>If that's what
> you're trying to do it seems to me that you're missing a large part of
> the equation.
Not really. The premise is that an image may or may not go to print.
It may be used on-screen. Final distribution is varied. While what you
say is true, the fact is that a straight scan of the negative results
in an image which is about as lifeless as a typical RAW file. At this
point, I apply various and sundry curves and adjustments to the scan
which gives me something to work with. However, with a few choices in
paper and processing, I automatically get these curves and gamma
adjustments. A scanned print gets me closer to the final result than a
scanned negative. If I have an analog point of reference I can make
the digital file match. But without an analog reference, I can flail
around quite a bit before coming up with an overall curves/gamma that
makes sense.
These curves and gamma may not even have anything to do with the
overall contrast and brightness of the final print. It is all about
the relationship of tones to each other. This is where the neg scan
just doesn't quite make it. There are few that do. Even the much loved
and respected hybrid shooters out there seem to be losing this tonal
reference as time goes on. One could presume that it's all for the
better, but I disagree. Without a point-of-reference, you can end up
with something that just doesn't work. I can take my negs and make a
contact sheet in the darkroom. This contact sheet, even with the tiny
35mm negs, gives me a starting point and understanding of tones. A
scan, unless specifically calibrated to the same reference standard is
all over the boards. My goal is to make my scans calibrated enough
that I can skip the chemical print process if I want.
There are times when I want to go hybrid. For example, I need to do
spot editing to an image. Or I want to do a web-display. Or I want to
submit the image to stock. I want my curves to work so I don't have
to.
--
Ken Norton
ken@xxxxxxxxxxx
http://www.zone-10.com
--
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