Deon
Member
Years ago I shot way more color than black & white film, today I shoot mostly black & white. The vast majority of my color work was shot on E-6 transparency film. Since E-6 process has become difficult to find (none in New Mexico) and expensive I have switched from Fuji Velvia/Provia transparency film to Kodak Ektar 100 color negative film. Plenty of labs offer C-41, but no one offers push or pull services and the quality is not very good in Albuquerque (closest town with a camera store, two hours away). So, I'm teaching myself how to process C-41, so far so good and I feel I'm doing a better job than the labs in town. You might ask, why don't you go digital for your color work? And, I would agree with you, I love digital just as much as I love film. The reason is, to my knowledge no one makes/made a full frame (6x6cm) digital back for this camera. Yes, I know you can crop the backs to make it square, but that would make my SuperWide a KindaWide. I love composing within a square, that's the only reason I endure color film. (yes, I'm eyeing a Phase One IQ160 at the moment...)
This first image was created with a Hasselblad Flexbody w/ 350mm f=5.6 Tele-Tessar - Fuji Velvia film. Shot from the from deck of the cabin in Altoona, Washington looking across the Columbia River Estuary to Astoria, Oregon.
This image was created with a Hasselblad Flexbody w/ 60mm f=3.5 CF distagon - Kodak Ektar 100 film (lab processed). Paradise Valley, Nevada cemetery headstone.
And finally a black and white shot with a Hasselblad Flexbody w/ 100mm f=3.5 CF Planar - Ilford FP-4 self processed Abandon truck on Pilar Rock Road, Altoona Washington.
I scan all of my own work using an old Epson V-700 scanner and a betterscan, scan bed (focus on the grain please!). I use SIlverfast Ai9 Studio software. This software is indispensable when it comes to scanning negatives, due to all of the profiles in the program for a lot of different manufactures films, let alone the plethora of tools at your disposal to get the scan as close as posable to what you want before Photoshop. When I was in College I worked jobs in places like camera shops and print houses. One summer job I made color separations using a LogE 40x40 camera (pre digital). I use these skills in Photoshop separating all the colors into chanels and working on them that way instead of the bluntness of all at once.
What are you up to these days?
This first image was created with a Hasselblad Flexbody w/ 350mm f=5.6 Tele-Tessar - Fuji Velvia film. Shot from the from deck of the cabin in Altoona, Washington looking across the Columbia River Estuary to Astoria, Oregon.
This image was created with a Hasselblad Flexbody w/ 60mm f=3.5 CF distagon - Kodak Ektar 100 film (lab processed). Paradise Valley, Nevada cemetery headstone.
And finally a black and white shot with a Hasselblad Flexbody w/ 100mm f=3.5 CF Planar - Ilford FP-4 self processed Abandon truck on Pilar Rock Road, Altoona Washington.
I scan all of my own work using an old Epson V-700 scanner and a betterscan, scan bed (focus on the grain please!). I use SIlverfast Ai9 Studio software. This software is indispensable when it comes to scanning negatives, due to all of the profiles in the program for a lot of different manufactures films, let alone the plethora of tools at your disposal to get the scan as close as posable to what you want before Photoshop. When I was in College I worked jobs in places like camera shops and print houses. One summer job I made color separations using a LogE 40x40 camera (pre digital). I use these skills in Photoshop separating all the colors into chanels and working on them that way instead of the bluntness of all at once.
What are you up to these days?