Black and white negative scanning - tricky?

[Tyler Boley]

So, can I ask a dumb question then!

I currently expose colour negs by placing shadows at -2 and checking that highlights are within the dynamic range of the film (upto +8 on Provia 160, usually so far around +4 or +5). This would be zone 3 to zone 9/10. I know about and use grad ND filters. Would this dynamic range be beyond the capability of getting a good scan with the EPSON V700? If I understood a post above, it might be better to go for less contrast in the neg to get a good scan?

Cheers

Graham

You should be fine, it's still far less density range than a transparency. I've scanned many VERY full color and BW negs without hitting scanner limitations. You have to begin with capturing your scene range somehow within the film limits, sounds like you are doing that. We can capture, scan, and print many more demanding scenes now than when it used to have to fit withing C print limitations.

[bob carnie]

I use the digital colour meter set to LAB and read significant shadow and highlight regions and place them at numbers I know print well for Black and White images.
I also use this meter for colour to determine grey balance within areas of the image and use the scanner curves and levels to adjust for these regions.

Basically the same as setting aim points in PS and neutralizing as well making sure I leave head room for editing further down the line.

[Nathan Potter]

[QUOTE=cjbroadbent;1013869]I'm pretty sure it's bad practice; But I've got into the habit of scanning B&W negatives twice and blending in Photomatix.
This seems to keep a grip on the mid-tones without flattening out to hold detail at the extremities.

Interesting, I also occasionally do the double scanning of B&W and use Photomatix for the following tone mapping especially with my older B&W negatives. That's OK; I don't think there is anything in photography that is bad practice as long as it achieves your objective. OTOH there may sometimes be better techniques that we have just not developed ourselves or are aware of.

Recently I have begun to use bracketed exposures more frequently with my 4X5 B&W, especially when I view that the scene may be something special - often 3 images separated by 2 or 3 f/stops. Then I'll do N+0 development to catch the linear part of the curve that rests even at zone 1 and 2 and 8 and 9. Finally I'll combine using Photomatix with final tweaks in PS.

Historically I have used two bath development to extend the DR of B&W negatives. I use Diafine, the technique being that once the part A is exhausted in the emulsion the density decreases and stops independent of the degree of exposure given the film. For scanning I try to limit the density at about
LogD 2.1 yielding about 8 stops of DR. 8 stops can be squeezed out of an Epson V 750 scanner.

Nate Potter, Austin TX.

[pasiasty]

Colour transparencies, particularly Velvia 50, have very wide density range - that makes them very well looking and difficult to scan. Over 4d of (true, not declared by the manufacturer) dynamic range is needed, which is hardly achievable on flat-bed scanners like V700/V750. No such problem exists in case of B&W negatives.

On the other hand - silver-gelatin films does not allow to use Digital ICE that makes scanning more prone to dust and scratches. Theoretically you could use chromogenic B&W films, yet they are not available in sheets; or you may use colour negatives and scan them/convert scans to B&W.