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Foveon Lab v0.4.113
Monochrome grain at 1:1 matches SPP, large grain included
SPP's Monochrome Film Grain (the Size and Roughness sliders) is now closer to SPP's own exports at 1:1, mostly at the large settings.
At Size 1 / Roughness 1 our grain clumps were about 30% finer than SPP's. The finer grain was sharpened harder, so it also looked weaker. The clump size now follows SPP's, and the strength follows with it:
- every SPP export we measured, on two photos, is now within 5% of SPP in strength and 15% in clump size;
- at Size 1 / Roughness 1, the 1:1 grain shrunk to the fit view went from 25% under SPP to equal;
- the reduced views still match the 1:1, and the preview agrees with the export.
Grain at Size 0.5 / Roughness 0.5 is unchanged, bit for bit.
Every other film, paper, and photo without monochrome grain renders as before, bit for bit.
macOS: download the .dmg, open it and drag Foveon Lab to Applications (one app for Apple Silicon and Intel).
Windows: unpack the zip and double-click foveon-lab.exe. Linux: unpack and run ./foveon-lab.
It opens in your browser — see the README. The .tar.gz macOS archives are for command-line use.
The Windows build is Authenticode-signed and the macOS builds are signed with a Developer ID and notarized by Apple.
Foveon Lab v0.4.112
Monochrome grain looks the same at every view size
SPP's Monochrome Film Grain (the Size and Roughness sliders) used to look too strong when the photo was shown smaller than 1:1. At the fit view the grain was 1.2 to 2.9 times stronger than the same export shrunk to that size. The bigger grain settings also showed the wrong clump size.
The grain was being sharpened again by the view's own sharpening. Now a reduced view shows the grain the export keeps after reduction, and adds it after sharpening:
- the fit view and smaller views match the 1:1 render shrunk to the same size, within about 5%;
- the preview and the export agree, on the GPU and the CPU;
- the 1:1 render is unchanged, bit for bit.
Warm Filmic preset
The built-in [CINE][SD1] Warm Filmic preset now uses the camera's as-shot white balance. It had asked for Fluorescent by mistake.
Every other film, paper, and photo renders as before, bit for bit.
macOS: download the .dmg, open it and drag Foveon Lab to Applications (one app for Apple Silicon and Intel).
Windows: unpack the zip and double-click foveon-lab.exe. Linux: unpack and run ./foveon-lab.
It opens in your browser — see the README. The .tar.gz macOS archives are for command-line use.
The Windows build is Authenticode-signed and the macOS builds are signed with a Developer ID and notarized by Apple.
Foveon Lab v0.4.111
Five more black-and-white films get their own tone
These films now use the characteristic curves from their makers' data sheets, with each sheet's development times:
- Fujifilm Neopan Acros 100
- Kodak Tri-X Pan Professional 320 (TXP)
- Kodak Plus-X Pan 125
- Kodak T-Max P3200
- Kodak Technical Pan
Before this release they shared a generic tone and differed only in grain. Now each has its own toe, contrast and shoulder, on scans and on prints.
Each curve was traced from the printed graph and checked in three ways:
- it lies on the printed lines;
- the speed it gives matches the sheet's;
- its contrast matches the sheet's.
The other black-and-white films still use the generic tone, for these reasons:
- Foma: each sheet's curves disagree with its own contrast graph.
- Rollei: the sheets print no curve.
- Verichrome Pan and Ektapan: the curve gives the wrong speed.
Every other film, paper, and photo without a film renders as before, bit for bit.
macOS: download the .dmg, open it and drag Foveon Lab to Applications (one app for Apple Silicon and Intel).
Windows: unpack the zip and double-click foveon-lab.exe. Linux: unpack and run ./foveon-lab.
It opens in your browser — see the README. The .tar.gz macOS archives are for command-line use.
The Windows build is Authenticode-signed and the macOS builds are signed with a Developer ID and notarized by Apple.
Foveon Lab v0.4.110
Agfa Agfachrome RSX II 200: corrected dye curves
The dye curves of Agfa Agfachrome RSX II 200 were traced against the wrong wavelength axis: the graph's frame instead of its printed grid. They have been traced again from the grid and now sit on the printed lines, so the film renders slightly warmer.
The dye curves of the other slide films were checked against their makers' sheets in the same way. They match the printed curves exactly and are unchanged.
Every other film, paper and photo without a film renders as before, bit for bit.
macOS: download the .dmg, open it and drag Foveon Lab to Applications (one app for Apple Silicon and Intel).
