These are tricky since I was trying to do a high key bounce on the background but not enough light bounced back, so these are dark and backlit. Scanner is really good about bringing some of that ‘lost’ detail back though, with help from the magic that is Lightroom.
Really looking forward to Lightroom 4 because of one feature – you can do white balancing via gradients/brushes which means fixing mixed lighting should be a lot easier!
This has a more restrained palette – partly because I can’t get the skin tones right in these shots of Kirk, seems to either be too orange, too purple or too blue. Tempted to use colour targets when I start doing studio shots again – which will be very soon!
Both taken with a Bronica SQ (probably an A or AI).
And here is the medium format scan I was doing in the last post tarted up slightly in Lightroom. It’s a 6×6 Bronica shot of Steve from 2009. Fuji colour neg film (RDPW? I wish there was a list of the codes on negatives cos sadly Fuji never uses the proper names!), crossprocessed.
Compare this with the frankly not very good prints from 2009 printed at West End Cameras. No idea where the blue/green tint comes from, or more damningly the foggy under detailed prints (can you say ‘halation’?). I liked the colour cast at the time but it’s not on the negs even at the ‘natural’ unadjusted settings or on my old crappy Plustek flatbed (RIP) even! There is a greenish tinge, you can see that from the purpleness of the negs, but it’s a lot more magenta/red biased than that lurid yellow/green?
It does seem no place can print cross-process correctly, best I’ve got is contact prints and some hand printing I’ve done (yes I used to do colour printing, complete faff in total darkness and an expensive hobby) so I know this scan is the closest I’ve gotten to what seems to be on the negatives!
I didn’t use the ‘super CCD’ on this and there’s no banding, and no colour noise and plenty of detail even in the dark areas. I think that banding issue purely a contrasty positive/transparency problem.