To be frank, I have never been able to accurately recover the correct color capture of any converted image digitized from a color negative, just by using Adobe Lightroom in post.įor that reason, digitizing color negatives with through-the-lens or mirrorless digital cameras is an exercise in futility. If the conversion of color from the negative to the positive is washed-out in detail, then any reasonable chance of recovery is very unlikely (if not seemingly impossible in actual practice). Unlike digitizing black and white negatives, where the issue of color duplication is immaterial, digitizing color negatives does specifically depend on the outcome of color reproduction. As such, that made recovery of loss color details extremely challenging in post. Without the benefit of its in-camera conversion function, which can only capture in JPG, the resulting digitized images were highly desaturated. If you jog your memory back to a previous blog entry regarding a comparison of different negative digitization methods, converting color negatives duplicated with the Nikon D850 (which essentially is representational of any through-the-lens or mirrorless cameras) yielded very poor results when captured in RAW format. But with color negatives, the same cannot be said, given how the variable of color complicates the conversion process.
Even so, it does work, which really is the point. Admittedly, this is a somewhat crude solutions, since it also reverses the direction of the tonal sliders in the Develop Module and requires a significant amount of tonal correction. To perform black and white negative conversion on Adobe Lightroom, all anyone needs to do is set the points of the Tone Curve to “custom” and then flip the diagonal line on the graph upside-down. Converting black and white negatives with Negative Lab Pro does not fully demonstrate its benefit, since its functionality is not a necessity when converting black and white negatives. I did not elaborate more on it last week because the photos I shared were all black and white. On it, I said I was going to discuss more on Negative Lab Pro, the plug-in I used to convert the shared images from its negative to its positive. Last week as you may recall, I shared a blog entry on digitizing black and white film on the Leica M Typ 246 Monochrom. As such, I shelved them to be used at a later date. So naturally, I never shared any of these photos, since this addendum of a photowalk did not yield sufficient content to satisfy my requirements for a blog entry. For that reason, half the roll were either out-of-focus or not exposed correctly. At the time, I had not yet acclimated back to the proper practice of film photography. They were taken at night after a photowalk for a review on the Canon RF 24-105mm f/4 IS USM. The photos on this blog entry are not examples of my best work.
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