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8 hours ago, stray cat said:

I miss Kodachrome, especially at sunset (and especially in Greece!)...

Agios Nikolaos (I think), Crete 1987

Canon, 100mm, Kodachrome 64

I love this shot. It makes me wish I was shooting film in the Kodachrome days. 

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The 'Pizza-Cage' da Toni

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M3 50mm Elmar 2.8, Kodak 5222 HC110, this is one from my first tests with that emulsion Edited by DreiPunkte
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Exploration of the dark side

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M3 35mm summar 3.5, Kodak 5222 HC110, also from the first tests with that emulsion
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If only I had wings, my darling ...

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M3 50mm Elmar 2.8, Kodak 5222 HC110
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Blocked path.  

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Rollei 35, Zeiss Tessar 40/3.5, Colorplus200.

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Late summer on the shingle beach.  

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Rollei 35, Zeiss Tessar 40/3.5, Colorplus200.

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This is an amazing thread. Sadly, at 4€ per click for color, my contributions from the rollei will be limited. However, I just bought a g1 with 45mm, one of my fav film cameras, so I guess this will increase my film usage.

 Thanks to all here for inspiration.

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Mamiya C330, single exposure back, Mamiya-Sekor 80mm 1:2.8 @ f4 1/4", Fujifilm UM-MA @ ISO 64, pre-soak, D-23 stock strength (reused) 6' 20ºC.

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Madonna del Carmine, Denver - Leica M6, Summicron 35 asph, Kodak Trix @ 800

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Leica R9 and 21-35mm Vario Elmar, Adox HR-50 film, Adox FX39 developer,

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please click for a better view

 

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Ragwort in the shingle.  

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Rollei 35 S, Rollei Planar 40/2,8, Colorplus200.

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On 8/28/2024 at 4:45 PM, tuna said:

Agreed - it is Fujichrome Provia and all the images from that film coming out of my scanner (Coolscan) has a deep blue tint. So, your observation is spot on.  I fixed most of the images through color correction and desaturation but it sure doesn’t look like I did enough on this one…

Here is a second try with a little brightening as well - still a bit cool in color balance but hopefully easier on the eye…

Yes. I too have a Coolscan and it leans towards blue-green casts and overly cool colour temperature, seemingly with all films. I don’t remember it being like this when I first got it a couple of decades ago -  it may be due to the machine getting old or perhaps modern films?

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4 hours ago, Adrian Lord said:

Yes. I too have a Coolscan and it leans towards blue-green casts and overly cool colour temperature, seemingly with all films. I don’t remember it being like this when I first got it a couple of decades ago -  it may be due to the machine getting old or perhaps modern films?

I hadn’t noticed a cool tint on everything but my Coolscan definitely seems to lean in that direction with Fujichrome and Ektachrome. I am usually able to achieve acceptable results through color correction in post. It’s a slight quirk as, overall, the scanner does a fine job and if it were to die someday I would consider getting another used one to replace it…

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Leica M4, 50mm Summicron DR, Kodachrome BW conversion.

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3 hours ago, tuna said:

I hadn’t noticed a cool tint on everything but my Coolscan definitely seems to lean in that direction with Fujichrome and Ektachrome. I am usually able to achieve acceptable results through color correction in post. It’s a slight quirk as, overall, the scanner does a fine job and if it were to die someday I would consider getting another used one to replace it…

I use the Coolscan 5000 ED with the original Nikon software on Windows 10 (after a little bit of fiddling to get it working) and have had very good results.  Colour cast can be corrected in the scanning software after preview or later (I use Capture One).  It seems important to set the scanner for AdobeRGB and save to TIFF or NEF (not Jpeg).  I find third-party software such as VueScan can be useful at times but does not give the consistent results that the original software provides.

This is probably off-topic as there is a whole section on the forum about scanning and postproduction.  Shooting film and scanning to digital is an excellent method to follow.

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