Why I shoot film part 3 Locked

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Lumixdude
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Why I shoot film part 3
6 months ago

nunatak wrote:

Mark Smith wrote:

nunatak wrote:

Mark Smith wrote:

Here is a professionals view.

http://www.timparkin.co.uk/2012/07/state_of_velvia_50_simulation/

i treat all outdated articles (july 2012?) with caution. i also cringe when i read "quick test". more to the point, i'm highly suspect of the term professional as applied to a photographer dispensing scanning knowledge. not all photographers are scanning professionals, or have any idea how to sculpt RAW data to look like film.

Well would that mean that it isn't simple? I mean judging by your last statement?

If anyone can do it then its easy if you need to be an image professional to sculpt Raw data then the software is rubbish.

personally, Velvia was never my favorite transparency film. mostly because, well, it's colors could be very disappointing and difficult to control. the shadow areas are prone to green or magenta cast, and a slight over or under exposure could throw the colors off and destroy detail. depending on the subject matter, this might or might not matter. for printing or scanning, Velvia specific ICC profiles are mandatory over the entire color workflow to remain as true as possible.

these same characteristics ensure Velvia is a challenging film to print or scan correctly. in addition to this, most transparency film has a very narrow dynamic range to start with. so what exactly is the Velvia look? the author didn't specify, but it's a range of colors which get more or less excited depending on the range of EV values in the scene. a high quality 16bit drum scan can be biased toward extracting as much luminescence to retain detail, at the cost of the color, or it could be biased toward tonality at the cost of retaining fine detail.

take the same Velvia, and run it through the average flatbed, with less dynamic range, a generic E-6 profile, auto-levels, and save into a compressed sRGB space, and it's not going to look like the same Velvia either.

i'm merely pointing this out that the Velvia look can fit a wide array of descriptions, and if you try to apply another layer of color conversion, it can mess it up just as badly or worse. the colors are only as true to the film as they are to the scan quality.

so to answer your question, NO, it's not easy regardless of whether you scan true, or convert true. if you shoot Velvia to fondle on a lightbox, or as the author states in that he prefers that 8x10 workflow — then transparency film is the better option.

if you shoot it to scan on a crappy flatbed, or a non fully color managed system, then the best one can hope for is "close enough".

i currently use DxO film pack 4 to reproduce the "film look" of some of my favorite films which are now extinct. the warm tones of kodachrome 25, 200, the wide tonal range of agfa scala, and the warm pastel patinas of Agfachrome that i'll never have the pleasure of shooting again.

hope this helps.

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design guy

See that's the thing, I posted a Velvia conversion using Exposure here and deliberately left the green cast in the shadows, which is a fault of the film. I got picked up on it, but I did it in order to reproduce that Velvia look.

See I think film isn't sterile, but then I also think its not about the aesthetics of one particular film. I use Exposure to gain a certain look, I don't use it to gain a look of any particular film and why would you?

Digital dark rooms allow you a work flow that isn't hemmed in by one particular film to achieve a desired look. Digital will not replace medium and large format film, but it certainly by now has replaced all 35mm film even in most of the high end compacts out there. It's simply an easier working process.

I'll post it again as below, Velvia makes everything look green... The Velvia colour palette is unnatural and I've never really liked it. Kodak always did produce better colours.

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