Alan, thank you for the wonderful images, and the background information as well.
Could you please describe your scanning workflow? I'm impressed to see such shadow detail pulled out of the Velvia 50.
Thanks again.
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Alan, thank you for the wonderful images, and the background information as well.
Could you please describe your scanning workflow? I'm impressed to see such shadow detail pulled out of the Velvia 50.
Thanks again.
I just looked at your home page, Alan. You have some beautiful shots of Zion I don't recall seeing posted here. The first one that came up in the Zion gallery... truly outstanding.
Hmm, that makes a lot of sense with the clouds, that would diffuse the yellow/orange light and counteract any blue from the sky and shadows would be warmer.Quote:
Originally Posted by skiers4life
I often use a polarizer, so now I'm wondering if that's my problem hah!
Sometimes I don't have the issue, and I'm clear that the brighter area of the shot is exposed properly of course.
Well, thanks again for the info!
1941 Eastman View Commerical B - Agfa Repromaster 210mm - f/45 - Arista EDU 100 - 8x10 Film - HC 110 1+100 - Unaltered Negative Scan
This little lens is the lens that could. It is amazing.
http://cdn.ipernity.com/200/30/58/40...80c1f9.640.jpg
Very nice Holden. I have that lens also, for 8X10. Incredible coverage and extremely sharp...but mine says 213mm. Different lens or are you rounding down?
Once again, thanks for the the comments everyone!
Sure thing. It's really pretty straightforward. I use an Epson V700 and the Epson scanning software that came with it. For each image, I color correct using levels and leave sharpening on low. I scan at 3200 dpi; I usually scan my image in thirds because it won't scan an entire 4x5 image at that resolution. In Photoshop I stitch the three parts of the image together. I'll clone out any dust and then open a curves layer to make any further contrast, exposure, and/or color tweaks...often not very necessary with Velvia, especially if I've exposed correctly. As a final step, I'll run a high pass filter (usually set to 4.1 pixels...just a number that seems to work well) and change the blending to hard light as my sharpening; I'll spend some time masking out the sky after this step...adds noise if I don't.Quote:
Originally Posted by Whir-Click
With all of that out of the way, I'm almost certain the details in the shadows for this image were a result of the scene itself. There were just a little over 4 stops of dynamic range between the clouds and the shadows; the illuminated sandstone checked in at +1. This was really a composition that was right in Velvia's wheelhouse.
Finally got a chance to run some film in the new (to me) JOBO!
I have such a backlog of 8x10 color film, all I had fir color Chems was an old JOBO Press Kit I've had forever that I finally can use, of course all my C-41 shots are experimenting and all the "real" color work is E-6 ;)
This one is fun, I don't even mind the OOF areas, it was supposed to have some, I was fighting the clouds, wind, and ALL the B&W sheets came out horrid with light leaks and such from various issues with used holders (threw away or sold fir their dark slides. New wooden holders only now!
Anyway, this was a nice surprise, had forgotten it even existed.
8x10 cropped to 6x10 | 210mm or 300mm? | C-41
Attachment 143667
It don't mean a thing if it ain't got dat swing - From an old jazz standard.
Thomas
Beautiful shot.Quote:
Originally Posted by Holdenrichards
Wonderful images from Zion and Antelope Canyon!
I haven't been able to photograph much this year, partly because of work and partly because shoulder surgery has made it difficult to carry my LF gear, but with the help of my son I took the Sinar out earlier this week;
Verzasca
https://farm6.staticflickr.com/5650/...db4189bd_b.jpg
Sinar F, Nikkor-Q 300mm, Fuji Acros / Xtol 1:1