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Note the amount of detail that the wet scanning can extract from this film is so good that you can make out my Uncle fishing on the shoreline!
So obviously the Epson V can give some great results and the ScanScience wet mounting kit can enhance these results even further and ensure that the negatives remain perfectly flat in the process.
I am still working on my technique to minimize dust that has to be digitally removed later, but that will simply take practice. Since the labs that I use charge so much for scans and these scans are worse or at best equal to what I can get from the Epson V, I think my days of having scans with my developing are over.
A note about scanning software. That supplied with the V cannot access the High Pass Optics of the scanner. That supplied with the V I purchased does but the software would not work with my latest version of Mac OS.
As a result, if you purchase either the V or V you will have to upgrade the software supplied to access these High Pass Optics. Many thanks to John for coming back to us with another fantastic article.
If you have your own experiences or tips please leave them in the comments below. Thanks JCH. Camera hunter, photographer, camera geek, Tokyoite and Englishman all rolled into one gracefully balding package.
I have been living and working in Tokyo for 14 years now and it is my home. Tokyo is heaven for cameras and I know the secret spots and special places.
Let me be your 'camera enabler'. I considered buying an Epson Vish for a long time but decided against it. Also, it can scan an uncut roll of 35mm in batch mode.
If your exposures on a single roll are very uniform, you can have the scanner scan the whole roll in batch mode. I use Vuescan instead of the outrageously overpriced Silverfast.
This also allows me to scan raw images. Hey, I have a V, and the special wet-scanning holder. I also have a Imacon Precision 2, and a was lucky finding them.
You mention that the scanner removes film grain, which seems odd to me. In some lab scans it very well could be that the lab is using more, probably too much, sharpening.
But also there is diffraction off the grain in a dry scan depending on the film type of course this diffraction is minimized in wet scanning because of the liquid that the light must pass though.
In the colour shot, perhaps the wet scan slightly opened up the shadows a little bit more. But hardly. Very good article. Oil mounting was standard on the Crosfield or Hell drum scanners I used to operate when I was in the print trade back in the 80s and 90s.
About 10 years ago I did my first experiments with using a digital camera as a scanner and found the results so good I abandoned flatbeds altogether.
Any scanner or clunky scanner software is just too time consuming. The technique is enhanced by using focus stacking to correct for any curvature of the film.
To my eye, I get better results with this than with my Epson V dry scans. That this has later been used for more civilian tasks must be said to be a perfect situation for all parties.
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How large a quality print can I make from my scan? What file size do I need for a scan? Should I scan in 16 or 8 bit?
T otal Scanning provide s the answers. This new electronic book has a significant advantage over print books as it is alive with numerous internal and external hot-links to help you navigate, explore, and research many topics further.
You are viewing the dry scanned image. Run the mouse over the image to see the true saturated colors on film wet-scanned with Scan Science.
Copyright ScanScience. Raw Scans, untagged with any color space can go directly to Photoshop to be tagged with a non-clipping, nondistorting color space like the relatively new Adobe Wide Gamut RGB.
With digital cameras choosing RAW should allow you to select a color space, but not always: you may find that a clipping color space like Adobe RGB or worse, sRGB were tagged to the image file, shortchanging the palette of modern printers like Canon's IPG , and , and Epson These modern printers are capable of printing the reds, greens, and blues today.
The vintage color spaces suited vintage printers, not today's modern printers and inks: After all, your printer is limited to the colors in the selected color space.
Color is a very critical issue for gallery prints and Art Photographers. The film, like the eye, sees logarithmically. When the film's sensitivity is exceeded by the light, the overload is local and does not affect the surrounding areas.
But when a digital sensor is overcome the output spills over neighboring pixels. Film-generated images have, as a result, a naturalness that is driving photographic artists back to film.
A large-format film can produce ultra-fine detail, beyond a digital camera's capacity, and almost all that the eye can see, well beyond Adobe RGB.
Know of a MP digital back for 4 x 5? That is how many pixels would be required to match the content of 4 x 5 film digitally.
Color may also be another reason for usng film. With film scans, you are free to choose the color space, which is probably the most crucial decision you will make.
Focusing Target Essential for all scanners; a must for flatbed scanners. Order yours now! This image allowed us to show the differences between fluid scanning and dry scanning.
At ScanScience, we scanned the negative on an Epson V using Silverfast 6i at ppi resolution, on a bit grayscale, using ScanScience tools and Lumina Scanning fluid.
The result was an enormous MB plus file, which enabled us to crop various sections at high resolution and magnification.
This very high-resolution scan for such a large negative was chosen as it delivered the best-looking image at high magnification.
We also tried a scan at ppi but found no improvements, only bloated files that took longer to scan, so we did not use it.
The optimum focus of V scanners is known to vary, so we first determined the optimum elevation for our unit by scanning the new ScanScience target.
It turned out to be 2. The negative was very flat, so the un-sharpness of the dry scan was due solely to the inadequacies of dry scanning, which throws away much of the quality.
Both images are raw, with no manipulations whatsoever by the scanner software or Photoshop. Image 1 , is a small section at the center, and you can see that hole in the mesh of the source image.
You would not know the image was that sharp from the dry scan. The detail in the mesh and its contrast are phenomenal in the wet scan.
Image 2 is a small crop from the left corner of the source image. The wet scanned image is still sharper than the dry, but the difference between them is not as significant because camera lenses are less sharp at the corners.
Notice also that the blacks are blacker and contrast is greater in the wet scan. You must use Silverfast or Vuescan.