աստուա՛տ, իրենք դա արել են։ #ֆոտո պէտք ա վսկօ֊ին հիմա քոլոր չեքեր տալ ու ռեւերս ինջինիր անել։
@{ petapixel (unofficial) ; petapixel@spyurk.am} 15.09.2020, 20:31:37
VSCO Went Full MacGyver to Create an Authentic Kodachome Film Simulation
Last month, VSCO achieved a years-old dream of releasing a preset/filter that was based on Kodak’s iconic “Kodachrome” film stock. But creating the KC25 preset was anything but easy. In fact, it involved custom chemicals, custom hardware, and two years of experimentation to get this one right.
You see, when the folks at VSCO (formerly “Visual Supply Co.") set out to create one of their film simulations, they usually start with the actual film. Just one problem: the last roll of Kodachrome was processed in 2010, one year before VSCO was founded.
“We had made some eyeballed attempts based on historical film scans, but releasing a film preset that wasn’t built from real film didn’t meet our quality standards,” explains Kyle Hale, Senior Product Operations Specialist at VSCO, in a blog post titled Reviving Kodachrome. “Thus, the desire to find a way to create a digital version of Kodachrome from developed Kodachrome film remained dormant in our minds.”
Then, in 2017, the mad scientists in the VSCO lab decided to pick up some expired Kodachrome off of eBay, throw it in their fridge, and begin the long and arduous process of re-creating the developing process in-house.
VSCO’s film fridge. Image by Zach Hodges
The main challenge with recreating Kodachrome isn’t so much getting the film itself, it’s the incredibly complex developing process involved in turning the film—which is actually a black and white emulsion—into the final product that produced such iconic and strikingly colorful shots as Steve McCurry’s Afghan Girl.
“The process to develop Kodachrome, known as K-14, involved approximately 14 steps to develop the film,” explains Hale. “This process was comparable to how an inkjet printer applies cyan, yellow, and magenta dyes to a piece of paper to form a final color image.”
Since the exact chemicals used in the K-14 process are no longer in production, VSCO had to create them in-house. What’s more, they had to develop a detailed, automatic, and consistent process by which to test their work so that they could iterate their way to success.
“Progress was slow and tedious, as each run of a small strip of film took hours to process by hand in the dark,” says Hale. “Because of the myriad of variables, we were only able to run about 10 tests a week.”
Measuring custom chemicals to make cyan, yellow, and magenta developers. Image by Zach Hodges
Initial tests “fell flat,” explains Hale. As mentioned above, the process is incredibly complicated and their first attempts produced images with low contrast and poor density in the film. But, as time went on and their formulas improved, so did their results.
“After months and months of iterations in our experiments and roll after roll of Kodachrome developing, we finally achieved results for Kodachrome that we were proud of,” writes Hale. “We achieved acceptable film density (Dmin and Dmax), acceptable overall color balance, and consistent results on the same batch of film.”
You can see the final results below—from dye tests, to the final product:
Kodachrome after the cyan and yellow layers have been added. Image by Kyle Hale
Progress and comparisons of VSCO developed Kodachrome test strips. Image by Kyle Hale
Verification chart shot on Kodachrome. Image by Kyle Hale
This is how VSCO ultimately achieved many a photographer’s dream: they can now successfully process Kodachrome film. It’s also how, 10 years after the last roll of Kodachrome was developed, the company was able to release its “KC25” preset based on actual Kodachrome that they actually developed in house.
To the uninitiated, two years of tinkering, creating custom chemicals, and building custom hardware might seem like a lot to go through in order to create a film preset. But when it comes to a film as iconic as Kodachrome, there really is no other way. Kudos to VSCO for doing something awesome.
Image credits : All photos used courtesy of VSCO.
