When scanning a 35mm film, if I let Epson’s software doing its thing by choosing the “color negative film” mode, without any other adjustment, the resulting raw scan will be yellowish. However, if I do the other method by scanning in positive(orange) film and then invert the curve in the post in photoshop, the resulting scan will be tealish. Why is the difference?
So one of my relatives gave me their Minolta X-700 with Portra 400 Color Film several weeks ago (no experience in photography), tried it and got it developed.
So just got the digital scan and pictures turned out to look like this:
So was this outcome caused by using the wrong setting? (like shutter speed, iso, apeture) or is it just a defect within the camera?
also the Minolta X-700 was set to program mode while taking these pictures.
I have completed the Instant Pinhole Camera which I mentioned in a previous question. To open the pack of Instax Film, I used a pitch black room, blocked all the edges around the door, and opened it using a few red LED’s.
When I use a rolling pin to develop the film, it is all red. I have read many posts saying red LED’s are fine for use as a safelight. It is possible that I did not expose the photo long enough.
Were these posts false, or is this a different problem?
This is a photo of the front and back of my film:
My question is about scanning color 35mm film. I use professional film (Portra 400) and a very good lab. I get consistent results and prints.
This year i have invested in semi-pro or pro scanner Reflecta 10T with expensive SilverFast Ai Studio 8. And I intend to scan 35mm film for printing purposes. My goal is to have very high quality 30 x 40 inch prints.
Scanner is giving me fantastic results: 230 MB, 7052 x 4715 pixels (33,5 MP) TIFFs with great natural/crisp film grain and overall great look.
BUT the colors are off. Always. I use NegaFix (piece of SilverFast) with the correct Portra 400 profile and I try to put accurate WHITE, BLACK and GREY points (where they are in picture) but I never get consistent and real results. Pics are never “right”, always off, always to bright or to warm (to cold).
I read all forums about how scanning is difficult and about SilverFast and VueScan, Color perfect and Photoshop but everywhere people have problems getting colors right.
My questions are:
Should I just continue this guessing game and try to somehow spot the right color everytime?
Have you tried putting Grey Card 18% and set this as a correct exposure in scanning soft or Lightroom and color balance from there?
Have you tried putting Color Balance Card (White, Black, Grey) to help scanning software determine exposure and color balance and color balance from there?
Have you tried X-Rite’s Color Checker Passport or other color calibration target to set full color correction this way?
If yes, what about film bias. (Portra 160 more pastel, Ektar 100 a lot more vivid) Wouldn’t it just get you to the POINT ZERO with film where you have no film specific properties?
The goal is to have as close to 35mm film scanned image as possible, without any interpretation. Just what you get from film processed neutral and printed neutral. To see real film color specific for it’s kind. I just want to see good Portra 400 on my screen.
Thanks for your time.
I am considering buying Lomography DigitaLIZA film masks for both 35mm and 120mm film to use within my digitisation process, however I am unsure of the best methods around the other areas of my process.
I struggle for back-lighting of the negatives mainly. I have an iPad in which I initially used, showing a blank white screen with my film negative on top and a glass/perspex sheet on top to flatten out. However, I found that upon inspecting the photos of my negatives, I could actually see the pixels of the Retina display in the whiter areas. I have gotten better results with no pixels in the background when lifting the negatives up, away from the screen and resting the setup on top of say a cardboard box, however this can sometimes lead into another problem… Making sure everything is level.
I have seen people use copy stands and film viewing light panels, but from what the products I have viewed this can start to incur great cost.
Does anybody have similar experience with digitising film negatives and a way to do it without breaking the bank?
My Minolta XG-M is not rewinding the film into the canister. The rewind crank works, I loaded the film correctly because the advance lever advances the film.
I have recently become interested in film photography. For now I have borrowed a Canon EOS 500n from a friend, but I am thinking about purchasing a camera for myself soon.
In digital photography I understand the importance of the camera body, like the image sensor, screen, all the computer features etc. However it seems to me that the functionality in the analog camera house is quite basic – or am I very wrong? What are the quality parameters?
The lenses are of course of extreme importance, and I also realise that some cameras have features like double exposure, bracketing, program settings etc. But I am wondering what, on a basic level, makes some analog cameras better than others?
Idon’t know what it is, but Ifound it at a thrift shop. You put the little white squares that are in the back into it, and look through the lens and you can see the pictures. I found it super facinating and I really want to know what it is called so I can look more into it! Thank you 🙂
I am making a pinhole camera for a school science fair. Is it possible to use Instax Mini Film instead of the long process of developing photo paper? If so, would I use the same design, and just swap the film, or do I have to change the design of the camera?
I recently used a Praktica Nova I for the first time, took all 36 pictures and realized that I loaded the film incorrectly. As you can see from the manual screenshots, one is supposed to insert the film into the take-up spool (22). Instead, I inserted the film to the transport sprocket (21).
When I tried to unload the film I could not rewind it using the rewind knob (3). I also tried to manually help it in the dark room which was not successful. It feels like the film is wound around the transport sprocket (21). I cannot move it in any direction.
Looking at the manual I wonder if unscrewing the supporting piece (23) allows me to take out the transport sprocket (21) with the film?!
I want to try to save the film from being destroyed. The last resort is to open the camera in daylight and cut the film off the transport sprocket (21).
After studying xiota‘s description I managed to get the film out in the dark with a combination of pulling the cocking lever, pressing the rewind release knob and manually pulling the film from the transport sprocket using a bit of force.
I have no idea how well the film survived this torture. I will try to develop it. The camera did not get damaged as far as I can judge.
Here is two close-ups for anyone with a similar problem. I still suspect that unscrewing the supporting piece might allow to take out the transport sprocket – however I did not try this.
I developed the film. It turns out only 8 pictures made it through to the transport sprocket. Some of them are exposed multiple times. The rest of the film is just empty. Also there is a crack next to the 6th picture which was certainly caused by me trying to forward the film.