Scanning Project 9-Scanning Software

As important as the mechanical and optical characteristics of the scanning machine are, the software you use to scan has an equally profound effect on results. Manufacturer labeled software plus other software may come bundled with your scanner. In some cases, and depending on your goals, the scanner maker-labeled software supplied might be sufficient to your needs. Check it out before you buy more software. In general, heavy users will probably want to check out third-party software as well.

Some programs are quite simple in terms of their options and certainly can be used for prints and some film work; a more feature-rich package is where you will find options for many types of film and sophisticated enhancements and corrections. However, I rarely use the initial scan as my final anyway and make very basic adjustments in the scan and pass along the file to image editing software for corrections. This is not to say that you scan on Auto, as the settings you make will have a profound effect on the type and quality of file you create.

Note that some older scanners, while fine machines, may have issues working with newer operating systems, so always check compatibility before making a software buying decision. Some third-party software makers offer updated versions of scanner drivers for use in newer operating systems; unfortunately, equipment manufacturers rarely do, opting to sell you a new scanner rather than service their older machines or, in some cases, have dropped making scanners altogether and simply do not support their older products. This is somewhat reprehensible, but nothing new in the computer electronics game. Check the contact information at the end of this post for web sites where you can crosscheck older scanners with third-party software to see if you can find a fit.

Here is the input screen on Epson's scanner software. Click on the image to enlarge it if need be. The input here is for 24-bit color (8 bits per RGB channel) at 4800 dpi from a 35mm slide. Unsharp masking is set, Note the various adjustments available, When you click on one of the icons a control panel comes up where you can make changes.

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While many folks still use “older” scanners they tend to do so with older computers (read older OS’s) as well. There is no problem with this, and it’s why I rarely recycle “old” computers.

Following are some important items that should be part of the scan software. Note that each brand and version of software will differ in how these parameters are input, and each format and image type (film, print) will differ slightly in the options offered or required.

You may find that the “brand name” software that comes bundled with your scanner is not a complete as you would like for some projects, but is perfectly fine for others, While scanner company software can handle many tasks, my experience is that as you get deeper into scanning or want a fuller range of tools you will probably want to explore the third-party options as well.

I will go over each of these scan tool options in step-by-step fashion in the workflow section. For now, here’s a summary:

File Name: Each scan or set of scans should have a unique name/number that will help you sort the images out later. You also choose a “path” or specific folder into which the scanned image is placed after it is done.

Type of Image: This offers the choice of reflective (print) or transparent (film). This requires a different physical setup of the flatbed scanner for each.

Bit Depth: As in a previous post, this determines the amount of information per pixel in the scan. Higher bit depth equals more image information but it can really jump up file size.

Resolution: As discussed previously, the pixels per inch of the scan. Higher numbers offer the ability for bigger enlargements, although some formats may have quality limitations. Higher resolution will also boost file size. When scanning, choose the original image size as the output and use the resolution to get larger file, thus print size capability.

Image File Format: Generally you can choose JPEG or TIFF file formats. Keep in mind that JPEGs are compressed files, and TIFF is the better choice, although if you are scanning for a web page only JPEG is the way to go. My choice is to scan TIFF as I can always batch process any TIFFs to sized JPEGs later.

Image Parameters: This can include contrast, midtone placement, color balance and saturation, all of which you control with sliders or similar tools. My approach is to scan as “neutral” as possible (not trying to over-correct) while still retaining as full a tonal scale as possible, although some tweaks here, depending on the sophistication of the software, can emulate what you might be able to achieve in image editing software later. The toolbox usually includes a histogram tool, which can be helpful in avoiding clipping (loss of highlight or shadow information).

Film Profiles: These are presets that are configured according to a set of film characteristics that, when matched correctly, will generally save you work in color balance or black and white contrast adjustments later. Some software will have more extensive profiles than others, and they are worth exploring. Keep in mind that when you scan film you are dealing with a set of characteristics (color balance, contrast, white balance) that are, in effect, hard-boiled into the film itself. If you “fight’ these characteristics by having a generic or incorrect profile you are rowing against the tide and will have to do lots of work later, or not be able to get the scan right. This is especially important with negative film.

Some software packages have numerous profiles for many different film stocks and brands, in both black and white and color, and while not always spot on will at least put you in the ballpark. Or, you can experiment and mix and match and try different profiles and see what that gets you. As you do so you will be surprised at the varied results that are obtained. Because of its different “build”, Kodachrome film will generally require that you choose that profile rather than other types of slide film, which in more basic software can be simply a “slide film” generic profile.

Unsharp Masking: This curious phrase actually means sharpening, and most software has a default that you can change. This setting actually increases contrast at the pixel edge, thus giving the impression of enhanced sharpness. I generally keep it at the preset in the knowledge that I cannot effectively sharpen an unsharp image, although some images might benefit from increasing the sharpening strength. If there is a “Clarity” or “Structure” option it is, to me, a generally better way to enhance the look of sharpness in an image, as this helps avoid some of the “etched” look that overuse of Unsharp Masking imparts.

Dust and Scratch Removal: Dirt can easily embed itself in film emulsions, and short of rewashing the film (though that does not always work) the best way to help remove some of the objectionable stuff is to use this option. Note that this is not a “noise” reduction tool, which generally will soften the image. It works by scanning the image for anomalies and then placing that information into a fourth (aside form the three of RGB) layer, and then tossing that information out when the image is processing.

