But was it worth really diving in to figure it out? For a bunch of reasons I decided it was, and set about to figure it out. Color negative film was a bit trickier in that regard - not being able to actually see the "right color" before beginning processing. In a sense, chrome film was the low-hanging fruit of the color film shooter's world - easy to scan because with the slide on the light box you began with a baseline of color to work with. Being mostly a color film photographer, a number of years ago I realized I was somewhat addicted to the brilliant color and punch of the chrome films. There are plenty of reasons for doing this which others have articulated so I won't veer off course here. One of the greatest things about being a film photographer these days is the ability to create images both on film, then scan that film into the computer and have both analog and a digital versions of the image: a hybrid work flow it's sometimes called. Gypsy Alley, Santa Fe, New Mexico (2013).
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