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I wrote a blog post about how I use my iPad to process my scanned film images. I cover from scanning to processing and sharing on the social webs.
Click here for the post:http://digitalchemicals.blogspot.com/2015/02/ipad-film-photography-workflow.html
DRUM SCANNERS vs CCD SCANNERS _ESSAY (2)
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CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
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CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
Perfecting my print workflow...
Storbist Metred for the computer monitor ensuring a small enough aperture so that the strobe in front of me would not be too bright.
430EX sat on desk for rim and hand / arm light
Gridded SB28 for key, camera right
SB24 with blue gel aimed at ceiling for "ambient"
"A sisterhood of secrecy, no one is completely certain of their motives. Some claim they a benevolent, if mysterious force for good, while others paint them in a far more sinister light."
WIP Part Two: Next step in my workflow, making the body textures, which I do by making the outfit directly onto the SL model in Z-brush so that I can render the details fullscale. This model is about 3+million polygons! Ouch!
The blue skin is an effect very similar to using a bluescreen. I will later remove everything that has a blue tint, leaving behind the leather pieces on their own.
#workflow #womeninuniform #woman #girly #gorgeous #georgiapeach #law #newlook #boss #bossy #chick #cool #classy #captain #crystal #swarovski #sexy #security #elcaptain #securityofficer #sophisticated #topnotchy #butterfly #jewelry #brown #caramelskin #soft #glamorous #GApeach #ATL
Could not resist all the color here, Shoot when walking across the street with my old AF 300 f/4 with Teleconverter x2 (so 600mm and manual focus)
Workflow:
1. Non destructive
2. Preparing custom brushes
3. Selection & masking
4. Adjustment and Filters
5. Texturising
6. Lighting effects
7. Fine tuning
8. Adobe Lightroom tuning
Used technique: layers, adjustment, smart object styles, masking, clipping masking, Adobe Lightroom, Adobe Photoshop CC 2017, several Stock Photos, plugins.
Design/Print a batch of physical postcards. Inspired by postsecret.com.
Idea is to get stories contributed by physically pasting text/images on the front of the card, writing some basic information such as a postcode (and possibly extra text story) on the back and mail it in to a prepaid gpo box thingy.
Central service can scan/type/otherwise enter stories. Great way to capture first data prior to an interation of site that really flies.
Could scale to a story from every south australian but would take years to grow to a community of substance.
A sample videoblogging workflow for students using free Web 2.0 tools. Updated from previous version published in 2007. There's no weirdness with the drop shadow if you view the large version under "all sizes." It's happening because this is a transparent png instead of a jpg.
This workflow model portrays how museum patrons perform sequences of actions while engaging with the Burke Museum kiosk system. The model enabled a high-level view of the workflow, which put a spotlight on areas in the process ("breakdowns") that design decisions could improve.
When there's time and funding available, contextual inquiry is always an excellent way to expose previously unseen issues.
First test sample from the Kodachrome workflow I am working up currently. Testing for maximizing image data for use in a Lightroom workflow. This sample was scanned in SliverFast using multi-exposure and scanning to a 48-bit HDR file. Then that HDR file was manipulated in SilverFast HDR, setting the White and Black points to the highest and lowest values detected in the scan. Hopefully this averages out and maximizes color data in the image before exporting as a 48-bit TIFF.
This TIFF was then opened in Photoshop ACR. Using ACR as an alternate for Lightroom, I adjusted the overall image, setting a custom white balance, and adjusting Clarity and creating a custom Tone Curve. Local Adjustments were used in 4 areas, creating differing exposures and saturations on different parts of the image. The goal was to see how much manipulation I could perform on the image before the image "broke" creating garbage.
I feel good for a first pass at a Kodachrome scanning/Lightroom workflow. Hopefully in the coming days I will have this further refined and will share my entire process on LifeInDigitalFilm.
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For the G20 Summit taking place in Cannes on 3rd and 4th November 2011, Laurence Jenkell exhibits 24 of her Candy sculptures, bearing the flag colours of the G20 countries and the invited states. The sculptures are on show on the Croisette and at the Palais des Festivals where they line the red carpet [jenkell.com]
After copying intemperie's workflow added to it a bit to:
Copy the name of the selected image to the clipboard
So once the Flickr window pops up hit Cmd-V to paste it as the title (trying to get it to automatically add it, but can't manage it :/ )
Ask if I want trash the file once uploaded (usually from the Desktop)
Opens my Flickr photos page for organising (add to sets, groups or collections)
I guess I could just use something like Flickr Uploadr, but I prefer to 'roll my own' :p
Uploaded with Automator
I have been messing with this project all year and I decided to collect up some of the screen shots and scans and put them all into a collage to show a little of my workflow from Moleskine sketch to 3D model.
This PSD holds 20+ sub page designs. Every interactive designer has their own workflow for organizing layers/folders.
General rules:
- Everything gets properly labelled (no "copy" for the layer name)
- Everything gets properly grouped in a folder
- Folders within a sub page are in order of visual appearance on the design (from top of the page)
- No linked layers!
- No locked layers!
- All mask layers are linked to their respective layer/folder!
- "Beardcrumbs" is an acceptable name for "breadcrumbs"
I also don't ever use the Direct Selection tool. The organized folder system allows me to get anywhere very quickly. Sometimes I'll choose the text tool and click into a paragraph to bring me directly to the folder I want to be in too.
What's your workflow like?
Renames the file to make it web friendly (replaces spaces with underscores, all text lowercase)
Uploads it to the downloads folder on my site
Wraps the URL in HTML tags
Copies the URL to the clipboard
Ask if I want trash the file once uploaded (usually from the Desktop)
Just run the workflow then paste the URL
Uploaded with Automator
I wrote a blog post about how I use my iPad to process my scanned film images. I cover from scanning to processing and sharing on the social webs.
Click here for the post:http://digitalchemicals.blogspot.com/2015/02/ipad-film-photography-workflow.html
For uploading images to display in forums:
Renames the file to make it web friendly (replaces spaces with underscores, all text lowercase)
Uploads it to the Drop folder on my site
Wraps the URL in BB code [img][/img] tags
Copies the URL to the clipboard
Ask if I want trash the file once uploaded (usually from the Desktop)
Just run the workflow then paste the URL
Uploaded with Automator