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.

Ω

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-3: Editing: Color Slides

While you might think the first thing to do is run out and buy a good scanner (I’ll go over different types of scanners and their benefits in a future posting) the most time-consuming and crucial part of the process is figuring out what you want to scan.

There's no question that some types of slide film hold their color and density better than others. This scanned Kodachrome, shot in 1992, still retains all the tone and color from the day it was processed. Photo copyright George Schaub

 The benefit of starting with past work is that you have had time to “digest” whether that work still holds meaning for you. This helps in the editing process as hopefully you have become more discerning in terms of image quality as well as considerations of what image content stands the test of time. In some cases, for those who shot film way back, the physical condition of certain types of film will play a big role in this process.

As to what images to choose that is a very personal matter and I will not make any suggestions here. All I can say is that if you have dupes or similars of a particular shot do take some time to pick the best of the lot. This might seem like it goes without saying, but editing means making choices, and getting involved with scanning means that you will be making decisions about picking the best of perhaps four or five shots of a particular scene. Just plant your flag and go for it!

Color Slides

The first step is to think about, and choose, slides that will yield good scans. As you work you will learn what might work, what will require extra effort to get right, and what slides are just not going to turn out right. You can fight city hall to an extent, thanks to software, but there are simply some slides that will not work out. You can try a few poor quality slides to see how far you can take them, especially if they are of precious moments or memories, but don’t expect much from them except having a record and a snapshot of them in their current condition.

Here's a scanned Ektachrome exposed and processed in 1994. The original was color rich and had textural whites, even in the bright clouds in the sky. While there is certainly some diminution of the color, the biggest problem, and that which will dash any hopes of getting a good print from the full frame, is the loss of density in the brighter areas of the clouds. Note the burnout of the cloud edge above the beer mug. This cannot be properly burned in and although very experienced software users might be able to get some texture back, overall it might just not be worth the time required to get it right. Photo copyright George Schaub

Of course, one option is to crop out the offending area. That's what I did here, but by doing so I got pretty much right to the edge of acceptable sharpness, and would opt to make this a considerably smaller print than I might otherwise like. I also cloned some of the blue into the upper right edge to get rid of some burned out sky. Knowing what you can and cannot accomplish and making edits accordingly will save you time and perhaps wasted efforts later.

One of the worst kept secrets in photography is the poor keeping qualities of certain types of slide film. A good read is Henry Wilhelm’s “The Permanence and Care of Color Photographs” (http://www.wilhelm-research.com) in which he rightfully chastises certain manufacturers for the poor keeping qualities of products that promised to be “the memory keepers.”

Even with optimal storage conditions, many types of transparency film will, by their very nature, begin to deteriorate way before one would anticipate, or hope. If you have not looked at your old slides of a certain breed for many years you might be shocked at what you discover—color shifts (mainly towards magenta), surface deterioration and density loss (blacks becoming mottled, whites and highlights blanking out). This is nothing new. Commercial photographers found this out many years ago when trying to salvage their E-3 processed Ektachromes.

Luckily, some of this loss can be ameliorated by software, but when highlights are gone in positive film there’s no bringing them back. In my experience this is a common occurrence with most slide films of a certain vintage, although Kodachromes, due to their unique construction and processing, do best in this regard. Other Kodak produced films turned out to be real dogs, including higher speed Ektachromes and especially older Ektachromes, even those with E-6 processing. Labels like Anscochrome and Agfachrome can be abysmal in their keeping qualities.

Here's an Agfachrome exposed and processed in 1990. The shift to magenta is apparent, and there has been considerable density loss. In most instances, scanning and trying to get something decent out of such slides might be a waste of time, although I certainly do not discourage your trying: that's how you'll learn about what should be edited in and out of your scan collection. Copyright George Schaub

One option of course is converting to black and white, which in one step removes the curse of the color shift and allows you more control over density and tonality. This is a good strategy for precious photos of family and friends.

 The proper storage for older film materials is not in the realm of this discussion, and again Wilhelm is a prime source on this matter, but common sense methods include storage in low humidity and low heat conditions, using so-called archival storage materials, and limiting exposure to light. (One interesting sidebar is that while Kodachromes generally stood the test of time much better than other materials, if you regularly projected Kodachromes you have substantially cut down on their life expectancy. That’s why slide trays of experienced presenters contained not original Kodachromes but dupes.)

Note the retained textural whites in the flag bunting in this scanned Kodachrome from 1984. Slides like this are easy to scan and yield excellent prints. When you edit, batch images with these characteristics for a productive and rewarding scanning session. Start with these so you can get some positive reinforcement about what scanning can do. Likewise, batch the problem slides and those with similar flaws together so you can develop a workflow plan that will aid in their recovery.

Photo copyright George Schaub

In any case, one of the first considerations of editing might be to choose and salvage as best you can those slides that are starting to go over the edge. They will be apparent to you as you edit your materials. Keep in mind that some may be irredeemable, but if the image is important to you, such as childhood photos of your now grown children, also keep in mind that you can always ignore the color shifts by converting the image to black and white or even rescue some of the “natural” color via processing. As to density loss (highlights gone blank) there’s nothing much you can do about that, although judicious cropping and some software work can help salvage something from your most precious shots.

Finally, batch your edits by film type as best you can, as you may be working with film “profiles” with certain types of scanner software as a way to get a ballpark read on the proper values for each type of material. This is especially true when scanning Kodachromes versus other types of slide films. In general, Kodachromes are usually “warmer” than other types, and their color layers are quite distinct in character. This segregation by type might be difficult if you have generic (non-brand labeled) mounts, but do the best you can.

Next posting: Editing, Black and White