![]() ![]() DDE is part of the new Advanced ICE4 and performs exposure corrections. New additions are DDE and a Scan Image Enhancer. The automatic dust and scratch correction ICE, the film grain elimination GEM as well as the colour restoration ROC are already known from the predecessor model LS-40 ED. “The Coolscan 5 ED comes with a whole range of image optimisation and image correction methods. Here is a part of Filmscanner Nikon Coolscan 5 V ED, Diascanner LS-50: Test-Bericht, Erfahrungsbericht, Bildqualität, Auflösung, Funktionsbeschreibung For the Coolscan for example it supports ICE, ROC, GEM and DDE Vuescan supports hardware possibility of the scanner. Overall, an editor such as Photoshop is the best tool. I have many family photos going back to 1850 (a hand-painted sepia style paper print) and all of them have damage or dust spots that have to be removed.įor negatives, I use my camera and shoot raw rather than use my scanner. I always scan B&W prints in 16 bit colour. warm or cold papers, warm or cold emulsions, processing chemicals etc. Some of the older emulsions can cause the scanner’s sensor to misread the the actual colour of the print.Įven with “black and white” prints there are variations in the tonality e.g. It is capable of accurate colour rendition but that is dependant on what it is scanning. This does a multiple pass 6 colour process. I have an HP scanner that has two different colour lighting tubes. People just seemed not to care what the colour was as long as the photo was in colour. The latter is quite common with colour prints from the 1960s onwards. It is difficult to get an accurate colour rendition of these.Įarly colour prints often have distorted colour either due to age or because they were not printed properly to begin with. These existed from the 1860s till the 1920s, however, the actual process and, therefore, image colour varied over the years. There is no way that any auto process could deal with this.Īnother type is the Cabinet Card. This is emulsion brushed onto glass and hand painted after exposure. Example, I have an Ambrotype (collodion positive) from around 1855. It's entirely possible you will have to have one exposure/devlopment system for silver prints and another for scanning.A lot depends on what type of photo you are scanning and how accurate you want to be. They may not, however, be scannable due the the density of silver in the highlight - scanner lamps are pretty puny compared to enlarger lamps. ![]() ![]() It's very easy to grossly overexpose and/or overdevelop and still get printable negs. Adjust exposure until you have just perceptible density over base fog (have the velvet at the edge of a frame), then adjust development time to get the correct highlight contrast and density.įP-4 is a "traditional" film, meaning it will show considerable compression of the high values. Correctly exposed and developed you should see very faint detail in the velvet in the negative. Best way to tell if you have it correct is to photograph something with some black velvet rumpled up in it. Reducing the development time may help too. Also, check your processing temp - a couple degrees higher temp will greatly reduce the "correct" development time. I've always found it much easier to increase contrast than to reduce it, so I would try minimal agitation during processing (four slow inversions per minute, for instance) and see if that helps. I suspect, since your N-2 negative produces a good scan you are having a similar problem, ending up with more contrast in the negative than you actually want, especially for scanning which seems to require thinner negs to start with. This is MUCH thinner than most of mine were at the beginning, and I still tend to run pretty heavy. You should be able to read large newsprint through the highlights on a negative. How do I know this? Take a look at most of my early negatives! Over exposure plus overdevelopment (the first provided by my camera because I was using an alkaline battery in an OM-1 and the latter by swirling the bejesus out of my tank!) give rather hard negatives with normal shadow detail. Anything more than very gentle agitation will cause VERY dense highlights that will print OK with some work on silver paper, but be completely opaque to the scanner. Second, check your agitation during development. Silver is IR opaque, and the scanner will do very strange things attempting to do dust removal! To properly scan B&W sliver negatives, you MUST turn ICE off. There are a number of reasons for this starting with lower contrast at the CCD, but this is why I bought a Minolta Scan Dual II rather than a Nikon That said, I don't really expect you to run out and buy another scanner. Any scanner with a fluorescent lamp will work better. First, a Nikon is not first choice for silver film.
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