Using a DSLR to scan Negative film by Stefan Schmidt
Hi again folks! This is a follow-up article about how I’m using my Canon Eos 5D MkII to shoot backlit slides instead of using an ordinary flatbed scanner. (See previous article HERE) Now I will show you how I go about “scanning” my negative films using the film holder from the flatbed scanner and the light box I nailed together. Shooting the negatives is only half of the story though, the second half is actually developing the negatives to positive pictures and getting a decent result in the end. I have experimented a lot and I will share my workflow with you. That being said, I do not guarantee that my way is the “right” way. I just hope to get you all going!
For those of you who did not read my first article, here is a picture to show you my setup. I have a piece of MDF-board with a slide-projector at one end, a lamp-cover act as a diffuser and finally I have my “box” with the glass from an A4-photoframe inserted into it. In the lower left corner of the picture I have included an image of how the box look when I shoot slides. The white elastic band that is used to keep the slides from falling off the wooden strip is not used when shooting negatives, I just pull it down under the strip.
I use the same settings as for slides, ISO 320 , halogen light WB, Aperture priority and I set the aperture to 4,5. Finally I use a 2 second self-timer and after each shot I have a 2 sec preview. If the negatives have really high contrast like flash-exposures I venture into the menu and reduce contrast but typically I have all settings in there set to neutral. You may notice that I have a lot of small wooden strips and what not under my camera in this shot. That is because my box was designed (yes it’s ugly as hell but I use that word anyway) to be used for slides. The frame holding the negatives are wider in all directions and that makes the negatives end up higher than the slides. That is also why I needed to put a higher piece of wood behind the camera to keep it aligned. Finally I also put some of these strips of wood under the MDF-board in order to raise the end where I sit shooting just a little bit. This way the large film-holder will not topple down on the lens hood. Keep it simple.
You shot the negatives, now it’s time to enter the darkroom and get developing!
Let’s start with Photoshop. I myself use CS5 and by now you will have lots of pictures looking like this in bridge:
When I open a picture the RAW-converter will start. Before I choose to open the picture in photoshop I look at the histogram to see if there is a “burnout” in the black or white end of it. If there is I use exposure to adjust the curves to my liking. I also want the RGB curves to stretch out over as much of the Histogram as possible and I choose this setting for the picture in this example:
When the picture is opened it will still be negative. Press Ctrl + I to invert it (or CMD + I on a mac) and do not panic when it looks like crap! The colors are way out of sync. It will look something like this:
To start fixing this I usually add an adjustment layer with levels in the adjustments tab on the right. Clicking on the adjustment layer open up the ADJUSTMENTS panel and as standard it allows you to set levels for all three RGB-colors at once. Now however, you do not want to do that. You will need to click on the drop down menu and set the levels for Red Green and Blue.
Photoshop has an advantage over Capture one in that it seem to be programmed to “sync” the color-channels and that enables you to get a fairly good result pretty quickly. In the screenshot below you can see an estimation of how the picture is turning out better and better as I go through the channels and trim their levels. At the far left of the image is the altogether blue picture that looks just terrible after I inverted the negative. Notice how tuning each channel increase the quality of the picture. When the final, blue, channel is adjusted the far right of the picture looks pretty natural and we are on our way to get a nice picture.
Please also notice that by moving the middle “handle” under each channels diagram you can fine-tune the color balance of each channel. Now all that remains are repairing the scratches that is evident from the film itself, cropping and maybe reducing some noise with the filter “Despeckle”. Of course this can be tedious to do with each picture, that’s why I try it out on one picture and when I’m satisfied I go to the HISTORY-panel and click on the top action that is opening the picture. Then I click the ACTIONS tab and in that panel I click the icon next to the waste bin to “Create a new action”. I name the macro I’m about to record “Kodak negatives 100 iso”, for example, and redo the steps above on the channels adding the despeckle-filter and maybe even the crop. When I’m finished I stop recording, load up another set of pictures and apply the macro onto each of them. That saves a ton of work!
As different films have a different character and base color I have built myself a small library of actions for different brands and iso. Very handy to have.
In this example I had a small blue tone that was hard to get rid of, I finally solved that by adding a warm standard photo filter on a new adjustment layer and that hit the spot! I am mostly using levels but there is an adjustment layer using curves and that works just as well but I had to choose what I believe to be the easiest way to go about this for the article. I would also like to point out that Photoshop remembers that there is a negative picture as a foundation for the final picture and many tools can go haywire. In those cases, save your picture as a TIFF and load that copy into Photoshop again and you will be all set. No more misbehavior.
Developing negatives using Capture One
I’m not going to cover this in detail as the general idea is the same, I open my picture and after inverting it I begin to work the channels the same way as in Photoshop. (That is partly why I showed that method.) The trick is to invert the picture as Capture One Pro do not have a command or tool for it. I do this by going to the level-tool:
I then pull the black handle to the right and the white handle to the left and the picture is inverted! I am pretty sure you can do the same thing in lightroom but I have not tried it. Your levels-tool will now look like this:
Now you’re ready to work those individual Red Green and Blue channels in the levels-tool. Please note that Capture One really turns on it’s head a little when working with negatives like this. After inverting the picture all controls for adjusting light or color is inverted as well. For example, if you increase the light in the image it will turn darker! Just as it does in an old-school darkroom. The more you exposed the photo paper, the darker it got when it was developed. Call me crazy but I actually get a little nostalgic when my computer all of a sudden behaves like my old analog darkroom. (Except for the smell.)
Some of you will not enjoy this 😉 and will therefore be better off by saving your picture as a TIFF as I mentioned above. When you work on that TIFF you will have no problem.
I create development recipes to apply on many pictures in Capture One and they make batch-developing a bunch of images super easy.
Examples of developed pictures from negatives.
As my article comes to an end I would like to show you a few pictures I developed from my negatives.
That’s me in the middle of the picture above, it was taken 1988 in the Swedish alps. Below is a picture of my wife from around the same time. Kodak film above, Agfa below.
This is shot in Halle Hunneberg in 1989 just before sunset. I was there looking for elk but I did not see any. The film is 200 iso kodak and the negative was somewhat underexposed.
If you have read this far I salute you! Well done! i realize this article got a bit long however I tried to shorten it. I hope this will inspire you people out there to dig out your old favorite negatives and give it a go yourself!
With my best regards