Archived posting to the Leica Users Group, 2000/05/29

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Subject: RE: [Leica] scanning b/w -- workflow -- slightly OT
From: "Bill" <bnelsch@uswest.net>
Date: Mon, 29 May 2000 12:22:45 -0600

Great Tips Johnny - Thanks.

Bill in Denver

- -----Original Message-----
From: owner-leica-users@mejac.palo-alto.ca.us
[mailto:owner-leica-users@mejac.palo-alto.ca.us]On Behalf Of Johnny
Deadman
Sent: Monday, May 29, 2000 8:56 AM
To: Leica Users digest
Subject: [Leica] scanning b/w -- workflow -- slightly OT


In detail, here's how I do it on my Minolta Scan Dual. I'm not touting this
as a 'right' way of doing it... but I arrived at this process after much
trial and error, and found that it intuitively matched the way I work in the
darkroom, which helps me visualise what I'm doing.

NB all images are taken using a LEICA!!!!!

- -- scan using either Vuescan for critical scans or the Minolta PS plugin for
non-critical work. In either case, use NONE of the built in filters etc and
scan at 2400 dpi. In Vuescan I choose 16-bit gray (in fact it's 10-bit with
the Minolta).

- -- go straight to Photoshop, do not pass Go, do not collect UKP 200

- -- If the image is from Vuescan, use Levels to set the b/w point as
described in following, then convert to 8 bit. If image is already 8 bit,
set black/white points so there is no clipping but no headroom (with the
'preview' box unclicked and the 'alt' key held down, moving the sliders
shows you exactly where the clipping begins.)

- -- now add a 'curves' adjustment layer. This is like choosing the grade of
paper you print on, and should always sit above everything else. The curve
is effectively the H&D curve of the 'paper' you're printing on... so the
more 'S' shaped it is, the harder your paper. I usually add one point right
in the centre, which I use to adjust overall lightness/darkness, then a
point in the shadows which I lower to put some 'oomph' into the blacks, then
adjust highlights if they need it. At this point you should have an ideal
'straight' print.

- -- I like to 'burn in' everything that isn't essential, so what I do is
outline my main subject using the lassoo, switch to quick mask (Q key),
apply a very wide gaussian blur (200 pixels), invert (apple-I), switch out
of quick mask, and add this as a 'levels' adjustment layer that sits between
the background and the 'curves layer. By using the gray slider, you can now
darken down your background to make the subject stand out. You can achieve
the same thing in curves by selecting the middle of the curve and dragging
down. (NB the point of using adjustment layers like this is that it's
non-destructive and you can play with it later).

- -- repeat the above step for separate areas if you wish. I usually add in
one layer just to darken down the edges and corners a little, just as you
would burn in the sides of a print

- -- Now the 'dodging'. I usually use the dodge tool with the intensity set to
5% and the 'highlights' option selected, and just lighten up the highlights
on faces etc, bringing some light in to eyes hair teeth cheekbones whatever.
If you wish to do this non-destructively, enclose the area you wish to dodge
in a rectangular marquee and use apple-J to copy it to another layer that
sits above the main image, and dodge that instead.

NB note that I generally don't dodge midtones etcetera... I set up the
'straight print' so that these look good, and darken down everything *else*
using adjustment layers. The advantage of doing this is that the critical
areas of your image -- the subject -- are the least mucked around with and
so should remain high quality and good contrast etc.

- -- similar process as dodging to burn down any distracting highlights --
arms, hands whatever

- -- finally image repair... spotting and so forth. I guess you all know how
to do this, but the point of doing it last is that if you do it earlier your
tonal corrections can make your repairs show up unexpectedly.

Hope this is of use to someone.
- --
Johnny Deadman

photos:      http://www.pinkheadedbug.com
music:       http://www.jukebox.demon.co.uk