Well, this is definitely old Portra. Maybe too old. But I agree on the
skin tones thing. I used to use only Portra 160NC or Fuji 160NPS for
people shots.
Chuck Norcutt
Ken Norton wrote:
>> Thanks. But I'm now trying to scan the film myself and am even more
>> dissatisfied. I've yet to produce anything as good as the Wal-mart scan.
>>
>
>
> I'm getting really nice scans of ALL of the Portra films now. Since they
> reformulated, scanning is almost a dream. The grain of the 400NC is as close
> to nonexistent as I've seen in any print film and in all honesty, could be
> used exclusively for all but the most critical (and landscape) purposes.
> I'm not totally satisfied with the colors, though, and even though they are
> good, I have to crank in a lot of contrast and saturation to get the look
> we're used to. Fuji 160S is, from a color and contrast perspective, as
> close to a dead-ringer for the E-1's digital images as I've ever seen.
> Completely interchangeable, as far as I can tell.
>
> Portra NC films have one really critical advantage over all other films,
> though. No film comes close to the perfect skintones that the Portra films
> have--except maybe for the long-since gone Vericolor II.
>
> The new formulation of Portra 400NC has the grain of the old Portra 160NC.
> The new Portra 160NC is also much better, but lacks the edgy bite that Fuji
> 160S has in the details.
>
> BTW, one side not on 35mm scans. When downsized to about 3000 pixels on the
> long edge, the images are extremely sharp, grain is minimized and you don't
> get sharpening halos. Combined with a bit of noise-reduction, these images
> print up as nice, or nicer than most anything coming from digital as there
> is a sublety in the color tones which digital misses. Best of all, when you
> have contrasting colors (green/purple) you don't get wierd color transitions
> where they meet.
>
> It's just a shame about that workflow thingy...
>
> AG-Schnozz
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