Over the years we have worked with many people taking their historic images and moving those into the digital era. Pretty much all of those have taken up digital cameras for their current work. Lately we've seen a few photographers who have taken up traditional photography having secured a grounding in the digital method. So we have received photo scanning orders for negatives and slides taken in the last days and weeks, some on almost antique 35mm or medium format cameras.
It's been a very different experience. Mostly it's gone pretty well but for two clients negative scanning and slide scanning has thrown up issues in their technique. In essence they are questions over exposure. I've found myself scratching my head trying to remember what I used to do to get a reasonable image. One problematic negative prompted a memory of me, in student days, standing one winter morning by the side of the river in Lancaster, taking shots of the sun rising over the town. A keen photographer cycled past and with a cheery wave shouted "Don't forget to allow for the sun!"
Sage words, but allow what? More light? Less light? How much either way? We have a large format negative sent in taken in similar circumstances. A broad expanse of beach with a brilliant texture, against a sun low in the sky. So we scanned it as it was shot. No adjustment in the scanner, just matching the scanner range to what was on the original. Immediately you could see rather than a smooth tapering of values at the far right of the histogram there was a truncated effect. The original was over exposed. To cut a long story short the photographer was disappointed, so we did further scans and I think we now have an image which better captures what he wanted.
The loop of getting what the client wanted has raised a couple of important points. First, if a client sends and over or under exposed image the scan will be as accurately as we can, reflect that. We can't tell whether that was the effect the photographer wanted or not. If we're told otherwise we can do something but our standard approach is to scan what is on the original as faithfully as possible.
Second, with any camera to get an optimal result you need to know how the system (lens, camera, film or digital file) works together to create an image. The two key variables are shutter speed and aperture. In a modern camera that can safely be left on auto and for most images you'll never feel let down. But if you're trying to capture a challenging scene an adjustment to a setting will give you a much better result.
Showing posts with label slide scanning. Show all posts
Showing posts with label slide scanning. Show all posts
Saturday, February 2, 2013
Sunday, January 20, 2013
Photo Scanning and Grand Central Station
Scanning prints - easy, scanning negatives and scanning slides it's a problem. Simply, which way round does the source material go?
Does it make a difference? Technically no but clients will obviously be disappointed if text is inverted or clocks have the wrong numbers. If the scan is wrong programs such as Aperture or Photoshop have simple tools to flip the image the right way up. Oh, and it's further complicated for us because or slide scanning and negative scanning hardware (Nikon and Epson) have different ideas about which way "up" slides and negatives should go.
Time takes its toll, I think the older film is the harder it is to tell which side is the emulsion side, that being the key to which way is "up". So I was amused to watch a video on the New York Times website which covered Grand Central Station and a few lesser know facts. The ceiling is painted with the stars and their constellations. If you've ever been to Grand Central you'll appreciate what a task that must have been. Well an astronomer provided the basic star chart from which the painters worked, but he made an assumption about which way up they'd hold his original. He or they got it wrong, so the stars are on the ceiling with a view you'd get if you were standing far above the universe looking down.
I sympathise with their problem, it's an easy mistake to make.
Does it make a difference? Technically no but clients will obviously be disappointed if text is inverted or clocks have the wrong numbers. If the scan is wrong programs such as Aperture or Photoshop have simple tools to flip the image the right way up. Oh, and it's further complicated for us because or slide scanning and negative scanning hardware (Nikon and Epson) have different ideas about which way "up" slides and negatives should go.
Time takes its toll, I think the older film is the harder it is to tell which side is the emulsion side, that being the key to which way is "up". So I was amused to watch a video on the New York Times website which covered Grand Central Station and a few lesser know facts. The ceiling is painted with the stars and their constellations. If you've ever been to Grand Central you'll appreciate what a task that must have been. Well an astronomer provided the basic star chart from which the painters worked, but he made an assumption about which way up they'd hold his original. He or they got it wrong, so the stars are on the ceiling with a view you'd get if you were standing far above the universe looking down.
