outcasts from another time

Minolta 50mm lens, Kodakolor ISO 400 film. Scanned from the negative.

Scanning diary:
For a comparison with the output from the sensor of a digital bridge camera in a similar scene (at ISO 100), see the fascination of islands, but please take into account that there was very little change applied to the tonal curve - and no change to the colour channels - in the image from the digital camera.

Whereas, in scanning negatives, I almost always have to, or want to, apply significant changes to one or more colour channels in processing.
Here, the blue channel was emphasized.

After that, both images went through a similar workflow (a run through NoiseNinja with the same settings, downsizing and re-sharpening).

I am finding that the dynamic - and postprocessing - 'range' I get from the scanned negatives of film speeds up to ISO 400 is quite similar - but not significantly better - than the jpeg output from the digital bridge camera at ISO 100. Which is perhaps not surprising, since, after scanning, both are the output of a CCD chip.
Depending on the type of film used, film colours often retain a special vibrance (in my view) - but I have to process the individual colour channels substantially to get the most out of it.

Processing the scans might gain from a software that can save the scans as RAW files, instead of 8-bit jpeg or tiff, but I haven't tried that yet.