I glossed over a lot of the features, face detect, in-camera effects like sepia and saturation, exposure compensation besides bracketing, etc. Even Sony divided the information into a setup guide, instruction manual, and handbook — probably 250 pages worth.
Interesting that both rolls, shot about a year apart, are partly shot at the Santa Fe National Cemetery. Some moiré pattern on the 1st image here – I must not have had the film secure in the negative holder.
C-41 developed in B&W chemicals with no color correction.
She knows me too well.
Lots of grain & scanner noise but nice color and exposure.
Kodak Tri-X 400, develop by 12/2016. I bought it new and it’s been frozen. Developed in HC-110 H (1+63) for 9 minutes at 68F. Scanned on the CanoScan 9000f at 2400DPI. I used both Canon’s software and Vuescan and picked whichever version I liked better. The bird bath in the video is a merged image from both.
It’s only fair — I took a picture of the Franka with the Photura
I think the vignetting is not entirely the camera’s fault. I was pretty close with 400 film and the Vivitar flash I used didn’t actually have the combination of speed and distance on its chart so I kind of winged it and used f/32.
The wedding bouquet after a few weeks
The junk at the top is from over-agitating during development.
Playing with the double exposure
Zoomed in to clean up dust specks, I noticed Jem’s face in the branches (screen grab PNG).
I finally caught up with all the slide film I shot last fall. This is not the Retrochrome/expired Ektachrome. This is fresh Fujichrome Provia 100F.
Scanned at 4800DPI on the CanoScan 9000f & resized for the web.
FPP Retrochrome (Ektachrome). Scanned at 4800, color corrected, and shrunk to 1024 on the long side for the blog.
Rio near Embudo
My sweetie at the Rio
Hard to balance. Ektachrome is way less sensitive to red and somewhat less to green than blue.
These are screen grabs from GIMP.
The top image above before any edits
Decomposing to the individual channels gives some interesting insight. This creates a gray scale image for each color channel representing the strength of that color’s contribution to the image as a value from 0 (black) to 255 (white). Obviously, the amount of each color mostly depends on the subject matter.
Red: very dark = low values
Green is a lot stronger but maybe not as much as you’d expect. The line of trees behind the shore plants are juniper and piñon.
Blue is as strong or stronger than green, even for the green plants.
Blue is about what I’d expect a conversion to black and white to look like. It’s that overwhelming in this film.