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Thread: workflow for inkjet prints from digital scans of 4x5 film

  1. #1

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    workflow for inkjet prints from digital scans of 4x5 film

    hi, has anyone found any resources (web or print) regarding workflow for making inkjet prints from digital scans of 4x5 transparency and negative films?

    thanks.

  2. #2

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    Re: workflow for inkjet prints from digital scans of 4x5 film

    Well, the best resource I found for putting together the general workflow and colour management was a relatively short booklet from Epson. It may not be perfect for your needs, as it's pretty specific to Epson printers and scanners, but it may be a good start. Try this:

    http://ftp.epson.com/pdf/pr32ph/pr32phcmw.pdf

    Cheers,
    \don wilkes

  3. #3

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    Re: workflow for inkjet prints from digital scans of 4x5 film

    I don't see it as one workflow, but rather as several. First is one of scanning, and that is largely dependent on film type, scanner, software, profiles and so on. The next on is your sharpening routine, your retouching if any, colour management, preparing the print in PS for print, and lastly your printing workflow. As you can see there many variables in this process. Maybe it is better if you make more concrete questions and surely there are lot of brilliant photographers willing to help you build your own workflow.
    Sergio

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  4. #4

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    Re: workflow for inkjet prints from digital scans of 4x5 film

    Yes, I see my post was vague.

    Specifically, I'm interested in the stage you refer to as "preparing the print in PS for print."


    Quote Originally Posted by sergiob View Post
    I don't see it as one workflow, but rather as several. First is one of scanning, and that is largely dependent on film type, scanner, software, profiles and so on. The next on is your sharpening routine, your retouching if any, colour management, preparing the print in PS for print, and lastly your printing workflow. As you can see there many variables in this process. Maybe it is better if you make more concrete questions and surely there are lot of brilliant photographers willing to help you build your own workflow.

  5. #5
    bob carnie's Avatar
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    Re: workflow for inkjet prints from digital scans of 4x5 film

    Don

    Here is a workflow that I like to use that you can find glean from Kelby Training, and parts of Dan Margulias demo's specific.

    STEP ONE- Open a file in RGB, first thing I will do is make sure the image is NUETRALIZED or correct colour balance using the eyedropper tool and picking points within the image I believe to be neutral. I use the info palette set to LAB to read the numbers , for a variety of reasons I find LAB numbers very intuitive . Once the A and B are near zero you are very close. I use L numbers to gage density and where each part of the image is numerically, L numbers go from 0- black to 100 white and I find this very helpful to set my shadow , quarter tones , mid tones , three quarter tones and Highlight tones. I find the L channel is great with my analogue background in Zone system, and the A B channels is exactly like the Magenta and Yellow dicrohic dials on my colour enlargers. I cannot emphasis the beauty of the info pallette and LAB numbering system.

    Some times an image will not reveal nuetrals or even exhibit them and then you use your best judgement.
    I have been colour correcting since 1976 so to me it really is easy, but if you are having troubles, there are many tutorials on colour theory, ring a rounds, as well Variations within PS that can help you determine your correct colour balance.
    I will do some channel blending and individual curve shaping to build up the image but this is image dependant and not always

    STEP TWO- Work on Contrast / Density and specific colour enhancement.
    this is a mode change to LAB mode where I would possibly do a shadow/highlight move on the L channel. Also open curves and adjust the L curve to the contrast I am looking for , as well make a A and B channel moves which if done gently improves colour separation. These moves are sometimes done seperately and on layers so that I can judge the effects individually and adjust.
    At this time if there are some colours needing boosting or nuetralizing the A and B curve method though tricky** you need to set a lot of anchor points on the curve* these small curve moves are fantastic for select colour adjustment.
    With a few Layers, and three blending options I use Multiply, Screen and Soft Light , one can dodge and burn, contrast blings to make the image work for you. . At this stage I am building the travel lines within a image which holds the eye or makes the eye go to certain parts of the image.

    STEP THREE- Sharpening for output. I use the L channel for this , but I am not opposed to those who say use RGB and fade to Luminosity or in fact any other type of sharpening and there are a lot. I have done many sharpening methods for large magnification prints and I prefer sharpening on the L or the K if in CMYK for specific output devices or processes.
    I use Dan Margulis method's , 1 type is for what I call sharpline sharpening, sharp lines and eyelashes hair ,buildings ect. which is on the L channel on a layer with high amount low radius and paint in the areas needed with a black mask using a crazy amount too see where I am sharpening, I use the red ruby function to really see where I am painting, once happy I reduce opacity to known values for output.
    I will also within the same image use second type , which I call landscape sharpening , water , flat areas of a scene, which is on the L channel on a separate layer with medium amount and high radius and paint in the areas that I want and then reduce opacity to taste.

    I find sharpening will increase contrast and you must be aware of this going into a sharpening plan, but with that said can be used as a fantastic tool to draw the eye to specific areas of an image .

    STEP FOUR- I now move back into RGB mode and will evaluate the look of the image and maybe make very small adjustments, *** levels, hue/saturation, select colour or others**
    These small tweaks are sometimes needed and I will move away from the computer for a moment to just readjust my eyes and then look for any percieved flaws

    SAVE AS - to printing device

    I hope this helps, probably lots of holes for some to find in my workflow** there are those here who think LAB is some kind of Voodo and not worth going into ** but this workflow has proven to me a very predictable way of PS Prepreration. We see the resulting prints immediately and our screen to print is very accurate over many different types of papers and process so I am a happy camper with the above methods.

    Bob

    Quote Originally Posted by don mills View Post
    Yes, I see my post was vague.

    Specifically, I'm interested in the stage you refer to as "preparing the print in PS for print."

  6. #6
    Resident Heretic Bruce Watson's Avatar
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    Re: workflow for inkjet prints from digital scans of 4x5 film

    People write entire books on this topic. Like Amadou Diallo's Mastering Digital Black and White, or George DeWolfe's Digital Photography Fine Print Workshop. And of course there are many more. Search around a bit and find one you like.

    Bruce Watson

  7. #7

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    Re: workflow for inkjet prints from digital scans of 4x5 film

    I have read most of the PS books. The best I have found was written by Barry Haynes, who lives not far from you: Photoshop Artistry...

    http://www.amazon.com/gp/product/B00...JT8YB8K73E4RQM

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