This movie from the dpBestflow website shows how to batch-adjust black and white negatives from camera scans. You can read the whole page here.
The movie linked below is from the dpBestflow.org website describing the camera scanning process. In this movie, the several types of hardware that you can use for the process are outlined, along with considerations about how to set up and work with them.
These include a bench system, rail system, bellows system, lens-attached system, and copystand system.
The entire best practice page can be found here.
We’ve added quite a bit of material n the dpBestflow website describing the process of Camera Scanning (using a digital camera as a scanner for film originals). There are two pages that have been created. the first is a Best Practice page that outlines what the choices are for hardware, as well as the software for image manipulation.
The second page is in the Workflow section, and describes a case study from Richard Anderson’s studio. He worked with his production assistant Matthew Yake to digitize more than 50,000 images from 20 years of work for Center Stage in Baltimore. the page describes the project approach and details.
Here at the annual CEPIC congress in Dublin, I’ve been included on a panel that is addressing the technology, challenges and opportunities of mass digitization. The panel is, from left to right, Nathalie Doury, general manager of Parisienne de Photographie, Angela Murphy, Digital Asset Management consultant (and so much mpore) from The Image Business, discussion leader Professor Dr. Thomas Dreier, Sylvie Fodor, General manager of CEPIC, and Susan O’Malley from Google.
The discussion included background and progress on two particular mass digitization projects, Europeana and the Google Books project. Of course, projects like these are controversial in the context of a place like CEPIC, where those who trade in intellectual property gather. ASMP has filed suit against Google for the Books Registry project, in an effort to create a fair share of revenue for visual creators whose work is included in the scanned books. While this is likely to take some time to resolve, we have hope that, like the authors and publishers who have nearly come to settlement with Google, we can create an equitable arrangement.
In addition to the discussion of the issues surrounding the Google lawsuit, I presented the case for individual photographers and other rights-holders to crete their own mass digitization projects. We need to learn some lessons from the record companies about making our intellectual property available in digital form. Instead of hoping that the technology will go away, we need to embrace it, and work to create sustainable business models that exploit it.
One of the features of a sustainable business model if the reduction of production costs. To that end, the work I’ve been doing for the last couple of years with the Camera Scanning process can help photographers unlock the creative and economic power of digitized film images. Working with Richard Anderson, Matthew Yake and Darren Higgins, we’re created some great new tutorials on the dpBestflow website that explain the process and how to set it up, as well as a sample workflow. (More on that in another post)
At the CEPIC presentation, I displayed 36 inch prints made from Camera Scans, and the unanimous conclusion was that the quality was excellent, even within the context of what a museum would be looking for. Thanks to the dpBestflow team for getting the material finished and posted in time for the presentation.
presented some sample prints that demonstrate the quality of camera
Richard Anderson and I will be doing a camera scanning workshop in New Orleans on the 28th of April (doors at 6:00 pm, program at 6:30). We will present techniques for creating reproduction-quality scans from film and negatives using a digital camera and inexpensive copy hardware. The program is free, but space is limited, so sign up early if you are interested.
Full announcement after the jump