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Mainly black and white negatives, though comments on the others would be welcome as well if anyone wants to comment on them.What kind of film are we talking about here? Because B&W, C41, and E4 all scan quite differently and have very different requirements.
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On my flatbed scanner, I usually have to make two passes with Velvia, one at a low exposure and one at a high exposure and then average to two (done in the scanning software) in order to get a full range of values.
I have been quite successful with applying HDR techniques to DSLR scanning: bracketing, then combining the images in Photoshop. Only disadvantage is that it is work-intensive. Look up any tutorial about HDR imaging, all details are in there. Other software exist besides Photoshop (Aurora HDR seems famous, but I haven’t tried it)With slide film, higher contrast can make the image more difficult to scan. It can be hard to extract all of the shadow detail without blowing out the highlights.
I have never once had a frame from any negative film with a range of densities exceeding the dynamic range my D810 could capture. E6 can be more challenging (especially Velvia with its very dense base), but even those can typically be fully captured with one exposure.
One thing that is overlooked in a lot of these discussions is the effect of film grain. If film grain (as measured by the standard deviation of the image in a pixel-size picture element) is comparable to the digitization step size in the imaging acquisition system, then having a finer step size has a negligible effect on image quality, including the rendering of intermediate tones and the smoothness of the rendering of tones in regions of the image having gradients.Don't confuse the density of the capture with the scene density/dynamic range represented in the negative by sliver or dyes.
If the negative is developed to a contrast that does not represent the required intermediate tones required for a "good" image, then ten bazillion stops of capture capability on your DSLR is meaningless.
If it isn't on the negative, it won't be on the capture.
Huh?One thing that is overlooked in a lot of these discussions is the effect of film grain. If film grain (as measured by the standard deviation of the image in a pixel-size picture element) is comparable to the digitization step size in the imaging acquisition system, then having a finer step size has a negligible effect on image quality, including the rendering of intermediate tones and the smoothness of the rendering of tones in regions of the image having gradients.
Don't confuse the density of the capture with the scene density/dynamic range represented in the negative by sliver or dyes.
If the negative is developed to a contrast that does not represent the required intermediate tones required for a "good" image, then ten bazillion stops of capture capability on your DSLR is meaningless.
If it isn't on the negative, it won't be on the capture.
I have never once had a frame from any negative film with a range of densities exceeding the dynamic range my D810 could capture. E6 can be more challenging (especially Velvia with its very dense base), but even those can typically be fully captured with one exposure.
I would be happy to explain further. It may take discussion back and forth to fully explore the point. In the meantime, give me a little time while I prepare something that might help.Huh?
'film grain (as measured by the standard deviation of the image in a pixel-size picture element)'
'digitization step size'
I would like to be able to understand your point, but those words are just not working for me. Would it be possible to re-state your position using some other words? I do know the definitions for 'standard deviation' and 'pixel' but I can't make any sense out of what you are trying to say.
Forgive me, but I think we are talking at cross purposes. None of what you wrote here is really relevant to the point I was making. I was simply saying that I have never had to use HDR blending of multiple DSLR frames when digitising a frame of negative film in order to fully capture the entire range of densities on the film; a single frame from my D810 always has enough dynamic range (and more to spare) to achieve this. This includes perfectly exposed and developed film.
I'm not sure I'm following. 13.3 bits RAW file means that many shades of grey. But is that related to the overall dynamic range of the sensor, in terms of f/stops?+1
Let’s keep in mind that 4.0 log density range is just under 13.3 stops, or 13 bits.
I'm not sure I'm following. 13.3 bits RAW file means that many shades of grey. But is that related to the overall dynamic range of the sensor, in terms of f/stops?
Phil Burton
Ouch! When I was very active with B&W and developing my own film at home, my main developer was Edwal FG-7 with 9% sodium sulfite. Now I regret that. I should have been using something like Rodinal all the time, but I only experimented with it a bit.To appreciate that it's possible to literally photograph film grain one should view and print the b&w negative with a point light source...and abandon developers that have sodium sulfite...which chemically dissolves grain.
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