![Let’s hear it for @hans.purwa for a wonderful takeover week! 👏👏👏 For the final day, he’s sharing these amazing panos!
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Excited to keep watching @hans.purwa and see what the future has in store.
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From Hans: “My next project would be topography landscape that involves water. I am thinking of using 8x10 camera for its tonality and details. As for my career as a color artist, I have been trying to get into cinematography. I wanted to be color artist for the movie industry.”
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Good luck and thanks again, @hans.purwa 🙏🙏🙏]()
Let’s hear it for @hans.purwa for a wonderful takeover week! 👏👏👏 For the final day, he’s sharing these amazing panos! . Excited to keep watching @hans.purwa and see what the future has in store. . From Hans: “My next project would be topography landscape that involves water. I am thinking of using 8x10 camera for its tonality and details. As for my career as a color artist, I have been trying to get into cinematography. I wanted to be color artist for the movie industry.” . Good luck and thanks again, @hans.purwa 🙏🙏🙏 ![DAY 5 w/ @hans.purwa - 🔥 B+W captures (with his #negativelabpro settings at the end.)
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Just like in his color work, you can see that Hans is using the “Highlight Soft” tone profile for this conversion. I’ve been asked what exactly this tone profile is doing?
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First, it is lowering the maximum brightness of the scene (equivalent to setting the “whites” slider to -10). Next, it is lowering the contrast of the scene, specifically in the highlight region. And finally, it is applying an auto-density adjustment based on an analysis of the scene.
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All of that leads to softer, more paper-like tonality in the highlights.
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So even though it isn’t hard to invert B+W by hand using tone curves, this sort of tonal accuracy and consistency is nearly impossible by hand (but quite easy to do in Negative Lab Pro.)👌]()
DAY 5 w/ @hans.purwa - 🔥 B+W captures (with his #negativelabpro settings at the end.) . Just like in his color work, you can see that Hans is using the “Highlight Soft” tone profile for this conversion. I’ve been asked what exactly this tone profile is doing? . First, it is lowering the maximum brightness of the scene (equivalent to setting the “whites” slider to -10). Next, it is lowering the contrast of the scene, specifically in the highlight region. And finally, it is applying an auto-density adjustment based on an analysis of the scene. . All of that leads to softer, more paper-like tonality in the highlights. . So even though it isn’t hard to invert B+W by hand using tone curves, this sort of tonal accuracy and consistency is nearly impossible by hand (but quite easy to do in Negative Lab Pro.)👌 ![DAY 4 - Love the sense of adventure @hans.purwa captures in these shots! I asked Hans to share more about his film journey with the group:
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“I got into photography when I was 19 years old. I dropped out of college three times and I found photography as one of the electives. It was love at first sight. I finally found something that I love. In terms of why I shoot film vs digital. I use film cause it was my background from darkroom era. I use to intern with darkroom master printer for year. That experience taught me a lot about contrast, light, spotting, dodge and burn. After making prints in a darkroom for 4 years, I wanted to learn the intricacy of color. I decided to intern with a studio that focused primarily in color. Never anticipated that I would become the color senior position at that studio. The interesting part about this experience taught me the digital world vs film world. Both medium has its strength and weakness, but the reason why I prefer film for my work is because the mistake that film allowed. Digital sensor doesn’t have room for mistake, it's about edge to edge perfection. Film on the other hand has a quality where leaks, burn, overlapping image, and etc can occur. Of course film also offers the color that I love. I cherish the chemistry and grain. Nothing compare to the beauty of grain.”
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Thanks @hans.purwa for sharing! 🙌]()
DAY 4 - Love the sense of adventure @hans.purwa captures in these shots! I asked Hans to share more about his film journey with the group: . “I got into photography when I was 19 years old. I dropped out of college three times and I found photography as one of the electives. It was love at first sight. I finally found something that I love. In terms of why I shoot film vs digital. I use film cause it was my background from darkroom era. I use to intern with darkroom master printer for year. That experience taught me a lot about contrast, light, spotting, dodge and burn. After making prints in a darkroom for 4 years, I wanted to learn the intricacy of color. I decided to intern with a studio that focused primarily in color. Never anticipated that I would become the color senior position at that studio. The interesting part about this experience taught me the digital world vs film world. Both medium has its strength and weakness, but the reason why I prefer film for my work is because the mistake that film allowed. Digital sensor doesn’t have room for mistake, it's about edge to edge perfection. Film on the other hand has a quality where leaks, burn, overlapping image, and etc can occur. Of course film also offers the color that I love. I cherish the chemistry and grain. Nothing compare to the beauty of grain.” . Thanks @hans.purwa for sharing! 🙌 ![More 🔥 from @hans.purwa 👆Slide to the end for a 30-second video on wet-mounting camera scans 🌊 🌊 🌊
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Wet-mounting is an art form in itself. It takes a bit more time to setup, but nothing provides better flatness, dust prevention, and even lowering the appearance of imperfections and “spotting” in the negative.👌👌👌
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Great work, @hans.purwa and thank you for the video demo 🙏]()
More 🔥 from @hans.purwa 👆Slide to the end for a 30-second video on wet-mounting camera scans 🌊 🌊 🌊 . Wet-mounting is an art form in itself. It takes a bit more time to setup, but nothing provides better flatness, dust prevention, and even lowering the appearance of imperfections and “spotting” in the negative.👌👌👌 . Great work, @hans.purwa and thank you for the video demo 🙏 ![🤯Day 2 of the @hans.purwa takeover - a jaw-dropping long-exposure with #portra800 - scanning details below 👇
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“Negative Lab Pro makes my whole workflow much easier. Digital camera sensors (in my personal opinion) have surpassed old scanning technique. It gives me the biggest latitude. I usually decide between liquid scanning and dry scanning based on the size of negative, time, and flatness. Or if the negatives are dirty, Aztek Liquid Scanning helps clean the negative.”
