film to develop.

 

agfa.jpg

 

This was an unexpected gift from a friend, the Agfa camera containing a mostly used roll of film. Also, the two canisters contain three rolls of developed film that appear to be from World War 2, more details on those as I scan them.

 

Also not shown is a book on camera maintenance by Joseph Lippincott and two rolls of "new in box" Eastman 4-x Negative film 7224. I have good friends!

I am certainly jealous.

[A miller]

Very nice bold color and composition Adam! Almost the antithesis of Philip's portra 160 shot

 

Thanks, Edward.  I agree!  "Painterly" vs "as you see it with premium polarizing sunglasses"

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Hallo,

Look here: Interesting Leica gear

[A miller]

Absolute Serenity

Dawn

The Dead Sea

Ektar

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