There are other options available, such as “multi-scanning,” “auto contrast detection and correction,” “grain reduction” and more that will be covered in the workflow section. Again, the sophistication of the scanner software, and your need to apply these changes during the scan, will determine how much you need or will use these advanced features.

Here's the input panel from Silverfast SE Plus, a comprehensive software that allows for many input and parameter options. Atop the panel are film selectors (note Kodachrome option); below that are file format, name and path inputs, and dpi. (Note: this screen is from a 4x5 color transparency scan so dpi is 1200 pip and file size output is 74.8MB). Also shown here are some parameter control options, which I will cover in the workflow sections. 

Final Thoughts on Software

The scanner’s optics, scan module, etc., are important, but if you know what the inputs do and set them correctly you will find that scanning is a fairly simple procedure. This may not feel so simple during your first few forays, but with practice and experience, will get you excellent scans in very short order.

In all, scanner software should help you solve certain problems that the image presents, although you may find, as I do, that some images are irredeemable. As you work, and especially as you edit, you will begin to recognize what can and cannot be accomplished, even with the most sophisticated controls.

This can be frustrating, but all told not as frustrating as banging your head against the wall of trying to rescue an irredeemable original image. While there are some images than can be scanned quickly and easily and be ready for whatever you have in mind for the image—a print, a web gallery or a custom book—others require more work. Some, however, may just be a lost cause. With that in mind I will address some typical problem children in the final section of this project and propose some scanner/image editing combinations that may bring them back from the brink, plus offer some advice about matters of discretion and valor.

Contact information for scanner software makers:

Canon drivers and support for Canon scanners:

www.usa.canon.com

Epson drivers and support for Epson scanners: www.epson.com

“Third Party” software dedicated to a variety of scanners, plus some support for discontinued scanners no longer supported by the original manufacturer:

SilverFast: www.silverfast.com

Vuescan Scanner Software: www.hamrick.com

Next posting: Scanning Workflow: Scanner Setup and Calibration

The Scanning Project-2: Outline

2) An Outline

My approach to this project is not overly technical, yet some technical discussion is unavoidable. I have always regarded technical matters as more “benefits” than the technical “thing” onto itself; in a sense mine is a practical approach and in that way hopefully accessible and applicable to anyone who wants to take on a similar task.

This project is not aimed at archivists at large institutions who have access to very high end scanning systems, but is more suited to those with medium-size image collections who want to digitize their film work within a budget and with equipment that does not require an advanced degree to operate. It is also aimed at those who remain dedicated to film capture but want to output on inkjet printers or for web albums. The procedures discussed should also be useful for small museums, historical societies and collectors who have  negatives, prints and even glass plates and want to preserve and perhaps enhance those images. That’s why I will include a section on print and larger negative scanning procedures as well.

Scan from a 6x7 Fujichrome shot in 1996 made on a flatbed scanner. Dedicated medium format scanners can be quite expensive, and a good flatbed will deliver high-resolution scans from larger format film. Photo copyright George Schaub.

In addition, access to lab facilities that handle reproduction of film on prints is becoming increasingly difficult, and, when available, quite expensive. That’s why scanning, converting film materials to digital files, makes sense in terms of both “saving” those images as well as being able to do something with them, be it making prints or sharing on the web or even making photo books to pass on to future generations.

Project Outline

The project begins with a discussion on editing, and while, this is a personal affair, I will offer some guidelines on the process and encourage creating groupings that will help you focus on a particular body of work (and film type) which I found helped in not being overwhelmed by the task. I’ll also discuss what may make an image a “lost cause.”

I’ll then briefly cover the mechanics of a scanner, including certain criteria to use when obtaining the best scanner for your type and scope of work. There are various types of scanners available, and while budgets are one criteria (and again, this project is aimed at the enthusiast or at those individuals and institutions with “small” collections) using a poor or low-quality, limited option scanner is simply a waste of time.

I’ll then outline what you might call a “philosophy” of scanning, an approach that I find yields the best results, and then get into the main body of this project: scanner workflow. This includes step-by-step procedures for negatives, transparencies, and prints. I’ll explore matters such as calibration, resolution, profiling, dust removal, sharpening, contrast, color balance and more.

The only things I can talk about are my own experiences with scanning and what I have learned through that experience. Like me, you will find that a certain degree of trial and error is necessary, including modifying (or hopefully exceeding) your expectations and procedures, depending on the scanner and software you own and the shape your film and prints are in.

Scan from a 35mm black and white negative shot at the New Orleans World's Fair in 1984 made with a dedicated film scanner. Copyright George Schaub.

My hope is that this project will encourage you to respect your work by using scanned images to share and continue to manifest your vision for others to see. I feel it is important to preserve and enhance your images as well as those images made by those in the past.

One note: It is unfortunate that scanning older photographic material is necessary at all. But as we have learned, photographic materials are transient and subject to decay, be it density loss, color shifting or the deterioration of the image due to poor processing procedures. The paper base of prints, poor storage materials and the film emulsion itself can be at fault and cause not only the loss of image quality but of the very image itself. Scanning stops that progressive loss at the moment you perform the scan.

Next posting: The Edit