Digital BW, The Print

Joe,

At least on my computer you cannot set the mode of both adjustment 
layers to color, only the lower one where you actually use the hue 
slider.  

Steve

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Joe Dempsey 
<jdempsey@c...> wrote:
>
> For what it's worth, here's a technique I use with a plethora of 
> color 35mm negs I have with a Nikon 4000 ED. Scan at 4000 dpi 16 
bit 
> color at 100% with digital ice enabled at full tilt which on a full 
> frame 35mm neg nets about 88 mgb.  This will not set any new indoor 
> records for speedy scanning.
> 
> Then, I tried a a different BW conversion technique (to me) with 
good 
> results. Open the tif from the scanner and save as a psd. Add a 
> hue/saturation adjustment layer and set the blending mode to color. 
> Duplicate the adjustment layer.  Click on the top adjustment layer 
> and move the saturation slider all the way to the left to 
desaturate. 
> Then adjust the hue on the original (this was the way the article 
> said to do it), but I like adjusting the individual rgb levels 
> channels until I get what I want and sometimes mess with the 
original 
> r,g or b curves as well.  Then do whatever spotting is left that 
> digital ice did not get plus any other tweaks that are required to 
> achieve what I want.
> 
> Then save a copy. Then go to image size and set the resolution to 
360 
> without resampling which yields something in the neighborhood of 
> 12-13" inches on the tall side. Then, if I want a larger print, 
> resample bicubic sharper to the size I want and save a copy. Then 
if 
> there is a noise issue, apply a light Neat Image treatment and save 
a 
> copy. Then sharpen as necessary and save a copy. Then save as 
grayscale.
> 
> It's a tedious process, but you can go back to any stage and start 
> over if you don't get what you want. I have gotten 16" inch prints 
> from 35mm negs this way with excellent results. I rely on a friend 
> whose printer is much better than mine to do the prints.
> 
> My machine is P4/3.6, 2 gb ram with a dedicated 15,000  rpm scuzzy 
> scratch disk.
> 
> That's my story and I'm stickin' to it.
> Joe
> 
> 
> At 11:10 AM 12/23/2005, you wrote:
> >Gareth-
> >
> >I use essentially the approach you suggest on a 5000, with a few
> >differences.
> >
> >I scan a grayscale positive; I use the analogue gain to more-or-
less
> >center the data in the histogram (especially important with dense
> >negatives); I adjust the histogram sliders in but only loosely; 
and I
> >always scan 8X to reduce noise (the scanner-induced noise is 
random,
> >so the multiscanning averages out everything that is not consistent
> >in all eight scans, which is the noise); then I spend two hours
> >spotting the image in PS!  Also, use 16 bit, which I think you 
didn't
> >mention.
> >
> >What you get is a light, flat image that includes all the data from
> >the negative.
> >
> >Walt
> >
> >
> >
> >
> >--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "garethjolly"
> ><garethjolly@b...> wrote:
> > >
> > > Glad everyone is having fun with the Farm Security 
Administration -
> > > have to say I was blown with the quality of the print of the 
Migrant
> > > Mother I was able to get.
> > >
> > > I think I'm getting on top of my B&W print workflow.
> > >
> > > I'm now starting to look at the scanner end of things.
> > >
> > > I have a Nikon 4000ED with roll film adapter - and I have both 
Nikon
> > > Scan and Vuescan.
> > >
> > > There seem to be 2 problems with the Nikon / Nikon scan.  The 
first
> >is
> > > that Nikon scan insists truncating the histogram - starting 
from 30
> >in
> > > the shadows - on negative scans.  The second is focus can be a
> >little
> > > out - due to a combination of limited depth of field, slight
> >curvature
> > > of the negative in the glassless holder and possibly autofocus
> > > problems on some images. (I flippantly remarked on my old LS20
> > > producing sharper scans than my 4000 and someone pointed this 
out)
> > >
> > > I'm also a little unsure of the analogue gain function - there 
seems
> > > to be some suggestion it doesn't affect the lamp brightness in 
B&W,
> > > simply operating on the post processed image.
> > >
> > > The type of workflow I was thinking of is this:
> > >
> > > - use Nikonscan rather than Vuescan
> > > - scan B&W negatives as a 16 bit colour positive;
> > > - preview the negative
> > > - make slight adjustments to analogue gain if the negative 
appears
> > > over or underexposed (i.e significant clipping or bunching up of
> >values)
> > > - use manual focus to focus at the centre of the image
> > > - use GEM to reduce grain (taking up Paul's suggestion)
> > > - use multiscan as and when required (especially archival 
images and
> > > images with problems with shadow definition)
> > > - possibly, use multiple scans with different GEM and analogue 
gain
> > > settings
> > > - convert to B&W in Photoshop - using the colour combiner.
> > >
> > > I've also ordered an Anti-Newton ring glass carrier insert for 
my
> >film
> > > strip holder.
> > >
> > > Can anyone help me here?  Is there anything I should be doing
> > > differently?  This is largely guesswork based on reading a few
> >things.
> > >
> > > And does anyone think I should be using Vuescan instead?  The 
big
> > > advantage to Nikonscan seems to be GEM.  And I might need to
> >calibrate
> > > the Coolscan to get the best out of Vuescan - meaning I need at 
IT8
> > > target!  Don't suppose anyone has an ICC for Coolscan 4000ED?
> > >
> > > Not quite sure how I combine the multiple images.  I have 
Photoshop
> > > CS2.  Paul mentioned the cloning tool...  Paul, do you have open
> > > multiple images and clone between them?  Or am I just totally
> >missing
> > > the point.
> > >
> > > Thanks
> > > Gareth
> > >
> >
> >
> >
> >
> >
> >
> >
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