![\"box_open\"](\"http:\/\/www.inkofpark.com\/wp-content\/uploads\/2010\/01\/box_open.jpg\" "\\"box_open\\"")
<\/a><\/p>\nThe first step was to determine the resolution at which to scan the slides, and possibly a lower resolution for the final scan. Usually when I scan photographs I try to scan at about the resolution of the original image–usually about the scale of the “graininess” in the image. If the graininess is smaller than the blurriness in the picture I would scan to fully sample the blurriness, but no finer.<\/p>\n
There are some resolution choices to consider that do not require experimentation. Velvia 50, which has a reputation as an excellent film, indicates<\/a> resolution typically coarser than 150 lines\/mm (3,810 lines\/inch). 150 lines\/mm corresponds to an equivalent of about a 20 megapixel camera. A recent era camera like the Nikon D300 has a 12.3 megapixel sensor, which corresponds to a resolution of 119 lines\/mm (3,030 lines\/inch), after adjusting to make it 35 mm equivalent.<\/p>\n The following picture shows a portion of a color slide scanned at my scanner\u2019s maximum resolution,12,800 samples per inch, followed by a resampled version of the same image at 2,133 dpi (1\/6), followed by too coarse a scan at 1,067 dpi (1\/12). Notice that the correct resolution is not far from a 6 megapixel camera, about the same as my Nikon D40. The following picture follows the pattern of the color slide, but is of a black and white slide. The resolutions are the same as with the color slide.\u00a0 For the small parts I have radically stretched the contrast.<\/p>\n I scanned at 16 bit\/channel (48 bit color) for most slides. The reason to do this is that the slides require some significant color processing. Most of the slides are severely overexposed, and typically badly yellowed. In truth, if I were to simply fix the exposure issues and deal with the yellowing it might be OK to scan with 8 bit\/channel. However, it is not clear that this processing is the last these slides will see. While the final output of the process stream will be a JPEG (which is limited to 8 bit\/channel) I would like that JPEG to be fully utilized so that future editing does not lead to posterization or banding.<\/p>\n It may be helpful to understand posterization, also called banding. The following picture shows an image with 8 bits per channel, or 16 million colors, then 256 colors, and then 16 colors. Obviously the 16 color version is totally unacceptable. The 256 color version is visibly worse than the 16 million color version, look especially at the reddish object in the lower right.<\/p>\n The following diagram shows the image and histograms at two stages of processing, one starting with a 16 bit\/channel image, and one starting with the same image at 8 bit\/channel. Notice how the histogram in the final section of the 8 bit\/channel image has deep valleys between the peaks\u2014effectively that histogram is showing banding. Because the banding is nearly invisible in the 8 bit\/channel image I think I could reasonably scan at 8 bit\/channel; however, it would not take much more processing to produce visible posterization in the image scanned at 8 bit\/channel.\u00a0 The only two operations performed on this scene are contrast enhancement using a \u201ccurves\u201d tool and color correction using the \u201ccolor balance tool\u201d.<\/p>\n The slides include a variety of flaws. Most of them are underexposed. Most of them have also yellowed with age. There are places on some slides where the emulsion has what appear to be crystals growing, and others where the emulsion has retreated from small sections.\u00a0 The following picture shows dark spots in some areas which are the caused by this crystalline looking deposit.<\/p>\n The following slide has clear parts, where the emulsions appear to have retreated.\u00a0 On most slides this is only near the edge and the best solution is cropping.\u00a0 However, on some slides it affects a subject\u2019s face and must be hand painted.<\/p>\n Color correction and contrast enhancement was performed with the \u201clevels\u201d or \u201ccurves\u201d controls and the \u201ccolor balance\u201d tools. The results of those operations are shown on the following image.\u00a0 The left-most frame is the original scan, which looks like a badly overexposed black and white picture.\u00a0 The middle image has somewhat better exposure, but looks like a sepia toned image.\u00a0 The rightmost picture is color corrected, and reveals that photograph was not actually black and white, but a color photo.\u00a0 Note that this picture isn\u2019t really worth saving due to the motion blur and subject matter, but it is revealing of the impact of basic editing.<\/p>\n In addition, the process of digitizing the image introduces dust motes and fibers, some of these dust particles are clearly visible in the frames above.\u00a0 To control the motes and fibers I brushed each slide on both sides, brushed the light source, and cleaned the scanner bed between each scan.<\/p>\n Most mote correction was accomplished with the clone brush. This worked for any region where the pattern was consistent and broad, such as the sky, or on gravel. However, across people\u2019s faces the clone brush did not produce very good results.<\/p>\n The fibers often crossed faces or fingers, or other hard-to-clone regions. The brush seemed powerless to remove the fibers too, though it was efficient at moving them. The dirtiest slides were scanned twice, with brushing in between. Then the slides were overlaid, masked, and the top slide\u2019s dirty parts erased to reveal the clean slide underneath.<\/p>\n While the method is effective, it is also a pain. In addition to doubling the scanner time, it increased the processing substantially. The slides had to be registered very accurately for the method to work. This required careful positioning, and rotation. Both operations were agonizing due to my computer speed. For color slides it was nearly intolerable, as my software crashed when I tried to use more than one color 16 bit\/channel layer.<\/p>\n For reference, to register two images you take the two scans and make them layers in a single image, then set the \u201cblend mode\u201d to \u201cdifference\u201d.\u00a0 Perfect registration will reveal a black screen.\u00a0 The figure below shows the full image on the right, and the difference image on the left.\u00a0 The white outlines tell that I don\u2019t have the image exactly registered, perhaps the rotation is a little wrong. The layers that comprise a finished product include the two \u201crasters\u201d and the \u201cmask\u201d, as shown in the layers dialog below.<\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\nBit Depth<\/h4>\n
<\/a><\/p>\n<\/a><\/p>\nCorrections<\/h4>\n
<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n