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The thousands spent on y our finest lenses are only as good as the scan. T he finest quality scans are fluid scan s. Sc anScience brings these same cutting edge techniques to all scanners.
This highly acclaimed eBook T otal S canning is a comprehensive treatise on scannin g aimed at the intermediate to advanced user, the photography artist , and teacher.
It covers the cutting - edge techniques of fluid scanning and provides guidelines o n optimizing scans for printing The "S mart S can " tables compute scan resolution needed at a viewing distance a ccording to print size.
You no longer have to scan at ppi for all print size s then scale the image down in Photoshop: S can for the print and get full fluid- scan-quality un - degraded by image re siz ing.
How large a quality print can I make from my scan? What file size do I need for a scan? Should I scan in 16 or 8 bit? T otal Scanning provide s the answers.
This new electronic book has a significant advantage over print books as it is alive with numerous internal and external hot-links to help you navigate, explore, and research many topics further.
You are viewing the dry scanned image. Run the mouse over the image to see the true saturated colors on film wet-scanned with Scan Science.
Copyright ScanScience. Raw Scans, untagged with any color space can go directly to Photoshop to be tagged with a non-clipping, nondistorting color space like the relatively new Adobe Wide Gamut RGB.
With digital cameras choosing RAW should allow you to select a color space, but not always: you may find that a clipping color space like Adobe RGB or worse, sRGB were tagged to the image file, shortchanging the palette of modern printers like Canon's IPG , and , and Epson These modern printers are capable of printing the reds, greens, and blues today.
The vintage color spaces suited vintage printers, not today's modern printers and inks: After all, your printer is limited to the colors in the selected color space.
Color is a very critical issue for gallery prints and Art Photographers. The film, like the eye, sees logarithmically. When the film's sensitivity is exceeded by the light, the overload is local and does not affect the surrounding areas.
But when a digital sensor is overcome the output spills over neighboring pixels. Film-generated images have, as a result, a naturalness that is driving photographic artists back to film.
A large-format film can produce ultra-fine detail, beyond a digital camera's capacity, and almost all that the eye can see, well beyond Adobe RGB.
Know of a MP digital back for 4 x 5? That is how many pixels would be required to match the content of 4 x 5 film digitally.
Color may also be another reason for usng film. With film scans, you are free to choose the color space, which is probably the most crucial decision you will make.
Focusing Target Essential for all scanners; a must for flatbed scanners. Order yours now! This image allowed us to show the differences between fluid scanning and dry scanning.
At ScanScience, we scanned the negative on an Epson V using Silverfast 6i at ppi resolution, on a bit grayscale, using ScanScience tools and Lumina Scanning fluid.
The result was an enormous MB plus file, which enabled us to crop various sections at high resolution and magnification. This very high-resolution scan for such a large negative was chosen as it delivered the best-looking image at high magnification.
We also tried a scan at ppi but found no improvements, only bloated files that took longer to scan, so we did not use it. The optimum focus of V scanners is known to vary, so we first determined the optimum elevation for our unit by scanning the new ScanScience target.
It turned out to be 2. The negative was very flat, so the un-sharpness of the dry scan was due solely to the inadequacies of dry scanning, which throws away much of the quality.
Both images are raw, with no manipulations whatsoever by the scanner software or Photoshop. Image 1 , is a small section at the center, and you can see that hole in the mesh of the source image.
I just needed to compare these to one another relatively. Concentrating on the area of interest on the scanned PIMA ISO Resolution Chart, the ImageJ software allows you to generate a sine wave graph or modulation transfer function of the gray values for the series of lines.
The image below shows a screenshot of the ImageJ software and the graph of gray values depicted as you move from left to right along this series of smaller and more closely spaced lines.
The raw sine wave data can be downloaded from the ImageJ software to an Excel file for further analysis. A typical result of the Excel graph is shown is shown below for the 1.
The number of the x-axis at this matching gives an idea of the relative resolving power of the image. Fitting these data points to a quadratic curve and taking the derivative of that curve and setting it to zero gives the optimum scanner glass to film position height for this scanner based on these tests.
In this case this turns out to be about 2. Actually the resolution of my 3D printer is probably higher than that of this optimum height estimation.
It is certainly more accurate than my eyes simply looking at the raw scans. The above optimum scanner glass to film position height determination was all done with a wet mounted negative for the simple fact that the dry mount holder supplied with the scanner could not accommodate these differ heights and the supplied holder was needed to keep the dry mount perfectly flat.
Now it was time to compare the resolving power of wet and dry mounting both in the supplied holder with no height adjustments as that is the closest I can get to the optimum height with the supplied holder and with the 3D printed support I had that was closest to the optimum height.
The results of this head-to-head comparison can be seen below. Enough with the math, in reality using the V with the supplied holder, wet or dry mounted, gives results that I have found to be the same or in many cases much better than the scans from the development lab.
One additional advantage of wet mounting though is the ability to keep the negative perfectly flat. We have seen that due to the very small depth of field in this fixed focus scanner keeping all parts of the negative at the same distance from the scanner glass is important.
For the target negative that was used here that was not a problem with the supplied holder as the film was new. Older negatives, especially ones that have not been stored in the upmost conditions may have significant curl to them.
Wet mounting is the best way to get rid of this curl for optimum scanning. Now for some real-world examples. In addition to increased resolution, wet scanning can also allow the reduction of visible grain in Black and White film.
Below shows an image from a recent hike I made outside of Darrington, WA. Three images, taken with a Nikon FM3a, 50mm f1. One is the scan I got from the lab, one a dry scan with the Epson V, and one a wet scan using the ScanScience kit and the Epson V There is a definite reduction in visible grain in the scans from the Epson V Closer observation shows that this is not true.
If you look at the faded upper sign on the post you will see that many of the faded letters on this white sign are distinguishable in the V scans.
When comparing the dry and wet scans done on the V little difference can be seen though there may be a little more dynamic range shown on the wet scan.
Now let us look at some color images. Taken on a trip down there from Detroit before I left for the West Coast, knowing I would probably never see her again.
Both are very acceptable captures of all the detail that this old negative can capture. That said, both are good scans and if printed one could question whether the printing process, depending which is used, could capture as much of the dynamic range as the wet scanned negative.
It also should be noted that this part of the image was from the center of the negative and this old film has a lot of curl to it.
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