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Getting Your Pix Onscreen

Scanning creates digital images from negatives, transparencies, or prints. When images are scanned, their tones and colors are
converted into numbers that the software can edit. A scanner captures
samples of brightness and color in a regular grid pattern. The more
samples the scanner takes, the more detailed the scanned image is.
Image quality depends on the quality of the scan. Just as you can’t get
a good darkroom print from a poor negative, you can’t get a good
image from a bad scan, or even a good scan from a bad negative or
print. Scans made from poorly exposed or badly scratched film require
extra time to edit and rarely produce acceptable results.The scanning process is much easier if you know
beforehand how the image will be used. A
proper scan is the best starting point for editing
a print or negative, if you’re still using film cameras.
If the final result is to be realistic, the scan
should produce an image as close to realism as
possible. If the final result is to be a colorful
departure from reality, the scan should be as
close to the intended colors as possible.
Before you scan an image, you also need to
know how it will be presented. Will the final
image be viewed on a Web site or printed in a
publication? Will it be exhibited as a fine print, and if so, how large will it be? A
digital image has no real physical size until you print it or show it on a monitor.
Potentially, it might be printed or displayed in many sizes, but if you select the
wrong settings, you might end up with a sub-par image. Your scanning decisions
must be based on both the physical size you want and the characteristics of the
printer or display device.
Working with Scan Software
Scanning software is simplified image-editing software . To get a good
scan, you might need to adjust the size, brightness, contrast, and overall color balance
of a negative or print before you actually scan it. Fortunately, these basic
adjustments are available in good scanning software.
Two types of scanning software come with scanners:
■ Normal. Like ordinary software, you open the scan software, wait for it to
find the scanner, scan the image, and save the image as a file for editing.
■ Plug-in. Many scanners include plug-in software that works in conjunction
with another program. You must open your favorite image-editing software
(Photoshop, Photoshop Elements, iPhoto, and so on), choose File, Import, and
then select the scanner’s plug-in software from a list. Once chosen, the scanner
plug-in will hide the image-editing software and display its own interface
and controls. When scanning is complete, the plug-in software will exit,
return to your image-editing program, and display the new scan, ready for
editing.
Scanning is not difficult. The best approach is to practice scanning different types of
prints, different size prints, and negatives (if possible).

Film Latitude

Accurate exposure is just as important with color reversal films as it is with digital.
Reversal films also have little exposure latitude—that is, they do not tolerate over- or
underexposure (see Figure 5.3). Colors in a transparency begin to look too dark with
as little as one-half stop underexposure. Because there is little tolerance for overexposure,
colors look pale and bleached out.
Color negative film has much more exposure latitude than reversal film. You will
have a printable negative with as much as one stop underexposure or three stops of
overexposure. However, the best results always come from correctly exposed film.
In contrasting lighting, color reversal film and most digital cameras are not able to
record the full range of brightness. In scenes with very bright highlights (such as
snow or sand) and very dark shadows, the scene’s brightness range (the overall contrast)
is greater than the exposure range of the film or sensor.
If the shadows are correctly exposed the lightest areas will be blank white. If the
light areas are well exposed, the shadows will be featureless black. You can compromise
and expose for the most important part of the scene. You can also bracket
(shoot additional pictures with different exposures). The best solution to greatly contrasting
scenes is to use an electronic flash or a large reflector to add light to the
shadow areas, thus reducing the scene’s contrast
Low-contrast lighting has a smaller tonal range and thus allows film and digital
cameras to easily capture details in both the bright and dark areas. In addition,
such lighting is more forgiving of exposure errors than greatly contrasted lighting.
Fill-in flash can also lighten contrasted shadows.
Even though negative film is more forgiving, remember that you will lose additional
detail when you scan in an image. Scanning an overexposed or underexposed negative
results in loss of detail in shadows and highlights. This situation is even worse
when you scan in prints!

Exposure Latitude

Color transparency film and most consumer digital cameras have little exposure latitude.
Even slight overexposure or underexposure is readily visible, especially in contrasting
lighting. Consumer-level digital cameras blow out highlights in overexposed
prints . A blowout is a dead giveaway the image was taken with a digital
camera.
Some professional digital cameras capture 36 bits per pixel instead of 24, and are
better able to deal with high-contrast scenes than less expensive, point-and-shoot
digital cameras. Even though 24 bits per pixel means millions of color combinations
are possible, 36 bits per pixel increases that capability to billions. As a result, 36-bit
cameras capture what the human eye sees more accurately. This helps color balance
by providing more colors that can be edited and adjusted.

