This photograph was taken in 1984 using Kodak Gold 100 film.
I scanned a print (developed in 1984) recently using an Epson V370 scanner (first image below)
I have also digitized the negative with an Olympus EM1 Mark iii camera (60mm macro lens, Kaiser Light panel) and converted with Negative Lab Pro (V 2.2 Kodak setting). - second image
The Olympus/NegLabs Pro image taken from the negative has much yellower grass than the Epson Scan of the print (where the grass is much greener. I have tried adjusting the colors after conversion (the RGB sliders in NLP) and can get the grass color the same, but not the skin color at the same time.
One thought. I believe that the cameras sensor has two green photosites for each red and blue one in order to correctly interpret colors in a positive image (or real life). Does this cause difficulty when recording a negative image?
…not really…and if it did, all greens would turn out as yellow as in your example. I expect that different settings in NLP will bring back that green green grass of home.
Can you share the original shot for us to try? You can use cloud drives or sharing platforms to this end.
Ive emailed you a onedrive link. Let me know if it works…
. I have a number of pictures taken of the same subject on the same day with the same film which I am very fond of, so hopefully can sort out some settings which will work for them.
Many thanks for offering to help
Richard
Yes, I think the negative scan converted with NLP (Fuji color and settings thanks to digitizer) is nicer than the scan of the print. Some more fiddling around resulted in the attached (including grain reduction with Neat Image)
I think it had been relatively dry and sunny during our exams (one always remembers ones youth as gloriously sunny!) which might account for the yellower color of the grass?
One thought. I have not found specs for the Keiser light source but am guessing that it uses white LED’s. I would love to see a scan of the same negative using a phone or an iPad for your backlight. They have no white LED’s but make white with individual red green and blue sites all on together. Cameras see red way into the orange of the film’s orange mask. But the paper that made your print is blind to that orange (you would use an orange safelight). RGB light sources eliminate some of this confusion by narrowing the effective red sensitivity of the camera. Nate Weatherly has written much about this.
