Taken in 2013 with a Nikon F100, 300mm f/4.5 on Ektachrome 100.
Scanned, no post processing needed
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Outstanding work, Scotty! Beautiful bird captured in his Sunday best!
Cwilson341 wrote:
Outstanding work, Scotty! Beautiful bird captured in his Sunday best!
Thank you.
I was going over some Alligator Farm shots on film and digital and what struck me was that the digital stuff needed more careful exposure and PP to reach the same level as Ektachrome.
Nice! I haven't advanced into wildlife and film yet.
Very nicely done, Scotty. I really like the tonalities and colors.
—Bob
selmslie wrote:
Taken in 2013 with a Nikon F100, 300mm f/4.5 on Ektachrome 100.
Jim D
Loc: Lehigh Valley , Pa.
Beautiful image Scotty.
JimD
Thanks to all of you for your kind comments.
With film, 36 frames at a time can be a commitment. With medium format, 12 frames or less can help and you get the benefit of a much larger format.
Transparency film is a lot like digital. You still have to watch out for the highlights but film can handle the highlights better because it doesn’t blow out abruptly.
Anyone on the fence can see the difference by taking a series of matching images with both daylight slide film and a digital camera set to Daylight WB.
Very nicely captured. I like the detail.
Lynn 1509 wrote:
Very nicely captured. I like the detail.
Thank you.
That was a manual focus lens made in 1986. The images are fine but at 100% we can start to see some problems.
I have since replaced it with a Tamron 150-600 G2. It's bigger and heavier but it performs better.
selmslie wrote:
Thanks to all of you for your kind comments.
With film, 36 frames at a time can be a commitment. With medium format, 12 frames or less can help and you get the benefit of a much larger format.
Transparency film is a lot like digital. You still have to watch out for the highlights but film can handle the highlights better because it doesn’t blow out abruptly.
Anyone on the fence can see the difference by taking a series of matching images with both daylight slide film and a digital camera set to Daylight WB.
Thanks to all of you for your kind comments. br ... (
show quote)
Scotty, NICE WORK!
To get a digital image that appears close to the dynamic range of film, you have to record raw images or scan to 16-bit TIFFs and post process.
On 12-bit cameras, you might capture 12 stops of detail. On 14-bit cameras, you might capture 14 stops of detail. But paper only reflects about five stops, and JPEGs and other 8-bit formats only contain a little more than that.
So... To extend the illusion of tonal range that includes bright highlights and dark shadows (that would otherwise burn out or plug up in a JPEG capture), you have to use the tools in post-processing software to compress the captured range in a raw file or 16-bit TIFF into what can be displayed or printed. The result isn't exactly real, but it is a lot more natural than SOOC JPEGs.
When I copy slides to digital with my macro lens, I do so in raw. That enables me to put everything the camera took from the slide into a printable range that looks far better than the best reversal printing processes ever did (i.e.; Cibachrome, dye transfer, Ektaflex, etc.). Printing the result on a high end inkjet printer from a 16-bit TIFF in ProPhoto RGB color space is very satisfying. It holds details a JPEG never could, too.
Thank you.
burkphoto wrote:
... To get a digital image that appears close to the dynamic range of film, you have to record raw images or scan to 16-bit TIFFs and post process. ...
It doesn't really make a difference whether you scan to a 16-bit TIFF or an 8-bit JPEG although the 16-bit path leaves you with an image that can be more successfully edited.
Both of my scanners let me record the full dynamic range recorded on the film.
The Epson V750 using Epson Scan makes this easy when using three triangles under the histogram.
If you move the black triangle to the left limit of the histogram and the white one to the right limit you will be able to record all of the DR that the film is providing. This is the Input part. If you set the Output range from 0 to 255 you will get the whole DR in the JPEG or the TIFF. Ignore the black spike on the left which represents the frame of the film carrier.
The Coolscan with Nikon Scan makes this a little more difficult but I have not had a problem getting a decent scan from Ektachrome simply by leaving the settings at their default values. It was a little harder with Kodachrome but easier with properly developed color negative film. With B&W negative film where I can control the contrast of the negative, a lower contrast negative is easier to scan.
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