I sympathise with their problem, it's an easy mistake to make.
Saturday, October 6, 2012
Slide Scanner - the Right Option
Looking for a slide scanner? That's us, if you're thinking of a service provider, but last week one potential client contacted me to say we're too cheap.
I can't remember the last time that happened, if at all, but in conversation a few interesting points emerged. In essence we covered the key dimensions of slide (or negative) scanning.
First, dpi - dots per inch. We scan slides at 4,000 dpi. In my opinion that's the maximum amount of data you can safely get out of such a tiny original. Second, file types. Most clients are more than happy with jpgs but some prefer TIFFs, we can handle both.
This, there's bit depth. As you know each dot is defined by a s et of three numeric values, one for each of the red, green or blue that makes up the colour the scanner sees at that point. Most scanners operate on the basis of there being 8 bits for each value, giving a range of 0 to 256, If however the scanner operates on a 16 bit scale the image will comprise a greater degree of definition in the precise colour value. If you can, try it, 16 bit colour is much better. But the data files are so much bigger, they take longer to load and manipulate. Finally there's the dynamic range the scanner can see. The greater the range the better able the scanner is to detect the subtle colour range in your images.
Back to our slide scanning client, if you want the best, what route is open to you today?
We love Nikon scanners, but sadly they are no longer in production. So you'll have to fight it out with the herd on eBay, and get hold os a used unit, with all that entails. take a look at the Epson range, for example the V750, including the bundled Silverfast software. Also capable of great results, available new, or possibly the H-P range. Both Nikon and Epson support hardware based dust and scratch reduction, which will save you hours retouching your scans.
But - and this is a big but - what if you want even better? Well the only other viable option I can see that ticks the new box and offers more than Nikon / Epson specs is the Imacon range from Hasselblad. Sadly I haven't used an Imacon but one of the best scans I have seen from a 35mm slide was made on an Imacon (using significant multiple exposure). it was truly breathtaking. But so too is the price of an Imacon scanner - around £20,000. Yes, if you want better than Nikon or Epson, dig deep in your pockets Mr Slide Scanner.
I can't remember the last time that happened, if at all, but in conversation a few interesting points emerged. In essence we covered the key dimensions of slide (or negative) scanning.
First, dpi - dots per inch. We scan slides at 4,000 dpi. In my opinion that's the maximum amount of data you can safely get out of such a tiny original. Second, file types. Most clients are more than happy with jpgs but some prefer TIFFs, we can handle both.
This, there's bit depth. As you know each dot is defined by a s et of three numeric values, one for each of the red, green or blue that makes up the colour the scanner sees at that point. Most scanners operate on the basis of there being 8 bits for each value, giving a range of 0 to 256, If however the scanner operates on a 16 bit scale the image will comprise a greater degree of definition in the precise colour value. If you can, try it, 16 bit colour is much better. But the data files are so much bigger, they take longer to load and manipulate. Finally there's the dynamic range the scanner can see. The greater the range the better able the scanner is to detect the subtle colour range in your images.
Back to our slide scanning client, if you want the best, what route is open to you today?
We love Nikon scanners, but sadly they are no longer in production. So you'll have to fight it out with the herd on eBay, and get hold os a used unit, with all that entails. take a look at the Epson range, for example the V750, including the bundled Silverfast software. Also capable of great results, available new, or possibly the H-P range. Both Nikon and Epson support hardware based dust and scratch reduction, which will save you hours retouching your scans.
But - and this is a big but - what if you want even better? Well the only other viable option I can see that ticks the new box and offers more than Nikon / Epson specs is the Imacon range from Hasselblad. Sadly I haven't used an Imacon but one of the best scans I have seen from a 35mm slide was made on an Imacon (using significant multiple exposure). it was truly breathtaking. But so too is the price of an Imacon scanner - around £20,000. Yes, if you want better than Nikon or Epson, dig deep in your pockets Mr Slide Scanner.
