So, I spend half my Saturday catching up on the book project. I had to
scan four rolls of film. I'm reminded, again, of my foolish decision
to buy the V-ED instead of the 5000. VueScan is definitely getting
better at doing scans of roll-film, but the alignment can still choke
in a most unfortunate manner. Oh, well, that's why I'm getting paid
the big bucks to do this...
HEY!!!! Duh! I've got two teenage daughters looking to make an extra
buck! Maybe I can hire them to be automated roll feeders.
That blue-shadow noise in Ektar 100 is about the only thing I don't
like about this film. Otherwise, it is simply fantastic. The
blue-shadow noise is easily addressable, though, so no harm no foul.
What really stands out to me with this film is how bendable the files
are. I'm pulling the shadows back quite a bit to give the images punch
and having to warm them a touch, but then can throw a wicked amount of
saturation at the images. Meanwhile, skintones stay pretty neutral.
Not as neutral is 160NC, but 160NC doesn't give colors like this
either.
I'm doing the heavy-lifting of editing in LR4. All the cloning and
layering in (two images merged for inserting objects where objects
couldn't be placed during the shoot), is being done in PWP. But LR4 is
rocking it very well. BTW, one cool thing in Lightroom is the color
aberration correction feature. It does an admirable job of fixing the
purple fringing that the 35-80/2.8 and 300/4.5 have.
I'm reminded, as I was going through these images, why I love shooting
full-frame with Zuikos. Oh, and with film. Just as I expected, the
images are unique and unlike what we would have attained with digital.
Not "better" or "worse", but "different". To me, a very good kind of
different. In spite of the pains of film handling, I'm overjoyed with
the results. I had scanned some of the film before, but not all
frames.
AG
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