One of the frustrating bits of digitizing color negatives is how to get the colors to come out right. At least, that’s how many people feel, and I can relate. There are many ways of doing this, and there’s also software dedicated to this purpose. Since scanning is a bit of sideshow for me, I make do with just the curves tool in GIMP.
Continue reading “Flipped – doing color negative inversions manually”Tag: scanning
Peaks or plateaus – Light sources for DSLR scanning color negatives
Many people like to shoot film, but enjoy their images in the digital domain and the possibilities it warrants for post-processing, printing, etc. This means that the film images need to be scanned, and using a DSLR to do this has become very popular in recent years. But it does bring up some questions – mainly: what’s the best way to do this? And in particular, if you photograph a backlit negative, what kind of backlight would be preferable? I’m going to reflect on this for a bit on a theoretical basis.
Continue reading “Peaks or plateaus – Light sources for DSLR scanning color negatives”Balancing act – A brief look at ECN2 vs. C41 colors
When ‘Cinestill’ film came around, I just had to try it – although I have mostly used the original Kodak Vision3 stock instead of the remjet-less Cinestill variants. Frankly, I didn’t get along with it, and I’ve been quite vocal about it on the forums, too. But a couple of years after my initial bout of experimentation, I felt it was time for a re-assessment. Here’s a brief reflection on color balance of Kodak Vision3 250D film. After all, color balance is perhaps the most pressing matter when it comes to using Vision3 films for still photography.
Continue reading “Balancing act – A brief look at ECN2 vs. C41 colors”