https://www.largeformatphotography.i...2&d=1641752469
from a trip to Colorado over the summer.
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https://www.largeformatphotography.i...2&d=1641752469
from a trip to Colorado over the summer.
Steve,
Is the amount of contrast and color shift intentional in this image? The results remind me of when I used Silverfast SW with an Epson 800 Scanner. But I moved to Epson Scan SW per recommendation of several LF members here and my results were much less contrasty and colors more natural looking.
Also I am curious whether you brought the film plane to a neutral position (maybe with drop bed) l or was the camera back tilted down? I have always found it difficult to get a good horizon line when pointing the camera down. Do you fix that in post when you get linear distortion effects?
This looks like your 75SW and Velvia 50? I’d that right?
Really sharp and detailed image.
The camera was leveled out. I rarely point the camera up or down. There was no tilt, no shift, no rise or fall. This is how the scene looked. When I use my V850 I use Vuescan and create a raw tif with a linear gamma curve. I then use colorneg to convert the image to a positive and I go for a fairly flat image that is as neutral as I can get. From there I use Photoshop and color balance to remove any casts etc. I white balance the image and then adjust from there to my tastes based on he original scene. If anything, the image is a bit too saturated. This was also shot just after the sun set below the horizon behind me. With all that said, I could adjust the image to match someones "sensibilities" if you will of what is correct. But then again, maybe not.
Another thing I could do is remove some blue to d emphasize that this was shot well into twilight.
Very well done.Quote:
Originally Posted by fiddle
Thank you!Quote:
Originally Posted by Steven Ruttenberg
Iran, Panoral 45 camera, Nikkor-W 150/5.6, Kodak E100-VS 4x5in
https://live.staticflickr.com/65535/...f4c90908_b.jpg
Nice serenely colored scene. what film?Quote:
Originally Posted by fiddle
Nice shot. I didn;t know they still made E100 VS. Is that old Ektachrome?Quote:
Originally Posted by ALVANDI Camera
Thanks Alan. It was portra 160.Quote:
Originally Posted by Alan Klein
I find that can be the case with many images, but in this case I think Steven did a good job of bringing together a chaotic foreground and the distant grand landscape. A bit of vertigo to help create the feeling of depth and distance.Quote:
Originally Posted by Alan Klein
The color is tough to take in.
Colors are shifting due to time of day, parts of the landscape is under open sky and some not, colored light is reflecting off the clouds and off the landscape throwing colors around here and there, and so forth. The film is not recording light 'normally', there is no one single white-balance for the scene. If the exposures are long, the color layers do not respond in the neat linear fashion as they would normally (a form of reciprocity failure?). Post-processing can adjust these shifts to a certain extent. In Cape Light, Joel Meyerowitz used a long-exposure Tungsten-balanced color negative film (8x10) in daylight and corrected when printing (wet prints).
Steven's scene is during twilight, so I believe it is presented lighter and with more contrast than one might experience otherwise (depending on one's night vision), which can change one's perception of color. And people's eyes and brain record color differently. What one person sees and remembers will not match the next person. Which what makes color printing challenging.
I saw the water color and immediately thought of the glacial lakes of Patagonia.
I feel free to point the camera up or down as the image calls for it...but it is nice starting off level.
Back in the '77 I headed out the East Rim Drive and out of Grand Canyon NP. Headed north. Mid-day and the all the clouds were pink on the bottom -- red light was bouncing off the landscape up to the clouds. I never saw that back home where everything is green. But it would have messed with someone printing a color neg and trying to get a normal color balance.