Windows: unpack the zip and double-click foveon-lab.exe. Linux: unpack and run ./foveon-lab.
It opens in your browser — see the README. The .tar.gz macOS archives are for command-line use.
The Windows build is Authenticode-signed and the macOS builds are signed with a Developer ID and notarized by Apple.
Foveon Lab v0.4.109
Kodak Ektachrome E100G, E100GX, 64 and 64T: truer grey
These four slide films now read their dyes the way a densitometer does. The app uses the full spectral response of ISO 5-3 Status A, not one wavelength per colour. On each film the three curves are lined up so that a mid-grey exposure comes out grey.
What changes:
- Grey. The grey scale of these films stays neutral from deep shadow to highlight.
- E100G. It looks the way Kodak describes it: neutral, not cool and saturated.
- Portraits. Skin is warmer, without the slight green cast.
What is unchanged. Every other film, paper and photo without a film renders as before, bit for bit. The other slides keep the previous method for now: the new method made their grey worse, or their dye data didn't support it.
The Status A table comes from ANSI/ISO 5-3-1995 (Table 3).
macOS: download the .dmg, open it and drag Foveon Lab to Applications (one app for Apple Silicon and Intel).
Windows: unpack the zip and double-click foveon-lab.exe. Linux: unpack and run ./foveon-lab.
It opens in your browser — see the README. The .tar.gz macOS archives are for command-line use.
The Windows build is Authenticode-signed and the macOS builds are signed with a Developer ID and notarized by Apple.
Foveon Lab v0.4.108
The last slides: Velvia 50, Provia 100F, Sensia, 64T Type II, and Ektachrome Infrared
Six more slide films now render from their makers' own data sheets:
- Fujifilm Velvia 50
- Provia 100F
- Sensia 100, 200 and 400
- Fujichrome 64T Type II
On four of these sheets the graphs are printed only as images. They were traced from those images and checked against the printed curves.
Ektachrome Professional Infrared (EIR) now has a false-colour look:
- foliage turns red and magenta;
- blue skies stay blue;
- white bark and paint stay pale.
With the IR-cut filter in place a photo contains no infrared, so the film's infrared layer is estimated from visible light, and the app labels the film "approximate". It is a look, not a measurement.
Ektachrome P1600 keeps the generic look. Its published push-processed curves cannot give a neutral grey, and a wrong model would be worse than none.
Every other film, paper and photo without a film renders as before, bit for bit.
macOS: download the .dmg, open it and drag Foveon Lab to Applications (one app for Apple Silicon and Intel).
Windows: unpack the zip and double-click foveon-lab.exe. Linux: unpack and run ./foveon-lab.
It opens in your browser — see the README. The .tar.gz macOS archives are for command-line use.
The Windows build is Authenticode-signed and the macOS builds are signed with a Developer ID and notarized by Apple.
Foveon Lab v0.4.107
Eighteen more colour slides with their own colour model
Eighteen more slide films now render from their makers' own data: the characteristic curves, the spectral sensitivities and the dyes, digitised from the published data sheets.
- Kodak Kodachrome: 25, 64 and 200. These use their own K-14 data, not Ektachrome's.
- Kodak Ektachrome: E100G, E100GX, E100VS, 100 Plus (EPP), 100 (EPN), 64 (EPR), E200, 64T (EPY), 160T (EPT), 320T (EPJ) and 400X (EPL).
- Fujifilm: Velvia 100F.
- Agfa: Agfachrome RSX II 50, 100 and 200.
The tungsten films are rendered as if shot in daylight, the same way T64 is.
These eight slides keep the generic look for now:
- Velvia 50, Provia 100F, Sensia 100 and 64T Type II: their sheets print the graphs only as images.
- Sensia 200 and 400: their curves are incomplete.
- P1600: its pushed curves do not cover the deep shadows.
- Ektachrome Infrared: false colour needs a different model.
The five slides modelled before (Velvia 100, Provia 400F, Provia 400X, Astia 100F, T64), the negatives, the papers, the black-and-white films and photos without a film are unchanged, bit for bit.
macOS: download the .dmg, open it and drag Foveon Lab to Applications (one app for Apple Silicon and Intel).
Windows: unpack the zip and double-click foveon-lab.exe. Linux: unpack and run ./foveon-lab.
It opens in your browser — see the README. The .tar.gz macOS archives are for command-line use.
