It’s possible to apply the negative effect in creative, layered ways and take an ordinary image to new levels. Replicate the negative effect on your imagery.OK, another question: How important is it to filter my flash rather than apply so much color correction in processing. If it was a big deal, I could pay for a few months of Lightroom, I suppose. One question remaining though, is how important is it to invert colors while still working with the raw file? I don't have the capability to test that at present. Then, I can start cranking through the negatives. Hopefully I can convince myself that shooting raw with this setup will allow me to get decent results. In that case, each raw photo I have has the rosetta stone of color correction in it (a part of the negative frame), and it's just a matter of doing a good job with the exposure. If I had to choose one, though, I'd be quite satisfied with the second one. But, if I compare these shots to a print, the print looks like a combination of the two (the print has the bluer sky and greener lake). This sky looks a little more "true", so it looks like I still had more green to lose. Starting with RAW, white balance chosen by Sony IDC using orange negative frame border as guide, then inverted colors in GIMP. I exported this alternative WB photo to GIMP, and inverted colors, which yielded this: Then, I opened the raw photo in Sony IDC, and selected a portion of the orange frame border to set the "Gray Point". Starting with SOOC jpeg (white balance custom set in camera), then inverted colors in GIMP. Using those tweaks, I got the following shot (Lake Louise), which is SOOC jpeg, and inverted in GIMP: A nice tell-tale is that the frame border should be black. Playing around with exposure was really important, too, as I learned in the thread referenced above. So, while maintaining the color temperature it chose (3200K), I tried dialing back the green. But, the first test shots were coming out with a lot of green (after inverting). I used a fully exposed piece of negative to set the camera's white balance, though I'm also shooting in raw. So, enough of the hardware, now comes the challenging part. The platform is captured on the sides to prevent rotation, and easily slides back and forth when unlocked. I can add filters between the flash and box currently just using white paper to cut down the power a bit. I re-purposed this little black project box with light diffuser. A cutout in the board allows me to pull the memory card without having to dismount the camera (I actually thought of that in advance!). A lens support ensures horizontal optical axis while reducing vibration. The camera is mounted by 1/4-20 screw from below, and camera body position is registered by two dowels (one can be seen here). The manual flash (Yongnuo 560III) is remotely triggered. At the distance shown, a single negative frame fills about 80% of the camera frame. The camera is a Sony A6000 with 55-210 zoom lens, with Minolta macro adapter screwed on. Rather than hijacking that thread, I figured I'd post my setup here.Ĭamera and backlight w/film holder are mounted to a 8" x 22" piece of mdf. This recent thread finally got me going on a project that I had been mulling over for a while.
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