#features #35mmfilm #analogphotography #behindthescenes #bts #chemicals #developing #digitalphotography #diy #doityourself #filmphotography #filmpreset #filmsimulation #kodachrome #kodachromesimulation #story #vsco posted by pod_feeder_v2
երբ հայաստանում ուզում ես գտնել էժան #խցիկ, որը զենիթից որակով ա, գուցէ հնարաւոր կը լինի սա գտնել։
@{ random camera blog (unofficial) ; randomphoto@spyurk.am} 4/9/2020, 8:03:04 PM
The Praktica LB2
#analogphotography #asheville #bw #camerareview #ishootfilm #m42mount #northcarolina #prakticalb2 #prakticaslr #svemafn64 posted by pod_feeder_v2
այստեղ ասում ա՝\r
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Reds are more muted than other Fujifilm films, films like Superia 200, or the Industrial 100 are much more vivid and intense. Definitely I prefer this muted red tones, a little bit more “red firebrick” than bright red.\r
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որ կարմիրը լռեցուած ա էս ժապաւէնում։\r
ու աւելի թանկ՝ սուպերիաներում՝ աւելի քիչ ա լռեցուած։\r
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նոյնը կարող եմ կանաչների մասին ասել։ կանաչները c200֊ի լռեցուած են։\r
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ու սուպերիայի կանաչները չեմ սիրում, աւելի են նման թուանշայինների կանաչներին։\r
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էդ պատճառով ահաւոր սիրում եմ եւ c200֊ը, ե՛ւ kodak vision 50d֊ն։ \r
այ այս նկարում լաւ երեւում են վիժնի այդ լռեցուած կարմիրներն ու կանաչները։\r
ի դէպ այս յօդուածի հեղինակն էլ վիժնի ռեւիւ ունի։\r
իմ նկարածը՝ վիժն երկուս ա, իրենը՝ վիժն երեք, նոր սերնդի ժապաւէն ա։\r
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ու սա այն օրինակներից ա, երբ ինչ֊որ ապրանքն աւելի թանկ ա, #բայց_պէտք_չի։ ու տէնց։\r
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#բայցպէտքչի #ֆոտո #լուսանկարչութիւն #ժապաւէն #էսթետիկա #տեքնոլոգիա #գոյն\r
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@{ carlosgrphoto (unofficial) ; carlosgrphoto@spyurk.am} 9/10/2019, 1:12:36 AM\r
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Fujifilm Fujicolor C200 Review\r
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Fujifilm Fujicolor C200 is a daylight balanced, ISO 200 film offered by Fujifilm, currently is one of the few films remaining in the Fujifilm consumer series after the discontinuation of Superia 200. Along with Fujicolor C200 the other option is the Fujicolor X-TRA 400, a similar film in the ISO400 range.\r
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When searching for more information about this film, many people wonder if this film is a re-packed Superia 200 others affirm that is Agfa Vista Plus 200. I can confirm that is not any of those, it looks similar to the Agfa, but it is quite different from the Superia 200. I believe the Fujifilm Fujicolor C200 is a different and low-cost Fujifilm emulsion that is cheaply produced, in order to reduce costs and keep a consumer film in the market. The main difference probably is the lack of the famous 4th layer included in Superia 200. Although C200 is introduced as the cheapest option available, I was quite pleased with the results, much more than with the Superia 200. Without getting too technical, here is how the structure of both films looks side by side.\r
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Name | Fujifilm Fujifilm Fujicolor C200 \r
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ISO | 200 \r
Developer | C-41, CN-16 \r
Available formats | 35mm \r
Exposures | 24, 36 \r
DX coding | Yes \r
Availability | ★★★★★ \r
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The advantage of reviewing a cheap film is that I don’t need to break the piggy bank to buy it, I was able to buy several rolls to try them in different lights and situations. With this film, I used my -now defunct- Nikon F100 with the 24-120mm f3.5-5.6D when hiking and camping in Taiwan. A F90x / 50mm f1.8D for the beach trips, along with the Nikon FM2 with a 28mm and a 50mm f1.8 Ais for my daily life shots, trips to the US and a trip in the French Pyrenees.\r
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The Fujifilm Fujicolor C200 is a really balanced film, rendering a quite balanced palette. As with many Fujifilm films, greens are one of its strongest points. Not so vivid as the Superia line, and it always rendered slightly warm green tones. Not as warm as Kodak Colorplus 200, but warmer than I remember them in the real scene.\r
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Shooting at box speed gives you very natural and pleasant blue tones, really wide tonality and surprisingly this film is quite forgiving in the highlights considering its price.\r
