hlockwood
Well-known
After battling dust and curled film for years, I decided some time ago to switch to C-41 B&W film processed in a local quality shop. I get the film strip back (uncut) and a CD of jpegs, ready for scanning on my Nikon 4000 using NikonScan software. I'm generally quite pleased with the results, i.e., the (piezography) prints look good to me. But could they be better? Is my workflow optimized for the best outcome, or is it flawed?
There are too many variables to conduct a definitive experiment to answer these questions easily. So, I'd like to compare my workflow to those following a similar path. That is, I'm looking for feedback to take advantage of collective wisdom.
Workflow.
Film: Ilford XP2 400 rated at ISO 320, standard processing.
Scanned at 4000 ppi, 16 bit file; Digital ICE: normal; 2x multiscan to produce an RGB (tif) file of about 120 MB.
In PS/CS3, the tif file is saved as a psd file. The RGB file is then converted to Lab, and the a and b channels are discarded. This produces a "Multichannel" file that is then converted to Grayscale.
For a "well-exposed" negative the histogram, shown in a Curves adjustment layer, has populated levels extending from ~20 to 255 (paper white.) There are no tones from 0 to about 20. Inevitably, I shift the Black point so as to fill the entire spectrum from 0 to 255. This darkens the image somewhat but is easily corrected with a Curves adjustment. The file remains 16 bit throughout, including through the printing process.
The question: How does this compare to your workflow?
Comments and questions are very welcome.
Harry
There are too many variables to conduct a definitive experiment to answer these questions easily. So, I'd like to compare my workflow to those following a similar path. That is, I'm looking for feedback to take advantage of collective wisdom.
Workflow.
Film: Ilford XP2 400 rated at ISO 320, standard processing.
Scanned at 4000 ppi, 16 bit file; Digital ICE: normal; 2x multiscan to produce an RGB (tif) file of about 120 MB.
In PS/CS3, the tif file is saved as a psd file. The RGB file is then converted to Lab, and the a and b channels are discarded. This produces a "Multichannel" file that is then converted to Grayscale.
For a "well-exposed" negative the histogram, shown in a Curves adjustment layer, has populated levels extending from ~20 to 255 (paper white.) There are no tones from 0 to about 20. Inevitably, I shift the Black point so as to fill the entire spectrum from 0 to 255. This darkens the image somewhat but is easily corrected with a Curves adjustment. The file remains 16 bit throughout, including through the printing process.
The question: How does this compare to your workflow?
Comments and questions are very welcome.
Harry
ClaremontPhoto
Jon Claremont
I use the Fuji C41 B&W film occasionally.
Develop at shop, and machine scan there at a bit over 3000 x 2000 and save to CD.
Paper prints inkjet A4 size, and internet publication 720 x 480 at 72dpi.
Develop at shop, and machine scan there at a bit over 3000 x 2000 and save to CD.
Paper prints inkjet A4 size, and internet publication 720 x 480 at 72dpi.
whitecat
Lone Range(find)er
I have posted this before but I will again..........
I expose at 320 asa and scan 16bit as a positive. It brings in more info. I then invert in PS and convert to 8bit if I want to save space.
I expose at 320 asa and scan 16bit as a positive. It brings in more info. I then invert in PS and convert to 8bit if I want to save space.
Gabriel M.A.
My Red Dot Glows For You
1) Keep in fridge.
2) Remove from fridge at least one hour before loading in camera.
3) Rate at ISO 400.
4) Usually use Medium Yellow filter; hardly ever anything else. Sometimes no filter.
5) Do NOT take to cheap lab. Take to reputable lab with concern for customer.
6) Order develop-only, uncut.
7) Pick-up from lab.
8) Straighten curl.
9) Load to Nikon Coolscan 5000 and scan at dpi 4000 in color
10) Brew coffee.
11) Turn ICE on, Colorspace to WideRGB, and, in general, 2 scan passes per frame.
12) Have coffee.
13) Cut and put in archival sleeves.
