Hybrid workflow for 35mm film: Interested in a workflow discussion/Photoshop tutorial?

[Andreas Thaler]

Background

I have been shooting analogue 35mm film since 1985. In 2002 I switched to digital and became familiar with Adobe Photoshop 7.0. Since then I have used both media in parallel, focusing on hybrid 35mm photography.

I shoot with various 35mm cameras, develop my color negative film at home using the C41 process, and digitize with a Nikon Super Coolscan 5000 ED and VueScan. I convert with NegativLabPro and optimize my images in Photoshop.
This includes the Ilford XP2 Super, which is a chromogenic black and white film also processed in the C41 process.

Over time, I have learned, tried out, and developed various techniques, as well as tested image editing tools. Photoshop has remained the norm, with little additional software.

My goal is to preserve the characteristics of the films and lenses used as much as possible, rather than ironing out every "mistake." I'm convinced that film photography also thrives on certain characteristics that should be preserved in a hybrid workflow.




Tutorial and movitvation

I was wondering if there would be any interest in a tutorial describing the complete workflow and aimed at beginners and advanced users.
The motivation for this are my memories of starting out, which were not easy and may still discourage people from wanting to work hybrid.

My other hobby, DIY repair of photographic equipment from the 1980s, complements the topic, as I also use repaired cameras for my practical photography work.

I find my subjects on my walks through Vienna with my camera, and my main concern is always the visual impression rather than technical perfection. The famous brick walls for assessing the imaging performance of my lenses are therefore rare

Cameras and lenses from Nikon, Canon, Minolta, Olympus, Leica, Tamron, Tokina and Vivitar are used.

I have presented some of my photos here on PHOTRIO:

Search results for query: Vienna

www.photrio.com

 

[koraks]

Absolutely, please take it away!

 

[Andreas Thaler]

Hardware for image editing with Photoshop: Investment is worthwhile, but only at longer intervals

Photoshop is more enjoyable to work with the more hardware resources it can utilize.

Here, I'm getting a powerful PC with a monitor for professional use that will last for arround ten years, extended on-site manufacturer's warranty included. It's a larger investment, but it's worth it.

So after eleven years I have just replaced my HP Workstation Z230 with Eizo CG243W with the combination below.

I've never had a problem, and if Microsoft hadn't ended support for Windows 10 this fall, I would have continued using it. However, the computer was starting to struggle with Photoshop, and displaying images in Adobe Bridge (a digital asset organization tool and file browser) was taking increasingly longer.

HP Z2 G9 Workstation

• i9 14900K 14. Generation 24-Core
• 64GB RAM DDR5 4,8 GHz
• 2x2 TB NVMe SSD
• Windows 11 Pro
• NVIDIA RTX A4000 ADA 20 GB
• 10TB HDD Ironwolf Pro

Monitor EIZO CG 2700 X

This monitor is larger and has an even higher resolution, which is also good for your eyes

With this configuration, editing image files with high pixel counts and layers runs smoothly, which is also noticeable when dragging the sliders in Photoshop; everything runs without lag. Image previews in Bridge and Windows File Explorer are created quickly.

Of course, it is also possible with a smaller budget, especially if you work with less high-resolution image files and do not use adjustment layers that require resources.


Color management is a must

Anyone who spends hours editing images in Photoshop wants the colors they see and correct on the monitor to also appear on the printer and on other screens and displays. Without color management, disappointment is inevitable.

The topic is simpler today than it was a few years ago. The monitor either calibrates and profiles itself, or you do it using a measuring device. This brings the monitor to standard values and creates a color profile that describes how the monitor interprets RGB values. This is different for every device.

Color management captures this profile and compares it with the color profiles of other devices, such as a printer. The result is largely consistent colors without major deviations; a print reflects light while a monitor emits it. This must be taken into account with regard to color intensity and viewing environment.

Easy-to-use color management tools are now available for calibrating and profiling printers:

Color Calibration & Profiling | X-Rite

Learn about X-Rite’s color calibration and profiling solutions for design, photo, video and print equipment, including monitors, projectors, scanners, and printers.

www.xrite.com

 

[Andreas Thaler]

Color film development using the C41 process: at home or in a minilab

In contrast to the development of silver-based black-and-white films, the development of color films is a standardized process.

Instead of adjusting contrast and sensitivity through modified development, the goal with C41 is a consistent process. At 38.5 degrees Celsius (101,3 Fahrenheit), the film is passed through the individual chemicals, with precise temperature and time control.

This is a somewhat unexciting and laborious process that can be performed in a film developing tank with a temperature-controlled water bath or, more conveniently, in a processor.

I have been working with one of the first copies of the Filmomat processor since 2017, which develops films almost independently:

Filmomat - it does not get better!

I recently bought a copy of the still rare Filmomat. Dead Link Removed This machine is manufactured and distributed by a young guy in Munich/Germany. Located in Vienna/Austria I have tested it developing my very first color film and I am very satisfied with handling and results. This is my...

www.photrio.com

An equally good option is to have films developed in a minilab. This is fully automated and quick, although the quality depends on the operator's care of the machine.

Manual development in suspended tanks, which are offered by specialist labs, is more expensive because they are said to handle films more gently.

I am completely satisfied with a good minilab.

 

[Andreas Thaler]

Classic film scanner or digitizing with a camera

I've been working with a Nikon Super Coolscan 5000 ED, which is designed for professional use, since 2008. However, it's no longer serviced or offers spare parts, but DIY or professional repair is possible:

Service and Repair of Nikon Coolscan Scanners

LincolnScan

Nikon Coolscan photo-scanner servicing & repair based in Lincoln UK

lincolnscan.co.uk

If my second Coolscan fails as a backup, I'll have to decide whether to buy another film scanner or digitize my films with a digital camera.

You don't have to do the scanning yourself either; there are providers for that.

I run the Coolscan through VueScan, which is constantly being developed and replaces the discontinued software from the scanner manufacturers.

Performance, stability, and service are top-notch, but it has very few editing tools for adjusting scans. But that's a good thing, since I can then edit my scans in Photoshop, which offers virtually unlimited options.

 

[Andreas Thaler]

Converting

Color negative film produces complementary colors, which are masked by an orange mask.

There are Photoshop plugins for converting the colors and removing the mask, but you can also do it yourself in Photoshop.

I work with NegativLabPro, which provides a neutral color representation for me with the option to easily manipulate it. Fine-tuning is then done in Photoshop.


Color negative film and color management

Unlike slide film, there's no way to integrate the scanner into color management for color negative film.

While you can ensure the characteristic color reproduction of a slide film with color targets, this option isn't available for color negative film.

However, this only matters if you want or need to capture color-accurate images, such as when reproducing a color painting.

But that's not my job, so I adjust the colors in Photoshop the way I want, within the limits of what's possible.

 

[Andreas Thaler]

That's my workflow, so far.

I'll be continuing in Photoshop and its techniques soon.

I'd like to use recent shots I'll be taking early in the morning in Vienna to escape the summer heat. The light is also more interesting at this time than at midday.

Stay tuned!