Friday, March 30, 2012
35mm Slide & Negative Scanning - New Price for Professional Service
Today we are dropping our prices for the Professional Service scanning 35mm slides and negatives, the old price was £1-30 and today we're dropping the price to just 95p. OK, why?
Originally there were two differences between Home and Professional - the dpi level (originally 2000 dpi and 4000 dpi) and file format (jpg & TIFF). Then we decided to scan everything at 4000 dpi because the quality difference is staggering and we don't want to ship sub-standard products. That left just the file format as the difference.
In the last few months more people have been asking about the Professional level service but frankly they've been put off by the extra 60p we had been charging. So, we've decided to make the bigger files much more affordable. You'll get great quality uncompressed files that you can edit to your hearts content, then save either as TIFF or jpg files. We think an extra few pence for the Professional service is definitely worthwhile. We look forward to doing even more Professional scans from your 35mm slides and negatives.
Originally there were two differences between Home and Professional - the dpi level (originally 2000 dpi and 4000 dpi) and file format (jpg & TIFF). Then we decided to scan everything at 4000 dpi because the quality difference is staggering and we don't want to ship sub-standard products. That left just the file format as the difference.
In the last few months more people have been asking about the Professional level service but frankly they've been put off by the extra 60p we had been charging. So, we've decided to make the bigger files much more affordable. You'll get great quality uncompressed files that you can edit to your hearts content, then save either as TIFF or jpg files. We think an extra few pence for the Professional service is definitely worthwhile. We look forward to doing even more Professional scans from your 35mm slides and negatives.
Wednesday, March 21, 2012
Slide / Negative Scanner Amnesty
It's been busy this week with several enquiries about slide scanning and our Slide Scanner Amnesty.
Yes, the scheme is still in operation and each week we get one or two scanners to add to our junk pile. This week we've got devices from Plustek and Agfa, one of my particular hates. Although this is simply a unit badged up for Agfa it is built on a singularly tacky camera unit and a very poor light source. It's a marriage made in hell and Agfa should have known better. Anyway we're able to rescue a couple of people from rather poor purchasing experiences.
I'm not sure how much longer we'll continue with the Amnesty. It has been very popular and generates much publicity for us, along with a steady stream of calls saying are you still doing this? Yes, and we will do for the coming weeks. Probably.
Yes, the scheme is still in operation and each week we get one or two scanners to add to our junk pile. This week we've got devices from Plustek and Agfa, one of my particular hates. Although this is simply a unit badged up for Agfa it is built on a singularly tacky camera unit and a very poor light source. It's a marriage made in hell and Agfa should have known better. Anyway we're able to rescue a couple of people from rather poor purchasing experiences.
I'm not sure how much longer we'll continue with the Amnesty. It has been very popular and generates much publicity for us, along with a steady stream of calls saying are you still doing this? Yes, and we will do for the coming weeks. Probably.
Sunday, March 4, 2012
Kodachrome Slide Scanning
Having been scanning slides for over eight years I don't get very excited any more, but this last week has been out of the ordinary. Ever since we started Kodachromes have been an issue. The first big order we got was 800+ photos (did them on a flatbed, took two weeks) and the second was a large batch of Kodachrome slides for a client in Scotland.
Ever since the results with Kodachrome slides have been less impressive that we've got from any other material - even Ektachrome 35mm slides. The two main problems have been an excessive blue colour cast in the scans, and the inability to apply Digital ICE which removes dust and scratches. So we've been forced to ship overly blue and dusty scans.
Of the two issues the blue has worried me the most. I've tried various methods to beat the blues, using Photoshop and latterly Aperture to speed up the re-balancing of the images. So we whip through slide scanning and then hit the buffers on that colour cast. Although Kodak called all that product Kodachrome, in reality there were many different recipes for that slide material, 20+ as I recall. Finding a single preset to catch them all defeated me, you need to adjust each frame and that takes an age.
