![]() It contains all available data in a raw like file. Creating the Master ScanĪ master scan is the foundation of your creative process. In this short tutorial I go through the required steps to give you the freedom of a non-destructive workflow in Lightroom combined with a very solid negative conversion tool. Nate Johnson the creator of Negative Lab Pro (NLP) has updated the plugin to Version 2.1.2 which now enables you to effortlessly combine the power of a real scanner with the beauty and handsomeness of a really cool plugin. It was initially introduced for converting camera scans, but it can also be very helpful for converting scans from your flatbed or dedicated film scanner. There is a very good plugin that helps you to get good colors and contrast from a basic scan done with either LaserSoft SilverFast or Vuescan. In order to help you with that I want to show you how to make scans which could easily be converted and adjusted in Adobe Lightroom. Normally the scanning software takes care of this task, but I know that many users often struggle with getting colors right. I did more tests with different negatives containing full tonal ranges and every time, SilverFast seemed to produce better tonality across the board which resulted in less tone correction in Photoshop and Lightroom.One of the biggest problems when scanning color negatives is, to get the color and contrast right. Unlike Vuescan, the tones look more realistic. ![]() Hard to see the detail in Zone 1 and 2 on the forum so I have done a crop below just to show it is there. This time Zone 1 is the first one top left, Zone 2 to the right and so on. I opened SilverFast AI, turned all the automatic settings off, even disabled Negafix and did a scan at exactly the same resolution. What happened next was by accident but made start to investigate something further… Starting from the bottom left (Zone 1 the next one to the right Zone 2) and so on…įor at least 2 hours, I tried every combination I could think of in VueScan to try and establish why it was not showing correct tones but yet the densitometer density readings were roughly where I would have expected them to be. 35mm Epson Film Holderįor some reason, Vuescan did not present to me tones that I would have considered to be in line with the zones I had exposed for. I even decided to use the 35mm holder that came with the scanner to try and make everything as default as I could. I chose Zone 1 simply because I wanted to make sure the density reading was still giving me 0.1 above the film base at the ISO rating I had calculated (ISO 125).Īfter developing the film it was time to scan them with the Epson V800 using Vuescan in 2 strips, one strip was Zone1 – 5 and the second strip was Zone 6 through to Zone 10. I started by creating a series of 10 exposures of a textured subject ranging from Zone 1 through to and including Zone 10. So far I have completed the test for just one film, developer and cameraĭeveloper: Kodak D-23 Replenished ( 7 1/2 Minutes ) 20°cĪfter finding the correct ISO rating and doing the developer time test for Zone VIII on Ilford MGV paper, I moved onto the digital side to see if any development adjustments needed to be made for my scanners which are an Epson V800 and Minolta DImage.Īccording to the information I have, the Epson should be able to handle a density of 2.2 (10.6) stops and the Minolta should be able to handle a density of 4.3 (14.3) stops so in theory, fine tuning the development time for darkroom paper should be a breeze for both scanners. The process is slow but enjoyable which is a motivating factor in itself for me to keep going. I have finally got round to fixing the densitometer after waiting what seemed for ever to get a spare part so now I have started to conduct a series of film tests mainly to establish my own personal EI (ISO) rating for the film/camera and developer I use in all formats as well as film development times which will be suitable for both darkroom printing and also digital scanning.
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