The Windows build is Authenticode-signed and the macOS builds are signed with a Developer ID and notarized by Apple.
Foveon Lab v0.4.106
Colour slides: open shadows
The darkest parts of a slide (Velvia 100, Provia 400F, Provia 400X, Astia 100F, T64) used to render as pure black. A slide's densest areas let through almost no light, and the app mapped that straight to display black. A light box or a scanner never reaches zero light, though. Slides now have one small, fixed viewing black level, the same for every slide. Lawns, tree trunks and dark hair now show detail instead of a black silhouette, and the mid-tones are unchanged.
The slides' colour was checked against the makers' data sheets and is unchanged. Velvia and Astia keep the slightly magenta-cool grey balance their sheets publish.
Negatives (prints and scans), black-and-white films and photos without a film are unchanged, bit for bit.
macOS: download the .dmg, open it and drag Foveon Lab to Applications (one app for Apple Silicon and Intel).
Windows: unpack the zip and double-click foveon-lab.exe. Linux: unpack and run ./foveon-lab.
It opens in your browser — see the README. The .tar.gz macOS archives are for command-line use.
The Windows build is Authenticode-signed and the macOS builds are signed with a Developer ID and notarized by Apple.
Foveon Lab v0.4.105
Black-and-white scans: real blacks, no burnt whites
None (scan) with a black-and-white film that has its own characteristic curve (Tri-X, T-Max, HP5, FP4, Pan F, Delta, APX) now works like a scanner. Every film goes through the same steps:
- the scanner reads the negative's density above the film base;
- one fixed inversion applies to every film;
- a fixed black point and a fixed white point, each with headroom;
- mid-grey sits at 18%;
- one gentle shoulder rolls off the highlights.
Only the film's own curve differs from film to film. That curve decides how the shadows fall and how bright the highlights get.
- Blacks. Before, the film base mapped to pure black and the whole toe was clipped, so the darkest tones of every film fell to zero. Shadows now open up with detail, without a grey veil.
- Whites. The contrastier films (Pan F, FP4, APX 25) keep their brighter highlights, but they no longer burn out. White areas keep their texture.
- Films differ more. Before, T-Max 100, HP5, FP4 and Pan F scanned almost alike. They are now clearly different.
Prints on paper, colour films, slides, colour negative scans and the black-and-white films without their own curve are unchanged, bit for bit.
macOS: download the .dmg, open it and drag Foveon Lab to Applications (one app for Apple Silicon and Intel).
Windows: unpack the zip and double-click foveon-lab.exe. Linux: unpack and run ./foveon-lab.
It opens in your browser — see the README. The .tar.gz macOS archives are for command-line use.
The Windows build is Authenticode-signed and the macOS builds are signed with a Developer ID and notarized by Apple.
Foveon Lab v0.4.104
Colour negative scans keep each film's character
None (scan) now works like a lab scanner. Every negative goes through the same steps:
- the scanner reads the negative and removes its orange base;
- each film is grey-balanced at its own mid-grey;
- every film is inverted with one fixed curve and one fixed colour profile.
The film's own curves, dyes and colour response therefore show in the scan, as on a real one. Portra 400 is warm and soft, Ektar is punchy, Superia is warmer with Fuji's cyan sky, Pro 400H is pale and pastel, and Portra 800 sits between Portra 400 and Ektar.
The first scan in 0.4.103 turned skin pinkish and lifted the shadows to a grey veil. Skin is now natural and the darks are dark. A grey scale stays neutral from 2% to 100%.
Fujicolor Pro 800Z, Pro 400H and Pro 160C fixed
- Pro 800Z printed with a milky grey veil and almost no colour. Fuji draws the characteristic curves of its Pro films on a relative exposure axis. Version 0.4.104 reads that axis correctly, so 800Z now has deep shadows and normal colour.
- Pro 400H had the same fault in a milder form. Its shadows are no longer lifted.
- Pro 160C had its curves digitised from the data sheet a little too low. They have been digitised again and now match the sheet.
All other films are unchanged, bit for bit.
macOS: download the .dmg, open it and drag Foveon Lab to Applications (one app for Apple Silicon and Intel).
Windows: unpack the zip and double-click foveon-lab.exe. Linux: unpack and run ./foveon-lab.
It opens in your browser — see the README. The .tar.gz macOS archives are for command-line use.
The Windows build is Authenticode-signed and the macOS builds are signed with a Developer ID and notarized by Apple.