View allAll Photos Tagged NegativeLabPro
Leica M3 | Zeiss Planar T* 50mm F2.0 ZM | Fuji Neopan Acros II 100
Scanned with Epson v800 | Epson Stock
Kodak HC110 B
Negative Lab Pro v2.3.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: Cinematic - Rich | WB: Auto-Neutral | LUT: Frontier
san francisco, ca
taken 8 september 2024
rolleiflex 3.5f
zeiss planar 75mm/3.5
kentmere 400
+1 dev
Scanned with dslr
Home developed
kodak d76 stock
8min 23sec/24º
Rolleiflex 2.8C | Schneider-Kreuznach Xenotar 2,8/80mm | Ilford HP5+ 400 @ 1600, +2 dev Digitized with GFX 50S with Pentax 120mm f/4 Macro | Kaiser Slimlite Plano | Essental Film Holder v3 Home developed in Ilfotec DD-X 1:4 | 14 minutes @ 20ºC
Rolleiflex 2.8C | Schneider-Kreuznach Xenotar 2,8/80mm | Ilford HP5+ 400 @ 1600, +2 dev
Digitized with GFX 50S with Pentax 120mm f/4 Macro | Kaiser Slimlite Plano | Essental Film Holder v3
Home developed in Ilfotec DD-X 1:4 | 14 minutes @ 20ºC
Negative Lab Pro v2.3.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: Cinematic - Log | WB: Auto-Neutral | LUT: Frontier
This one is for the film shooters. I know we’re out there. We like our old cameras. We like the unique look of film. We like the tactile processes. And some of us even like rolling up our sleeves and developing our own color film.
Developing film is not difficult. I’d say if you can cook a frozen pizza you can probably handle film. There are a lot of moving parts to doing it well, but if you are like me, you will find the challenge enjoyable, relaxing, even fun!
Once you have your film developed, that is when the fun pretty much ends. How do you get the images off that negative strip to share with the world? How do you get prints? Well....wet darkrooms are certainly one way to do it. Get out those color filter packs and...good luck. in 2019, practical considerations mean for most of us a hybrid analog/digital workflow makes the most sense.
So. You have to scan your film. It’s about as much fun as a trip to the dentist. But there is a new wrinkle out there. Camera scanning. On the surface it has much to recommend it. Leverage the power of the camera you probably already own. It’s fast. Blazing fast compared to scanners. But, as with any new and unfamiliar technique....there is a great deal of FUD to be found on the web.
You will hear the naysayers opine that the dust will be bad enough to make 1930s Kansas blush. You’ll hear from those who cannot believe their “6400 dpi” scanner only manages 2700 optical...on a good day. You will hear all manner of maladies attributed to a vague mistrust/outright misunderstanding of the color science behind the Bayer Matrix CFA used in virtually all modern digital sensors.
To the doubters, all I can say is: results. Look at the results I am getting and decide for yourselves. I don’t give a damn how you handle your film. Really. Judge for yourself and do your own thing. If it isn’t for you, it isn’t for you. No worries. I just want to share what I found after attacking the problem hard-core over the past few years.
Dust is a pain in the ass. But good housekeeping practices minimize it. And modern software tools make quick work of ridding the files of the stuff which remains. It took me about two minutes to clean this one.
As for the color science? Chroma subsampling is well proven. Your own eyeballs use it. The Bayer matrix needs no defense from me. Viewed on calibrated wide gamut monitors I simply don’t see any jarring discontinuities in my files. On screen, these would manifest as posterization. Especially in smooth toned areas like the sky. When judging the histogram, these would manifest as missing tonal values. Gaps in the histogram.
I simply see no such evidence.
Now, it may well be that others will get different results. There are “white” light sources out there with certain colors simply not present. There are digital cameras which only manage 12 effective bits per pixel. 12 bits per pixel is acceptable for ordinary photography. But when performing the massive curve manipulations needed to create positive images from negative captures, 12 bit input data can prove limiting.
