![]() Not only will a modern macro lens produce sharper results, but the newer AR coatings decrease the chance of lens flare during capture (lens flare can lead to strange colors and casts). Not only will a good macro lens produce great edge-to-edge sharpness of your negative scan, but it will also prevent some of the most common issues with DSLR scanning, like orange blotches resulting from lens flare during capture. The lens is an incredibly important part of the DSLR/Mirrorless scanning process. Having the right equipment plays a key role in getting great results with digital camera scans! There are 4 basics components to a good DSLR film scanning setup… While DSLR (or Mirrorless) film scanning holds many promising results – like RAW capture, faster capture times, and sharpness that rivals $10,000+ drum scanners – there are many potential stumbling blocks along the way that could prevent you from getting the results you want from your film negatives. Scanning your film negatives with a digital camera can be an incredibly rewarding – or incredibly frustrating – process, largely depending on your setup and know-how. The input must be good for the output to be good. This is one thing that drove me nuts about Photoshop plugins I tried in the past - pretty much every photoshop plugin uses one or more “autocolor” adjustments in an early part of the conversion, but these adjustments end up “fully baked” in the output - there is no transparency to color adjustment is being applied, and no ability to change it in the early, crucial state in the editing pipeline.For Negative Lab Pro to work properly, it’s important that you have good, evenly-lit, properly-exposed scans of your negative film. Whether evaluative or fixed, it should be easy to see and adjust exactly what it is doing. For instance, some tools enable you to use both an autocolor algorithm and a fixed film profile at the same time, which stacks the effects and leads to bad color.ģ. Whether evaluative or fixed, it all needs to be integrated into a single tool to avoid a “stacking” effect. “Evaluative” profiles (like AutoNeutral and AutoWarm) typically outperformed “fixed” film profiles.Ģ. This means i can convert batches of frames and only reprocess a few in NLP.Īnd yes! I did a ton of testing on “film specific profiles” a while back (ala Vuescan, Silverfast, ColorPerfect), and had a few conclusions from that testing that heavily influenced the design of Negative Lab Pro:ġ. Basically the defaults just work unlike SilverFast where you need to fiddle about choosing films and even in some cases editing profiles. This means i can convert batches of frames and only reprocess a few in NLP.Ī good job particular impressed with the colour cast removal / conversion in NLP. I’m particular impressed with the colour cast removal / conversion in NLP. If i was super diligent i’d save the raw HDRi format too but have decided not to buy the HDRi license required as wasn’t impressed with the demo and if i’m going to fiddle with the images prefer to use better tools - NLP / lightroom / Photoshop / Pixelmator With HDRi wasn’t that impressed with the Silverfast’s HDR software (its basically the same as Silverfast 9 AI but with an additional cost). In all these cases dust and scratches were an issue. I experimented with Sillverfast raw HDRi, DNG and tried Epson Scan and Epson Scan 2 without adding much value. ![]() I’m getting similar results with both but in general NLP gives me a more pleasing result. Seems a bit over the top but find negative to positive is a good point to set up the frames. My workflow now is scan negative to positive with Silverfast 9 AI and scan positive with iSRD for NLP both at 3200 dpi 48 bit TIFF.
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