![]() ![]() 35mm film work-flowĪlmost all of my 35mm work is with Ilford XP2 Super film. Scanning a street photograph taken on 35mm film and destined only for social media or a web-site requires a less rigorous approach than scanning a 5 x 7 format image destined to be printed as a fine photograph in an exhibition or someone’s wall or as an alternative process image, say. Secondly, to what purpose will the scanned image be used? The answer to this question partly determines which scanner I use and how I scan. My scanners also give me a preview option so this acts as a second check before I decide to scan. ![]() With a roll of 12 negatives of 120 format I scan one in three images on average. With a 35mm roll of 36 negatives, on average I would only scan about 5 images. So before I scan I look at the negative on a light box (in my case an iPad ) and with a loupe to see whether the image passes muster: composition and tonality. In this post I set out what works for me on black and white films, much which has been learnt through trial and mostly error … Preliminariesīefore I scan I ask myself two preliminary questions:įirstly, is the picture worth it? Scanning takes time and the resulting images are large and therefore take bags of space on a drive. However getting it right is important to some workflows. Most of my negatives were developed where I was at that time which means that there is a lot of variation, even though I mostly used the same film brand and type.If you are like me, scanning is a bit of a pain. Seems like a lot of work, but it helps to learn what NLP does and how.Ĭaveat: While many negatives can be converted to your liking with the settings chosen in the trials as outlined above, others might need completely different settings. Once you have chosen the favourite first-tab-settings, you can continue to experiment with second-tab settings. Note that I also color coded the images to add sorting/filtering options. → you’ll get a grid of images, one row per scanner emulation, one (additional) column per pre-saturation settings. convert each VC with settings according to filename and VC copy number (leave the master alone).create five virtual copies, one for each pre-saturation value.rename each copy to reflect the scanner emulation you’re gonna use on it.take an image and duplicate it a few times.What might’ve caused this? Is this more because of my lack of editing skills, or should I try a different scanner emulation?Īppreciate your help, I’m new to editing in general!īildschirmfoto um 10.18.45 3478×466 270 KB ![]() Same thing with the man’s blue shirt to the right, to correct for the blue cast on the pavement, I had to desaturate the blues, but that man shirt also got crushed in mine, whereas RPL’s maintained that pretty well. So when I bump up the bike’s red, the door becomes super red. brown, whereas in the NLP scan, both are on the red channel. Notice that in the lab’s scan, the bike and the dark interior on the top left corner are interpreted as red vs. The rest I don’t remember since I no longer can open the free trial…also don’t mind the watermark, I’m still trying out everything.) Vanilla conversion (Noritsu, level 5 pre-sat, auto-neutral. ![]() Please see this Dropbox folder, (new users are not allowed to post more than one image or link more than once ), which includes I followed the instructions to scan as raw DNG, applied NLP v2.1 profile per recommendation, and here are the results. I’m using NLP 2.2.0 with Lightroom Classic, scanned with a Prime Film XAs scanner with VueScan 9.7.56. I’ve used Richard Photo Lab for a while but decided to give scanning a try myself (I know, the hubris). ![]()
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