As of 2019, the process requires a fair bit of problem solving. I made my own light table. Adapted camera mounting schemes from the hardware store. And yes, you will need a decent digital camera and macro lens. You will need Adobe Lightroom. Ten bucks a month...me? I quit going to Starbucks. That more than paid for it. You’ll need some film holders. And you will need Nate Johnson’s #negativelabpro
But what you get in return is indispensable.
Having a high quality and yet rapid means of digitizing both historic and current photographic film is key. The best pro-sumer film scanners for medium format were last made a decade ago. Current models still use the old technology. They are slow, not great in terms of optical resolving power, and have reliability issues. The best current flatbeds peak at around 2700 dpi and are also slow. The best current solution is a $26,000 Imacon Flextight. If that is in your budget, by all means, write that check and enjoy that great machine. And if you really have time and money to burn, the drum scanners can do an excellent job...at a rate of two to three frames per day scanning and wet mounting.
As ever, there are many approaches to this problem, offering varying quality levels. Camera scanning is not the ultimate in quality. At least, not at the present time. That said, I’d argue that it’s damned good. And it will only get better.
Look carefully and judge for yourselves.
every version of the holga will give different results. some people in my class had super heavy vignette, some had no vignette, some were not sharp anywhere, some were sharp all over. my camera had a bright spot in the center (which a few others in my class also had), a nice sharp center, and a moderate vignette on the edges.
north end, boise, id
taken 6 february 2025
holga 120n
holga 60mm/8
ilford hp5 plus 400
Scanned with dslr
Home developed
kodak d76 1:1
13min
Canon EOS 30v | Canon 28-105mm f/3.5-4.5 USM | lomography LomoChrome Metropolis (2021 Formula) 100-400 @ 100
Scanned with minolta Dimage Scan Dual III
Lab developed in | c-41
Negative Lab Pro v2.4.2 | Color Model: Noritsu | Pre-Sat: 3 | Tone Profile: LAB - Soft | LUT: None
new york city, ny
taken 10 august 2024
mamiya 7ii
mamiya 43mm f/4.5
lomography color 400
converted to black and white
scanned with DSLR
home developed
cinestill cs41
3 min 30 sec
Negative Lab Pro v2.3.0 | Color Model: Noritsu | Pre-Sat: 4 | Tone Profile: Cinematic - Rich | WB: Kodak | LUT: Frontier
- Fujica GW690III
- Cinestill 50D shot at 100
- Home developed with Unicolor C- 41
- Scanned using Epson V600 and Vuescan
- Negative converted using Negative Lab Pro
Project Film Club Six-by-Star
Fujinon 90 SWS F8 @ F22, 15"
Ilford Ortho Plus 80
Kodak HC110 (B)
Negative Lab Pro v2.3.0
VueScan
Epson v800
Zeiss Nettar 517/16 | Zeiss Novar Anastigmat 75mm f/6.3 | Lomography 800
Scanned with Canoscan 8800f
Home developed in Unicolor C-41 | 102 degrees | Agitation
Pentax LX | Pentax Fa 43mm F1.9 limited | Ildford XP2 400
Scanned with Pentax K1 FA Macro 50mm at F8 | Essential Film Holder
Mallorca
Olympus OM4 Ti | Olympus Zuiko Shift 35mm 1:2.8 | Kodak Ektar 100
Shot at Iso 100 1/250 f11
Scanned with Minolta Dimage Scan Elite 5400
Home developed in Cinestill C41
- Fujica GW690III
- Kodak Portra 800 shot at ISO 1600
- Home developed with Tetenal C- 41
- Scanned using Epson V600 and Vuescan
- Negative converted using Negative Lab Pro
Strobist Info:
*RB67 Pro SD with K/L 90mm f/3.5
*Ilford Delta 100
*Main Light - Westcott FJ400 with 82 inch soft silver PLM (Parabolic Umbrella) with diffusion cover camera left
*Fill - White foam core board camera right
- Home developed with Kodak HC-110 dilution B
Linhof Technorama 617s III | Schneider Apo-Symmar L 180mm f/5.6 | Kodak Ektar 100
Drum scan Howtek d4000
Olympus Stylus 120 | Kodak Ultramax 400
Scanned with Sony A7RIII & Sigma 70mm macro
Converted with Negative Lab Pro
IG: @e.vondell
Strobist Info:
*RB67 Pro SD with K/L 90mm f/3.5
*Kodak Gold 200 shot at ISO 100
*Main Light - Godox AD400 Pro with 82 inch soft silver PLM (Parabolic Umbrella) with diffusion cover camera left
- Home developed with Flic Film C-41
boise, id
taken 15 may 2025
mamiya 7ii
mamiya 50mm f/4.5
kodak portra 800
Scanned with dslr
Home developed
cinestill cs41
3 min 30 sec
Boise, ID
Stickering Boise Project
Taken 8 April 2023
Leica m3
Leica Summicron 50 mm Dual Range
Kodak Portra 400
san francisco, ca
taken 9 september 2025
rolleiflex 3.5f
zeiss planar 75mm/ 3.5
fuji pro 400h
converted to black and white
Scanned with dslr
Home developed
cinestill cs41
3 min 30 sec
Future art gallery, designed by OPerA Studio
I'm not what went on with this roll of film but I am guessing it is how I processed it.
