View allAll Photos Tagged NegativeLabPro
Intrepid 4x5 MK4 | Fujinon SWD 90mm f/5.6 | Kodak Ektar 100
Scanned with Epson Perfection V800 Photo
Home developed in Arista C-41 | 3:30/102F | Paterson Tank
Negative Lab Pro v2.2.0 | Color Model: Basic | Pre-Sat: 3 | Tone Profile: Linear + Gamma | WB: Auto-Neutral | LUT: None
Nikon F80
Tamron 28-300mm F/3.5-6.3 Di VC PZD
Kodak Ultramax
Lab Developed
Home scanned and converted with Negative Lab Pro
craters of the moon, Idaho
Taken 7 June 2024
Mamiya 7ii
Mamiya 43mm f/4.5
Fuji Pro 400H
Scanned with DSLR
Home developed
Cinestill CS41
3 min 30 sec
77-0099/HO McDD F-15A Eagle 7th Tactical Fighter Squadron, 49th Tactical Fighter Wing from Holloman AFB, Nm
Airshow 88 Harlingen 6th October 1988
Ilford HP5 Canon Canonet QL17 | Canon 40mm 1.7 | Ilford HP5 400 @ 800, +1 dev Scanned with Plustek OpticFilm 8200i
Canon Canonet QL17 // Canon 40mm 1.7 // Ilford HP5 400 @ 800, +1 dev
Scanned with Plustek OpticFilm 8200i
Negative Lab Pro v2.4.2 // Color Model: B+W // Pre-Sat: 3 // Tone Profile: LAB - Standard // WB: None // LUT: Frontier
Negative Lab Pro v2.2.0 | Color Model: Frontier | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: Kodak | LUT: None
Bodo Cinema, Boise, ID
Series complete!
Taken 11 April 2023
Leica m6
Leica Summicron 35 mm/2
Lomography 800
Leica M2 | Minolta M-ROKKOR 40mm f/2.0 | Ilford HP5+ 400 @ 800, +1 dev
Scanned with GFX 50S with Pentax 120mm f/4 Macro | Kaiser Slimlite Plano | Kamerakraft FSC1 Pro
Home developed in Ilfotec DD-X 1:4 | 10 minutes @ 20ºC
Negative Lab Pro v2.2.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: Frontier
Rolleiflex 2.8C | Schneider-Kreuznach Xenotar 2,8/80mm | Ilford Delta 400 Professional 400 @ 200
Digitized with GFX 50S with Pentax 120mm f/4 Macro | Kaiser Slimlite Plano | Essental Film Holder v3
Home developed in Rodinal 1:50 | 20 minutes @ 20ºC
Negative Lab Pro v2.3.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Highlight Soft | WB: Auto-Neutral | LUT: Frontier
Kodak Ektar 100 | Mamiya RZ67 | negative processed at home and photographed with my Sony A7R-iii
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This is a quick summary of my observations using Negative Film Lab to perform the surprisingly non-trivial conversion from color negative to finished image.
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1. TLDR; I was impressed enough after playing with Negative Lab Pro this morning I purchased a license. That says it all.
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2. The film was processed by me back in May 2018. I had not yet thrown those twirling stick agitators into the recycle bin yet, so the film is unevenly developed. There was more activity at the edges of the strip than the middle because the edges got exposure to fresher chemistry. TLDR? Inversion is the only way to agitate. YMMV. This is what works for me. Inversion agitation totally stopped the uneven development problem.
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3. Compared to my prior workflow using Silverfast, this plugin is a breeze. I can stay in one program all the way from camera raw file to print ready image file. I’ll compare workflows in the comment area so you can decide for yourself.
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4. Digitizing the image consists of carefully doing a macro photo of the negative on a light table. Any modern DSLR or mirrorless camera will work, but if you plan to print big, the 40+ megapixel cameras are ideal. A quality macro lens is also vital, as is a means of securely mounting everything. I use heavy duty woodworking clamps from Lowes to mount a Kirk ballhead to a sturdy workbench; thinking hardware store rather than camera store saves you a lot of cash! A scanning mask is strongly advised as stray light can enter the edges of the film. Reflections can also be an issue, as can lens flare. A mask helps with all of these. Stray light will wreck your results.
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5. Follow the instructions that come with the Negative Lab plugin. If you do it right, the end result will be an image which requires only minor corrections and spotting in Photoshop/Lightroom to finish it off.
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I’ll let the image speak for itself. Because of the ridiculous amount of compression Instagram uses, I will be posting these images to my Flickr account as well. The link is in my bio. More info in the comments area.
I want it to be known that I am not trying to sell anybody anything. One of the biggest problems for a film shooter in 2019 is how to actually do something useful with the film once you’ve shot it and developed it. Quality scanners are expensive and slow. Hiring a company to handle the job is also expensive and slow, plus it takes the photographer out of the loop as far as the overall look of the resultant images. Color negative scanning offers a massive amount of latitude for one’s artistic vision, you don’t really want to leave that in the hands of someone else.
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After studying every affordable option for scanning medium format film, I concluded that scanning with a high megapixel digital camera was the best option. Once everything is set up, it’s undeniably fast, much faster than high-quality medium format scanners. As for results, if you carefully scan a 6 x 9 negative (or positive for that matter), you end up with a 42 megapixel image in the case of the Sony A7R-iii that I use. That’s more than enough information to create high-quality 24” x 36“ prints.
