Likewise I cannot answer the question or give any suggestions as to why we should use a large bit depth - unless.........by using the larger bit depth this extends the number of tones that will be available. By this I mean, the larger depth will capture detail in more dense areas and in shadow areas where there is only limited detail available to the human eye. This will have the effect of making the image 'softer' but increasing the options for after scanning manipulation.
The downside of 16/24 bit scanning is with the higher scale, this will also serve to increase the file size.
I scan using a Nikon Coolscan 5 at the max bit depth which is only 12 but it has the option of scanning and producing the results in RAW. This does allow me to manipulate/alter the effect to a greater degree when working on the image afterwards..
I agree, 16 bit - no sharpening- gamma 2.2 is what I go for, now clipping at either end.I see no advantage scanning b&w in 24bit colour, 16bit greyscale should be more than enough to do whatever you want with the file.
I see no value in this.. just making your file size much larger.The only reason I can think of for scanning in RGB is to be able to modify the R or G or B channels before converting to grayscale - much like using a color filter(s) with B&W panchromatic film.
Sorry, I agree. I was thinking of scanning COLOR film to be converted to grayscale.I see no value in this.. just making your file size much larger.
I have mostly been scanning in 16 bit mode. However, I am pretty sure that scanning in 8 bit mode would be just as good to capture the image from the film. Film is grainy, and as long as the pixel-to-pixel noise in the image due to graininess exceeds the analog to digital step size for the acquisition there is nothing to be gained by scanning at a higher bit depth.
i always scan everything as a color chrome, my images have a tonality to them because of the coffee or emulsion
that i don't want to have to attempt to replicate through color / hue manipulation.
jlbruyelle, sure, why not .. not sure why it is any different than
scanning black and white negative or print toned in selenium, and gold or split toned in something,
This has nothing to do with grain really. The answer to this argument is very simple and only requires reading the datasheet of the B&W film stock which you are scanning. For example, the T-Max can achieve a density in excess of 3.0 no matter the grain - see Kodak's F-4016 document. This corresponds to a dynamic range of 1000:1. A perfect (i.e. noise-free, which never happens) 8 bits converter can only achieve 256:1, so it does not allow to recover the full range from your negatives, with a particular problem in the high values (i.e. the "almost white" parts) of the positive image which easily get saturated. OTOH, 16 bits are able to encode a 65536:1 dynamic range, meaning a density up to 4.8. Note that actual converters do not usually provide 16 bits: ordinary flatbed scanners can provide, let's say, 10 "real" bits or a little more. That's a 3.0 density, barely sufficient to digitize the full information that lies in your negative. Hence the importance of checking the maximum density of the scanner, which must exceed that of your films, and of saving to 16-bit files.
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