14) Run own Photoshop Action to convert TIFF to JPEG2000 (in 16-bit greyscale)
15) Enjoy.
2) Remove from fridge at least one hour before loading in camera.
3) Rate at ISO 400.
4) Usually use Medium Yellow filter; hardly ever anything else. Sometimes no filter.
5) Do NOT take to cheap lab. Take to reputable lab with concern for customer.
6) Order develop-only, uncut.
7) Pick-up from lab.
8) Straighten curl.
9) Load to Nikon Coolscan 5000 and scan at dpi 4000 in color
10) Brew coffee.
11) Turn ICE on, Colorspace to WideRGB, and, in general, 2 scan passes per frame.
12) Have coffee.
13) Cut and put in archival sleeves.
14) Run own Photoshop Action to convert TIFF to JPEG2000 (in 16-bit greyscale)
15) Enjoy.
hlockwood
Well-known
C41 work flow .....
1) Open fridge and remove roll of BW400CN.
2) Choose camera and lens combination for shooting selected film.
3) Think hard for a minute about the incompetents at the local one hour.
4) Fondly remember the scratches they put on the last roll of C41 they processed ... yet knew nothing about!
5) Return to fridge, exchange BW400CN for Neopan400 / HP5+ / TRI-X etc, then return to step two!
Keith,
Very competent, professional local camera shop. No scratches, ever.
Harry
hlockwood
Well-known
hlockwood
Well-known
Hey ... I should be grateful to the local one hour. Thanks to them and the fact that the nearest real lab is miles away and charges a fortune ... I now develop my own film and don't have to worry about that pesky C41 stuff.
I developed my own film for many years and still have a roll in the tank.
My very professional lab is 15 min. away, charges $10 for an uncut roll, provides a jpeg CD and is ready in <24 hrs. But all this is OT from the question posed by the OP.
Harry
djonesii
Well-known
My Kodak C41 B&W 400
My Kodak C41 B&W 400
I have been using the Kodak C41 ISO 400, run through a local Fuji Mini lab, last three rolls ready in 15 mins, and less than $2.00 per roll after tax. No really big scratches, a bit of dust, and threads.
Then scan in 24 bit color with unsharp mask on high, ICE on set to speed mode. This is done with Epson 4490 and the Epson software.
Into Light room .... typically boost the blacks a bit, often add a bit of noise removal, but not too much, and sometimes sharpen just a bit more. I always do these to operations with the side by side mode and 100% zoom.
I just scanned the first C 41 BW from both a party and a studio shoot, will be posting as soon as I get them to my web site.
Dave
My Kodak C41 B&W 400
I have been using the Kodak C41 ISO 400, run through a local Fuji Mini lab, last three rolls ready in 15 mins, and less than $2.00 per roll after tax. No really big scratches, a bit of dust, and threads.
Then scan in 24 bit color with unsharp mask on high, ICE on set to speed mode. This is done with Epson 4490 and the Epson software.
Into Light room .... typically boost the blacks a bit, often add a bit of noise removal, but not too much, and sometimes sharpen just a bit more. I always do these to operations with the side by side mode and 100% zoom.
I just scanned the first C 41 BW from both a party and a studio shoot, will be posting as soon as I get them to my web site.
Dave
ElrodCod
Established
I've tried the various C-41 b&w films a few times and my "workflow" terminated in the trashcan.
hlockwood
Well-known
Wow, that turns out to be a very interesting suggestion. I tried it on an frame that was still in the film holder (Nikon 4000) and the result was profoundly different - and much better (after a Curve adjustment) than the scan as negative. The histogram is much richer, confirming your claim of bringing in more info.
I'll have to test this with other negs to see how the results hold up for a variety of exposures, but right now I'm enthusiastic.
Thanks very much.
Harry
shadowfox
Darkroom printing lives
A question, when you scan as positive, the orange base will carry into the picture even after inversion (becomes cyan/blueish). How do you get rid of it? just desaturate?