Let me take you back about a year.

Last September, Johnny Patience and Rebecca Lily (the power couple of the film photography universe) hosted LNDNWLK 2.0; a photowalk around London with 30 or so of their closest international friends.

Now, as regular readers will know, I *love* London, and it just so happened that I was due to be in London last fall.  Unfortunately, I missed LNDNWLK 2.0 by just a week (though I did have a terrific tour of Brighton from the talented Mr Welland - whose company I shall once again enjoy this coming November).

Fortunately for me, Johnny and Rebecca (as well as Bijan Sabet) created NYCWLK 1.0, which was held on September 12.  As soon as I heard that (and considering NYC is a mere hour flight from Toronto), I was all over it.  Circumstance *almost* kept me from attending, but I managed to make it work - by flying in at 6:30AM and flying out at 7:30PM, the same day.

I managed to sneak in some quality time with some great friends ahead of the walk (and get a mini-tour of Forest Hills, to boot), and then headed into Manhattan to meet the wonderful NYCWLK peeps at the Leica Store in SoHo.

The walk did not disappoint.  It was so great to chat with the people behind the Twitter handles, and to have real friendships take the place of virtual ones.  The walk - at least, the photo-taking - was almost secondary.  What a terrific day in New York City.

Thanks to everyone who attended, and especially to Johnny, Rebecca, and Bijan for hosting.  A a HUGE thanks, of course, to my wife for agreeing to the whole thing.  Love you, babe!

Oh, and for those interested, the gear:

- Leica M3 w/ 35 f/2.8 Summaron

- Mamiya 7 w/ 43 f/4.5

- Provia 100F and 400X (developed with the Unicolour 3 bath E6 kit)

- Ilford HP5+ (shot at 800 and developed in Diafine)


Colour Film Scanning Revisited - Part 3

EDIT: Part one of this series can be found here.  Part two can be found here.

Yo, what's up film-togs...

Sorry, where did that come from?

At long last, I present Part 3 of this tutorial.  I had originally intended this part to focus on the development of film-specific targets, that could be applied quickly (and with a single click) to *any* image taken on that stock.  This has proved more difficult than I imagined, most (I believe) because of the different response of film in different light.

Also, over the last few months I've found that my original method (with modifications below) to be remarkably resilient and easy to implement across all colour and B&W negative film types.  Slide film (which forms the bulk of my film shooting, especially in 35mm) will be addressed in Part 4 (basically, I'm working on a strategy to develop ICC profiles for specific film types, along the lines of what you'd do for a proper scanner).

So, in this instalment, I'm going to give the final (as far as these things are ever final...) method for my DSLR scanning protocol, and discuss how the method can be used for traditional scanning as well (hint: it's a bit different).  So here we go.

The following video summarizes the process, which is very slightly modified from the method shown in Part 2.


NOTE: The action used in this video can be downloaded from here.  This download includes a section action for B&W film, which is essentially the same as the colour action, except, well, there's no colour correction layer.  Also, in the case of B&W film, there is no grey eyedropper.  Just use the white eyedropper instead.

If you are scanning with a traditional film scanner, the only difference is that you need to scan as a gamma-encoded TIFF (as opposed to a Raw linear TIFF), with your scanning software set to scan as "slide".  Then, you should be able to follow this method and get comparable results.