Color Balance and Slide Film

Color balance is more important with reversal film
than with negative film. Because reversal film is viewed directly, any minor color
cast will be noticed. The colors in negative films can be corrected in printing, so negative
films produce acceptable results under a wider range of lighting. Even so, you
get the best colors if film is shot under correctly balanced lighting or if color correction
filters are placed on the lens to correct the color of the light.
The color of daylight changes depending on the weather and the time of day.
Daylight color film is color balanced for average noon sunlight. An hour or two
before sunset, the light becomes very red or yellow. On cloudy days, the color of daylight
becomes much bluer. Color filters can be used to eliminate the bluish color if it
is undesirable.

Color Balance and Film

Color film can record colors that your eye does not
see when the picture is made. This is because film is
manufactured to reproduce color accurately under
specific lighting conditions. If the picture is made
under the wrong lighting, colors in the photograph
become unbalanced, which means that there is an
unwanted color tint (or color cast) over the entire
photograph.
For example, if daylight-balanced film is used
indoors under incandescent light bulbs, objects that
are supposed to look white, such as a white shirt,
will be rendered with a red tint. This is because
incandescent light bulbs produce more light in the
red wavelengths than daylight does.

Exposure and Focus

Color balance and latitude are two important characteristics of film and
digital media. Color balance is the film or CCD’s response to colors in a
scene. Latitude is the amount film or a CCD can be under- or overexposed
and still deliver a decent picture. Digital cameras are capable of
overexposure and underexposure but actually have no more latitude
than print film! For this reason, your images must be technically accurate
for both types of media.
By comparing film and film technologies to the capabilities of digital
cameras, you will certainly learn new techniques to try in digital. This
chapter explains color balance and then examines the capability of both
mediums to handle extreme exposure situations.

Digital Cameras and Color Balance
Digital cameras are not immune to color balance issues, although white-balance
features in most cameras help to reduce problems when used properly. White-balance
enables photographers to set the “white point” for a camera before pictures are
taken. This forces a camera to consider a specific color of lighting as purely white
light.
The purpose of a white point (white balance) is to force the camera sensor to see the
color you designate as pure white. To avoid off-color images taken indoors with fluorescent
bulbs or zenon bulbs, you might need to point the camera at a white object
(such as a piece of cardboard or a white wall), and then set the white balance on the
camera. By setting a white point, the camera will not have color-cast issues later on.
Television news crews, for example, avoid strange colors and skin tones by setting
the white point of their video cameras prior to every shoot.
Most digital cameras can accurately compensate for lighting color and overcome
unusual lighting conditions. However, occasionally their automatic adjustment systems
get confused. This often happens indoors, where lighting systems can vary
greatly. If you’re shooting indoors under unusual lighting, set the white balance on
the camera before taking pictures.
To set the white balance for your camera, follow these general steps:
1. Access the menu on your camera. Usually there is a dedicated Menu button
somewhere on the back of the camera.
2. Scroll through the menus until you find a setting for WB, White Bal, or White
Balance.
3. There might be a few more choices, such as Presets. Continue through the
menus until you reach choices that resemble the following:
■ Auto. Automatically corrects white balance. This setting is often the
only one you need, especially if you photograph outdoors.
■ Daylight. Set the white balance to daylight if you’re shooting outside.
■ Tungsten. Set white balance to tungsten, if you’re shooting indoors
with incandescent bulbs (the screw-in type from GE). These bulbs emit a
lot of yellow light. The tungsten setting will compensate by reducing
yellow and increasing blue.
■ Fluorescent. Set to fluorescent to compensate for the excessive green
output by these tubes.
4. Highlight one of these choices and then press OK. The camera is ready for
unusual lighting.
The color temperature of “white light” is measured on the Kelvin scale . Warm colors of light have low color temperatures; cool colors of light have highcolor temperatures.
Different color films are manufactured for different color temperatures. Daylight film
is balanced for 5,600° Kelvin (or K) light and gives accurate color with midday sunlight
or electronic flash. Indoor film, called Type B or tungsten film, is balanced for
3,200°K light and gives excellent color with professional quartz-halogen lights (powerful
lights up to 1,000 watts). It will give acceptable, slightly warm color with ordinary
incandescent light bulbs, which are 2,500°K to 2,800°K.
Video cameras and some digital cameras have circuitry to automatically adjust the
color balance to match the color of the light source. Digital cameras also provide settings
that enable you to emulate the warm yellow cast of indoor lighting or the
harsh green color common with fluorescent lights. These custom settings resemble
different types of film such as tungsten and indoor film.