Leica M7
Leica 35mm Summicron v4
Ilford XP2 400
Births and deaths are changing events, happiness and misery are passing phantoms, gain and loss are transitory trifles, hunger, thirst, grief, delusion, sorrow, elation and infatuation are ripples: I am the witness of them all, the atman, the universal self! I am the ocean supporting the waves; I live the fullness of life. I am not the passing conditions — I am verily the Immortal Atman!
The Witness – H.H Swami Jyotirmayananda
ABOUT THE ARTIST
Chance Nkosi Gomez known initiated by H.H Swami Jyotirmayanda as Sri Govinda walks an integral yogic path in which photography is the primary creative field of expression. The medium was introduced during sophomore year of high school by educator Dr. Devin Marsh of Robert Morgan Educational Center. Coming into alignment with light, its nature and articulating the camera was the focus during that time. Thereafter while completing a Photographic Technology Degree, the realization of what made an image “striking” came to the foreground of the inner dialogue. These college years brought forth major absorption and reflection as an apprentice to photographer and educator Tony A. Chirinos of Miami Dade College. The process of working towards a singular idea of interest and thus building a series became the heading from here on while the camera aided in cultivating an adherence to the present moment. The viewfinder resembles a doorway to the unified field of consciousness in which line, shape, form, color, value, texture all dissolve. It is here that the yogi is reminded of sat-chit-ananda (the supreme reality as all-pervading; pure consciousness). As of May 2024 Govinda has completed his 300hr yoga teacher training program at Sattva Yoga Academy studying from Master Yogi Anand Mehrotra in Rishikesh, India, Himalayas. This has strengthened his personal Sadhana and allows one to carry and share ancient Vedic Technology leading others in ultimately directing their intellect to bloom into intuition. As awareness and self-realization grows so does the imagery that is all at once divine in the mastery of capturing and controlling light. Over the last seven years he has self-published six photographic books, Follow me i’ll be right behind you (2017), Sonata - Minimal Study (2018), Birds Singing Lies (2018), Rwanda (2019), Where does the body begin? (2019) & Swayam Jyotis (2023). Currently, Govinda is employed at the Leica Store Miami as a camera specialist and starting his journey as a practitioner of yoga ॐ
McHappy Day at McDonalds, Marix 100D, Nikon FM2n. DSLR scan.
Either a really fun happy day, or a day filled with clowns and terror.
Mamiya 7 + 65mm | Kodak Portra 400
Scanned with Sony A7RIII & Sigma 70mm macro
Converted with Negative Lab Pro
Pre-anniversary Speed Graphic, Film Washi "W" (Kozo paper base). Rated Iso 6, f22 @ ~15s. Dev'd in HC-110 1:100. DSLR scanned wet.
#BelieveInFilm
#LargeFormat
#PaperNegative
Mamiya 7 + 80mm | Kodak Tri-X 400
Scanned with Sony A7RIII & Sigma 70mm macro
Converted with Negative Lab Pro
Pentax MZ3 | Pentax FA 43mm F1.9 limited | Kodak Color 200
Scanned with Pentax K1 FA Macro 50mm at F8 | Essential Film Holder