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Reds are more muted than other Fujifilm films, films like Superia 200, or the Industrial 100 are much more vivid and intense. Definitely I prefer this muted red tones, a little bit more “red firebrick” than bright red.\r
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Same as blue tones, yellow tones are natural, balanced and true to color.\r
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In addition, I tested this film in some portraits, with some friends withd ifferent skin tones under natural light and direct flash, to see how this film reacts to different situations. You can click to enlarge this gallery.\r
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Is not a film designed for portraits, but still does a really good job. Natural skin tones, slightly more warm or magenta than they were in real life, but it can be easily solved in post (none of these pictures was edited). In my opinion, is MUCH better than the discontinued Superia 200, and better than Superia 400 shot at box speed (overexposing will solve the magenta skin tone). It wouldn’t be my top choice for a portrait session, but it definitely has the potential to be an excellent balanced walk-around film.\r
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Color chart and measurement of the colors.\r
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YELLOW Average Colour R:240.0 G:210.0 B:56.0\r
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RED Average Colour R:210.0 G:110.0 B:60.0\r
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BLUE Average Colour R:68.0 G:121.0 B:158.0\r
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GREEN Average Colour R:158.0 G:195.0 B:76.0\r
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See also: How do I measure the colors?\r
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Overexposing the C200 one stop (Shot at 100 ISO)\r
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There is a small yellow cast over the picture, in the green tones it gets more accented than in other tones, blues are more pastel than at box speed.\r
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Underexposing C200 one stop (shot at 400 ISO)\r
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Blues become strong and more vibrant. However, greens become muddier and they start to fade in the shadows. Shadows become slightly greenish, really typical feeling of other Fujifilm films. I’m not a fan of this green shadows, but I saw people doing a great job doing low-key portraits and work with this technique and they look amazing. I’d rather go for a similarly-priced 400 ISO if you really need the extra speed.\r
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Fujifilm Fujicolor C200 is a film that I really like. It is widely available, it is cheap, you can buy 24 and 36 exposures and the latitude is amazing, you can easily underexpose without worrying too much on burning the highlights. Grain is quite controlled for such a cheap film. With a good scanner and a few minutes of editing you can get amazing results with it. It wouldn’t be my top choice in the range of cheap films, I’d rather shoot Superia X-TRA 400 at ISO200, or Kodak Colorplus at 200 as well. But, you can’t go wrong with this film, for almost any situation.\r
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YES\r
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- Daily use, load it in your camera and ready to go. It will respond correctly to any situation.\r
- Experiment with it, overexpose, underexpose, all the results came out great from every camera I used it.\r
- Widely available, cheap and good, what else do you need?\r
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NO\r
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- If you are looking for a sharp, clean image. I felt that it can be quite muddy sometimes.\r
- I wouldn’t overexpose it too much, better go for the Superia X-TRA 400 for almost the same price.\r
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Check out the gallery for more shots taken with this film!\r
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](https://carlosgrphoto.com/2018/11/03/fujicolor-c200-review/film-taiwan-camping-ktv-mar2017-nik n-f100-fujicolor-c200011/)
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#filmreviews #35mm #35mmfilm #35mmfilmreview #35mmreview #agfa #analogphotography #c200review #colorplus #film #filmreview #fujicolor #fujicolorc200 #fujicolorc200review #fujifilm #fujifilmreview #iso200 #iso200film #iso400 #kodakcolorplus200 #nikon #photography #review #superia\r
posted by pod_feeder_v2\r
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