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“I tend to use Negative Lab Pro with the Noritsu color model, with highlight soft tone profile@and Cinestill D color profile. I tend to keep my images slightly flat at this point, but the colors should be where I want them. Then I do further local adjustment/contrast in photoshop to get it closer to where I envisioned them.”
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Brilliant work, thanks @hans.purwa 🙏]()
🤯Day 2 of the @hans.purwa takeover - a jaw-dropping long-exposure with #portra800 - scanning details below 👇 . “Negative Lab Pro makes my whole workflow much easier. Digital camera sensors (in my personal opinion) have surpassed old scanning technique. It gives me the biggest latitude. I usually decide between liquid scanning and dry scanning based on the size of negative, time, and flatness. Or if the negatives are dirty, Aztek Liquid Scanning helps clean the negative.” . “I tend to use Negative Lab Pro with the Noritsu color model, with highlight soft tone profile@and Cinestill D color profile. I tend to keep my images slightly flat at this point, but the colors should be where I want them. Then I do further local adjustment/contrast in photoshop to get it closer to where I envisioned them.” . Brilliant work, thanks @hans.purwa 🙏 ![🔥 New week, new takeover 🔥 let’s welcome this week’s featured photographer @hans.purwa 🙌
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Hans has been an active contributor to the private Facebook group (“Negative Lab Pro Users”), and the film conversions he has been showing the group are mind-blowing 🤯 (he is a senior colorist at a studio and it definitely shows in his work!). This week, Hans is giving us an inside look at:
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👉 his wet-mounting camera-scanning process
👉 his go-to Negative Lab Pro conversion settings
👉 how how he uses local color adjustment in Photoshop to put the finishing touches on a conversion
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...and much more. So stay tuned for a great week ahead. Ask a question (or just say “hi”) to @hans.purwa in the comments 🙌]()
🔥 New week, new takeover 🔥 let’s welcome this week’s featured photographer @hans.purwa 🙌 . Hans has been an active contributor to the private Facebook group (“Negative Lab Pro Users”), and the film conversions he has been showing the group are mind-blowing 🤯 (he is a senior colorist at a studio and it definitely shows in his work!). This week, Hans is giving us an inside look at: . 👉 his wet-mounting camera-scanning process 👉 his go-to Negative Lab Pro conversion settings 👉 how how he uses local color adjustment in Photoshop to put the finishing touches on a conversion . ...and much more. So stay tuned for a great week ahead. Ask a question (or just say “hi”) to @hans.purwa in the comments 🙌 ![💜Final day of @linusandhiscamera ‘s takeover of #negativelabpro 👏👏- we’re finishing up with some #lomochromepurple portraits
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What a great week it’s been! A HUGE thank you to @linusandhiscamera for sharing his amazing work and workflow! If you haven’t yet, give him a follow! Also check out his YouTube channel for more on how he shoots and edits his film. 🙌]()
💜Final day of @linusandhiscamera ‘s takeover of #negativelabpro 👏👏- we’re finishing up with some #lomochromepurple portraits . What a great week it’s been! A HUGE thank you to @linusandhiscamera for sharing his amazing work and workflow! If you haven’t yet, give him a follow! Also check out his YouTube channel for more on how he shoots and edits his film. 🙌 ![Friday night 🔥🔥🔥 from @linusandhiscamera on day 5 of his takeover! Today, I ask Linus one of my favorite questions:
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What would your "Desert Island" film setup look like: one camera, one lens, one film (and maybe one colorful light source, haha). And why would you choose those items?
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“Sheesh. Pentax 6x7 with a 90mm 2.8, and Portra 800. Hands down. Okay, and my Aputure 120d LED light haha! The pentax 6x7 feels like an extension of my hand and vision at this point. It's the only choice for me. Portra 800 because it looks great in broad daylight and at night!”