So, this weeks excitement is this. We can now scan Kodachrome slides - 35mm Kodachrome slides and m/f - without the blue cast. I ran through 200 last week, taken from several batches both my own slides and slides supplied by clients, and in every case the blue cast was removed. Importantly for us as a slide scanning service it was done by our new software, at production speeds.
I also tackled the issue of no Digital ICE with Kodachrome. Yes, breathtaking, we can now apply dust and scratch removal to Kodachrome. The results amazed me, I'd got into the mindset that this would never be possible, but yes we can now do it. I have to say a bit of a word of caution, this process still needs a bit of tweaking, but compared to where we were before there's no comparison.
Next week we have some more work to do, the process to automatically number slides as we scan them is flawed so that needs tweaking and setting up a batch takes much longer than is the case when we use Nikon's software. When we've beaten those issues we'll be able to offer clients a whole new dimension in Kodachrome slide scanning. Then you can be excited too.
Ever since the results with Kodachrome slides have been less impressive that we've got from any other material - even Ektachrome 35mm slides. The two main problems have been an excessive blue colour cast in the scans, and the inability to apply Digital ICE which removes dust and scratches. So we've been forced to ship overly blue and dusty scans.
Of the two issues the blue has worried me the most. I've tried various methods to beat the blues, using Photoshop and latterly Aperture to speed up the re-balancing of the images. So we whip through slide scanning and then hit the buffers on that colour cast. Although Kodak called all that product Kodachrome, in reality there were many different recipes for that slide material, 20+ as I recall. Finding a single preset to catch them all defeated me, you need to adjust each frame and that takes an age.
So, this weeks excitement is this. We can now scan Kodachrome slides - 35mm Kodachrome slides and m/f - without the blue cast. I ran through 200 last week, taken from several batches both my own slides and slides supplied by clients, and in every case the blue cast was removed. Importantly for us as a slide scanning service it was done by our new software, at production speeds.
I also tackled the issue of no Digital ICE with Kodachrome. Yes, breathtaking, we can now apply dust and scratch removal to Kodachrome. The results amazed me, I'd got into the mindset that this would never be possible, but yes we can now do it. I have to say a bit of a word of caution, this process still needs a bit of tweaking, but compared to where we were before there's no comparison.
Next week we have some more work to do, the process to automatically number slides as we scan them is flawed so that needs tweaking and setting up a batch takes much longer than is the case when we use Nikon's software. When we've beaten those issues we'll be able to offer clients a whole new dimension in Kodachrome slide scanning. Then you can be excited too.
Thursday, February 2, 2012
Photo Scanning - Crossing the Borders
Some years ago I was asked by Kodak if there were any enhancements I could suggest for their photo scanning software. One of my suggestions was to find a way to automatically remove the white borders that appear on many prints. Sharp intake of breath on the other end of the line, I guess there's hard maths behind that. Anyway, that feature has yet to appear.
When we scan slides we typically crop inside the frame, so the client sees a "borderless" image, same with negative scanning. the only exception is with professional photographers who typically don't trust us to get the crop right so want every last bit of data.
Recently we've added a slideshow building facility and I'm pleased to say it's being well received. We off three options and ask clients to express their preference. Each slideshow has it's attractions but none is outrageous so I expected preferences to fall pretty evenly across each style. Much to my surprise one is an out front leader, and guess what? It automatically adds a white border to all the images in the slideshow.
When we scan slides we typically crop inside the frame, so the client sees a "borderless" image, same with negative scanning. the only exception is with professional photographers who typically don't trust us to get the crop right so want every last bit of data.
Recently we've added a slideshow building facility and I'm pleased to say it's being well received. We off three options and ask clients to express their preference. Each slideshow has it's attractions but none is outrageous so I expected preferences to fall pretty evenly across each style. Much to my surprise one is an out front leader, and guess what? It automatically adds a white border to all the images in the slideshow.
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