That's a pretty good result for a proof sheet! 

The film rebate is usually the best reference because you know it should be 
clear film … thereby white if considered a positive, invert to pure black in 
the actual positive. :)

Fun stuff, I'm glad to see how you're progressing with this technique. It's a 
nice time savings to getting an reasonable index print so you know where to go 
for finish capture. 

(Yes, I don't know how you'd do finish rendering on color work if you're color 
blind. I can imagine some numerical analyses, but …!! )

onwards!
G


> On Apr 20, 2020, at 1:34 PM, Bob Pdml <pdm...@gmail.com> wrote:
> 
> Thanks again. After your reply yesterday I retried the colour negs but this 
> time used the WB dropper on what I knew to be white - the whitest part of the 
> window frame in neg #28. I then inverted the curves, and this is pretty much 
> what came out, which is not bad at all for current purposes - top row:
> 
> https://lightroom.adobe.com/shares/4b4aeebf424b4d5aaeeadd495b883953/albums/de5820d8befe4c0a928b9af08a18ae93/assets/e00c74794c6b491f928695c2991280d1/metadata
> 
> I’ll try using the film rebate too. When it’s not obvious from the negatives 
> where the best white it becomes a bit haphazard. I have ordered a roll of 
> Ektar 100 and will shoot a series of bracketed shots, with notes, of my white 
> balance card and, when I find it, my Q-60 target. If I include these negs 
> with a set then I will always know where there is a standard white, even 
> though it will be different film stock, and hopefully it will be close enough 
> for my purposes, which is to get a good enough positive for me to evaluate.
> 
> When the time comes to scan individual negatives for high quality output I 
> will try and learn how to do this properly. It may be that I can never do it 
> - certainly not by eye as I’m colourblnd - in which case the neg will have to 
> go to a lab.


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