Well done again.
As always the photo is excellent and the subject is even better.
As always the photo is excellent and the subject is even better.
Color images from B&W film...
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I am detecting a certain theme here. 
I see your Mustang and raise you my neighbor's Mercedes!
Nicely done, @ProfessorC1983! Did your neighbor give you any weird looks while you were out there with your camera on a tripod?
Jokes aside, what camera/film/filters did you use? How was the post processing and colorizing?Oh, by now they're all quite used to "tripod guy" creeping around the neighborhood and know not to ask too many questions! 
This is FP4+ on my Zeiss Ikoflex Ia TLR, in Pyrocat HD for 18min. Wratten #29, #58 and #47 filters, at +4/+3/+3 stops respectively. In GIMP I mostly followed the instructions at http://archive.brhfl.com/ph.brhfl.com/2012/09/07/gimp-trichromes/ with Saturation at 100%, and Lightness at -50% for R/G, and -67% for B. That was the only special handling of the blue layer, and next time I may just expose it less instead.
I'll also use a different camera next time because this one has a tiny misalignment in the film rollers... normally not a problem unless I need to scan three successive frames at once and layer them. So that's my biggest takeaway, aside from finding a way to get the wind and sun to cooperate!
This guy was parked a little farther down the street and I couldn't resist:
This is FP4+ on my Zeiss Ikoflex Ia TLR, in Pyrocat HD for 18min. Wratten #29, #58 and #47 filters, at +4/+3/+3 stops respectively. In GIMP I mostly followed the instructions at http://archive.brhfl.com/ph.brhfl.com/2012/09/07/gimp-trichromes/ with Saturation at 100%, and Lightness at -50% for R/G, and -67% for B. That was the only special handling of the blue layer, and next time I may just expose it less instead.
I'll also use a different camera next time because this one has a tiny misalignment in the film rollers... normally not a problem unless I need to scan three successive frames at once and layer them. So that's my biggest takeaway, aside from finding a way to get the wind and sun to cooperate!
This guy was parked a little farther down the street and I couldn't resist:
Nice shot of the Doritos truck, @ProfessorC1983! I guess you found the big chip on the old block.Oh, by now they're all quite used to "tripod guy" creeping around the neighborhood and know not to ask too many questions!
This is FP4+ on my Zeiss Ikoflex Ia TLR, in Pyrocat HD for 18min. Wratten #29, #58 and #47 filters, at +4/+3/+3 stops respectively. In GIMP I mostly followed the instructions at http://archive.brhfl.com/ph.brhfl.com/2012/09/07/gimp-trichromes/ with Saturation at 100%, and Lightness at -50% for R/G, and -67% for B. That was the only special handling of the blue layer, and next time I may just expose it less instead.
I'll also use a different camera next time because this one has a tiny misalignment in the film rollers... normally not a problem unless I need to scan three successive frames at once and layer them. So that's my biggest takeaway, aside from finding a way to get the wind and sun to cooperate!
This guy was parked a little farther down the street and I couldn't resist:
View attachment 254061
Thanks for the details, too. I followed the same instructions as you, but my settings were:- Red - Hue = 0.0000 / Saturation = 1.0000 / Lightness = -0.400
- Green - Hue = 0.3333 / Saturation = 1.0000 / Lightness = -0.400
- Blue - Hue = 0.6666 / Saturation = 1.0000 / Lightness = -0.400
I used to serve on the technical committee of SMPTE (Society of Motion Picture and Television Engineers) where we set standards and recommended practices for the Broadcast TV and Motion Picture industries. I was having lunch during a break with an engineer from a major motion picture studio and we were discussing the archivability of various digital media, and this engineer remarked that their employer took the digital files and did a colour separation on them, then recorded them to 35mm B&W film, with 4 exposures per frame as their way of archiving the motion pictures. This comes out to over 500,000 frames of film for one 2hr film. This was about 15 years ago. I have no idea if they still use the same system - but archivability is one good reason to use B&W film, even if you want a colour image.
Wow, fascinating! I think I knew film was used for archiving, but I didn't know they did it that way with color separation! But you don't have to convince me about the utility of the technique, talk to this guy....
Okay, this is getting addictive...
Very nice! Addictive... and additive!
- Joined
- Sep 4, 2004
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- 4x5 Format
interesting
To digress: photographic images were hand colored from the early years. Some of the most striking examples of this from a century ago were the color photographs made from the B&W images of William Henry Jackson and others over a hundred years ago. The process was the laborious Photochrome technique, which yielded a set of lithographic plates that could be mass printed. The Birth of a Century by Jim Hughes has many images, but little technical information. Search for Detroit Publishing Company color prints in the image section of the Library of Congress site for more examples. Some well-preserved original prints from the Detroit Publishing Company can even today appear striking.
Interesting, and that is indeed a striking image! However, if I'm understanding correctly, hand coloring is a totally different technique than the color separation done in trichromy. It might be more practical, however laborious, for mass printing, though.
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here are a few I did a while ago, some are STEREO trichomes so if you cross your eyes ( and hopefully not stick that way or get a headache ) you will see a trichrome in stereo. I have a bunch more done over the years but they are not as easily accessible as these are.
https://www.nanianphoto.com/blog/recent-work/
https://www.nanianphoto.com/blog/recent-work/
Nice work! The life form might be alien, but the colors look very natural.
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