Thanks for that insight @linusandhiscamera 🙏]()
Friday night 🔥🔥🔥 from @linusandhiscamera on day 5 of his takeover! Today, I ask Linus one of my favorite questions: . What would your "Desert Island" film setup look like: one camera, one lens, one film (and maybe one colorful light source, haha). And why would you choose those items? . “Sheesh. Pentax 6x7 with a 90mm 2.8, and Portra 800. Hands down. Okay, and my Aputure 120d LED light haha! The pentax 6x7 feels like an extension of my hand and vision at this point. It's the only choice for me. Portra 800 because it looks great in broad daylight and at night!” Thanks for that insight @linusandhiscamera 🙏 ![🔦 DAY 4 of the @linusandhiscamera takeover! More info👇on how #negativelabpro fits into his workflow:
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“It's fairly simple! After developing my film at 3am directly after finishing the shoot, and letting the film dry, I scan my negs in as positive TIFFs in Epson Scan 2. It takes 10 minutes total to complete all 10 scans. I then load up lightroom, convert with Neg Lab Pro, call my mom with excitement, and then make a couple final adjustments. I rarely make a ton of dramatic color changes, but when I do, it's to make it look more real to what I saw in real life. I love NLP's straight conversion so I usually stick with it's unaltered look.”
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Why not just use EpsonScan? Why add Negative Lab Pro?
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“I added Negative Lab Pro to my workflow because I felt cheated out of good scans with Epson Scan. Like I said in my youtube video, epson scan doesn't care to nail the colors of each film stock. It's not made to make portra 400 look like portra 400. But negative lab pro is. It's essential. My favorite thing is that I now have an archive of my unconverted negatives on my computer, so I can recovert over and over to my liking, but with Epson Scan it doesn't allow that. You convert, and if you'd like to try again, you better go find that negative.”
- @linusandhiscamera]()
🔦 DAY 4 of the @linusandhiscamera takeover! More info👇on how #negativelabpro fits into his workflow: . “It's fairly simple! After developing my film at 3am directly after finishing the shoot, and letting the film dry, I scan my negs in as positive TIFFs in Epson Scan 2. It takes 10 minutes total to complete all 10 scans. I then load up lightroom, convert with Neg Lab Pro, call my mom with excitement, and then make a couple final adjustments. I rarely make a ton of dramatic color changes, but when I do, it's to make it look more real to what I saw in real life. I love NLP's straight conversion so I usually stick with it's unaltered look.” . Why not just use EpsonScan? Why add Negative Lab Pro? . “I added Negative Lab Pro to my workflow because I felt cheated out of good scans with Epson Scan. Like I said in my youtube video, epson scan doesn't care to nail the colors of each film stock. It's not made to make portra 400 look like portra 400. But negative lab pro is. It's essential. My favorite thing is that I now have an archive of my unconverted negatives on my computer, so I can recovert over and over to my liking, but with Epson Scan it doesn't allow that. You convert, and if you'd like to try again, you better go find that negative.” - @linusandhiscamera ![Day 3 of the @linusandhiscamera takeover - 🖤Black + White Edition!!! 🖤
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Here’s @linusandhiscamera on finding his creative style:
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“I stumbled upon my style. I was shooting my first concept on film (Gridlocked) which featured a grid-like retro pattern across my models face. After I developed and scanned the roll, the results were so far ahead of anything id ever created digitally, and I knew all I wanted to do from this point forward had to be conceptual and light-based. Telling stories by crafting scenes with colors, light, and shapes being projected straight from photoshop paired with film just fueled me. From then on, I continued to learn and mold my concepts into fuller stories and ideas.”
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“My conceptual shoots are 50% planned, 50% not. Sometimes days go into planning it but sometimes it's as few as a couple hours. The creative process of setting up my for my shoots is really fun. Usually one Gelled LED light, a projector, maybe a haze machine. II show up with a light plan, some props, and set the scene, and get started. I use ONE roll of 120 film. No more, no less. 10 images as a limitation and a really fun challenging constraint!”
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Absolute 🔥🔥🔥, thanks @linusandhiscamera 🙏]()
Day 3 of the @linusandhiscamera takeover - 🖤Black + White Edition!!! 🖤 . Here’s @linusandhiscamera on finding his creative style: . “I stumbled upon my style. I was shooting my first concept on film (Gridlocked) which featured a grid-like retro pattern across my models face. After I developed and scanned the roll, the results were so far ahead of anything id ever created digitally, and I knew all I wanted to do from this point forward had to be conceptual and light-based. Telling stories by crafting scenes with colors, light, and shapes being projected straight from photoshop paired with film just fueled me. From then on, I continued to learn and mold my concepts into fuller stories and ideas.” . “My conceptual shoots are 50% planned, 50% not. Sometimes days go into planning it but sometimes it's as few as a couple hours. The creative process of setting up my for my shoots is really fun. Usually one Gelled LED light, a projector, maybe a haze machine. II show up with a light plan, some props, and set the scene, and get started. I use ONE roll of 120 film. No more, no less. 10 images as a limitation and a really fun challenging constraint!” . Absolute 🔥🔥🔥, thanks @linusandhiscamera 🙏
