I really need help figuring this out. I have been trying to scan film I have developed at home but keep getting these colors when scanning. I have taken my film strips that I developed to a local lab and they turn out fine but not when I scan at home so I have ruled out the developing. Also when I scan film that was developed at the lab with my dslr it turns out just fine???
I have tried scanning with two different light resources both 95+ CRI. I have used two different cameras (both Sony) I have tried different film holders. And I still can’t figure this out.
I have attached some images down low to show the issue. It take A LOT of work on lightroom/NLP to try to get rid of those colors and sometimes I can’t get rid of them completely.
Hey Alex, I downloaded both negatives. The garage to me seems to be underexposed, the second, the car is also a bit complicate and produces in the beginning very bluish colors. After a little work I end in a much softer and warmer version than yours but also not really satisfying. I also tried an alternative converter converter with even worse output. The screnshot shows my nlp effort. Best regards.
Could you share some details about your processing (e.g., what chemistry, what tank/agitation method, what temperature, what development time, etc.)? Also, what film type is this?
The reason I ask is because I think there might be a little color crossover going on in some of these images (e.g., blue shadows with yellowish highlights), which might explain why you’re having a hard time correcting the colors in NLP. Color casts — meaning, a single, uniform color error across the whole image — are relatively easy to fix, but color crossover — different color errors in the shadows versus the highlights — can be challenging to remedy. It’s also much more common in home-developed negatives than people think, largely due to the challenge of maintaining the correct developing temperature. The fact that the problem doesn’t show in the negatives your lab has scanned may simply be due to them having a sophisticated “fix” for color crossover in their scanning software, which can be tough for a home scanning operator to come up with on his or her own.
I went through a similar problem with my Jobo and C-41 development (wonky colors that were tough to fix in post), only to eventually discover that my developer solution was losing about 1.5 degrees C when it got poured into the lift. After I altered my developing procedure to compensate for that temperature loss, my color negative scans and inversions (including those made with NLP) started to look much better. This was especially true of Kodak Ektar, which already has a color crossover problem intrinsic to the film that only gets worse with the addition of development errors.
Developing C-41 and E-6 film can be deceiving, primarily because getting developed film that exhibits any colors at all can easily lull one into thinking their process has been done correctly. We have a tendency to assume that development errors will always be catastrophic and obvious. But the reality is that even minor temperature or time errors can produce subtle color problems in the negative that can be frustratingly difficult to fix during inversion. You might consider doing some quality control checks on your developer solution to make sure it’s staying at the intended temperature when poured into the developing tank.
There is an issue here with the scan. It could be due to the scanning technique or it could be damage on the film (if it is damage on the film itself, it would be barely visible to the naked eye on the light table).
Here was my first pass with Negative Lab Pro.
You can see very clearly that there is variance in the brightness and color of the edges of the image, with bright green dis-coloration gradually increasing towards the edges.
This makes it very difficult to try color balance the image, because there is a difference in the brightness and color balance between the center of the image and the edges.
Again, sometimes this can be caused by scanning technique / equipment, particularly if any direct, unmasked light from your light table is directly hitting your camera lens. Some negatives will be more susceptible to this than others based on their density, so even if you do not experience this on every image, it could still be the case that it is your setup.
I have also seen situations where the setup is fine and it is just some kind of damage to the film itself.
In any case, you can usually fix this in Lightroom by using the Radial Mask tool. Be sure to use it again the original negative itself (it won’t work the same on a positive copy).
Yea no problem. So I’m using the Cs41 kit from cinestill, pre heated the chemicals to 102F as recommended. My agitations are the complete inverts also as recommended on the instructions and YouTube videos I have seen. 10 second agitation as soon as it poured in then the 4 inversions every 30 seconds after that. I use a saus vide to control the water temperature and also a thermometer to make sure the temperature is correct. I stick the thermometer into the chemicals to make sure the actual chemicals are at 102F. I do the developer at 102F for 3.5 minutes and blix for 8 minutes with same inverts as mentioned before.
I have already used two different chemical kits both the Cs41 to see if maybe my mixing was bad or it was old chemistry. I have developed about 4-5 rolls now and all with the same issue. Also I used the Paterson tank
Tried DxO PhotoLab to correct the falloff that was probably caused by the lens used to capture the copies of the negatives…but the lens was not recognized and automatic correction was therefore unavailable.
Manual conversions can be made, but both negatives have problems that can get more or less visible in the converted files. E.g. there is a blob in the lower RH areas that showed more or less. Anyways, the content of the images asks for an artistic interpretation rather than correct rendering imo…and tastes can vary