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Honestly, the resolution isn’t the problem. The problem has always been converting a color negative into a color positive.
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Last winter when I began seriously looking into this problem, I tried everything that was on the market at that time. I quickly settled on Silverfast as the best of a not so perfect lot. It wasn’t perfect because the software is expensive, the user interface is downright hostile, and the whole thing feels like a Windows 98 era program ready to crash and burn at any given moment.
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Even with the issues it has, Silverfast undeniably does produce quality output. At a license cost of $250 for a basic version and $400 for one that actually doesn’t go out of its way to slow you down at every opportunity, it had damned well better at least deliver good output. So why am I so excited about this new Lightroom plugin? Take a look at the workflow for the two solutions:
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Silverfast HDR 8.8
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1. Copy raw files from memory card into temp directory on computer
2. Install the Adobe DNG converter
3. Install MakeTiff from color perfect
4. Convert your camera raw files into linear tiff files
5. Import linear tiff files into Silverfast
6. Perform the necessary adjustments to each photograph inside of Silverfast to get optimal output
7. Kick off Silverfast batch job to create positive tiff files
8. Import tiff files into Lightroom (jumping into Photoshop as needed for heavy lifting) for cataloging, dust spotting, cropping, and creation of final output files
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Negative Lab Pro
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1. Import raw files from memory card into Lightroom
2. Crop images and perform a white balance with the eyedropper on orange mask as instructed in the Negative Lab Pro video
3. Start the plug-in and again follow the directions in the instructional video
4. Perform final edits such as dust spotting, color tweaking, cropping and so on. Edit in Photoshop for heavy lifting tasks like content aware fill. Export final output files from Lightroom as needed.
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It’s up to you, both methods work just fine. I am keeping Silverfast around because there are a few tasks it excels at, such as getting optimum results from seriously expired film. That said, with excellent image quality plus the speed and simplicity advantages, the Negative Lab Pro plug-in will be taking over my medium format camera scanned work.
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I hope this information helps you enjoy the art of analog photography as much as I do.
Chemistry still working from last summer but managed to cross contaminate the blix so had to order new.
Northern White Rhino
Public art sculptures of endangered animals by Gillie and Marc, on display at Ruth Wittenberg Triangle in Greenwich Village
Leica M5
Leica 35mm Summicron
Ilford XP2 400
downtown, Boise, ID
Taken 24 April 2024
Mamiya 7ii
Mamiya 50mm f/4.5
Lomography Metrolpolis 400
Home developed
Cinestill CS41
3 min 30 sec
The wooden and stone bridge leading to Shap Abbey, Cumbria shot on my Intrepid 4x5 with Fomapan 100 and developed in Adox XT-3 (Stock Replenished).
Intrepid Camera 4x5 Mk 5 | Nikon Nikkor-SW 90mm f4.5 | Fomapan 100 100
Digitized with Nikon Z7 / 60mm Micro Nikkor / Negative Supply Pro Riser MK3 | Releno Light Panel | Placed between two glass sheets
Home developed in Adox XT-3 Replenished Stock | 5m 30s at 20c | Ilford Standard Agitaion
Negative Lab Pro v2.4.2 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: None
- Mamiya RB67 Pro SD with K/L 90mm f/3.5
- Kodak Gold 200
Strobist Info:
*Westcott FJ400 + Strobepro 33 inch Deep Silver Beauty Dish
- Home developed with Unicolor C-41
someone was obviously really into Bumble
stickering Boise project
Taken 7 February 2023
Leica m6
Leica APO-Summicron-M 50mm f/2
Kodak Portra 800
double exposure
8th street, Boise, ID
Taken 16 July 2023
Rolleiflex 3.5F
Zeiss Planar Planar 75mm/ 3.5
Kodak Portra 400
Leica M2 | Carl Zeiss Distagon 4/18 ZM | Ilford HP5+ 400 @ 800, +1 dev
Scanned with GFX 50S with Pentax 120mm f/4 Macro | Kaiser Slimlite Plano | Kamerakraft FSC1 Pro
Home developed in Ilfotec DD-X 1:4 | 10 minutes @ 20ºC
Negative Lab Pro v2.2.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Hard | WB: None | LUT: Frontier
Kiev 88 | Vega 12B 90mm f/2.8 | Kodak Portra 400
Scanned with Canoscan 8800f | 120 w/ acrylic ANR sheet
Home developed in Unicolor C-41 | 102 degrees / 3:30 min | Agitation
Yashica Mat 124G
Rollei Retro 80S
Rodinal 1:100 1 hora desatendido
Escaneado con cámara digital
Procesado con NPL y Lightroom
Linhof Technorama 612 PCII | Schneider Kreuznach APO-Symmar 135mm f5.6 | Ilford SFX 200 R72 Infrared Filter @ 200
2022
Oreca 07 #5 Team Penske (LMP2), 6 Hours of Spa-Francorchamps
Canon A-1, nFD 50mm f/1.8, Kodak Pro Image 100
DSLR scan
whiteclouds, id
taken 9 june 2024
mamiya 7ii
mamiya 43mm f/4.5
kodak portra 400
scanned with dslr
home developed
cinestill cs41
3 min 30 sec