Tag Archives: #VueScan

E100-Final Frame of a Stormy Sunset

I’ve been experimenting with Kodak Ektachrome E100 slide film.

Kodak reintroduced Ektachrome in 2018/2019, several years after production this once popular film had been suspended.

I exposed one roll in Portugal in March 2019 and I was pleased with my results.

In the last couple of months, I bought more of this film and loaded it into my Canon EOS-3.

This photograph was exposed in July 2020 as a storm cleared over the North Conway station at sunset. It was my last frame in the camera, so there was no opportunity for bracketing.

Richard’s Lab in California processed the film, and a few minutes ago I scanned the slide using a Nikon Super Coolscan5000 digital scanner powered by VueScan software. Since the slide is relatively dark, I opted for a multipass scan to extract the maximum data possible.

I processed the scan in Lightroom and lightened one version while softening the contrast.

Below are my results.

Unadjusted multipass scan of original E100 color slide exposed in July 2020.
Scan adjusted using Lightroom to brighten overall exposure while controlling highlight and shadow areas.

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Rochester & Southern—Example of a Multiple Pass Scan.

This morning working with a Nikon Super Coolscan5000, I scanned this vintage Kodachrome 25 color slide.

This is a scaled version of the original scan without post processing color or contrast adjustment.

I used Hamrick’s VueScan software which allows me considerable control over the scanning process.

This has the ability to make a multiple pass scan that can obtain greater detail from highlight and shadow areas by scanning the same image several times and combining the scans.

It has a color setting specifically tailored to Kodachrome film and allows white balance fine-tuning.

VueScan work window for controlling color and exposure during scanning. Notice that I’ve used the Kodachrome profile.

VueScan Input control window where I have selected ‘Fine mode’, 3 samples, and multiple exposure features. I outputted the scan as Tif file at 4050dpi, then scaled in post processing for internet presentation.

This is a much enlarged section of the unadjusted raw scan (scaled for internet).

In post-processing, I used Lightroom to make fine adjustments to improve color balance and contrast before scaling for internet presentation.

I made the original photograph on April 19, 1989, showing a northward Rochester & Southern freight with former New York Central GP40s crossing a road at Scottsville, New York.

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Classic Chrome: On this Day in 1988 I had 2020 Vision.

Ok, make that a vision of Conrail 2020.

It was just after 8am on May 27, 1988, when I exposed this portrait (vertical) view of Conrail BAL013 stopped at CP123 east of Chester, Massachusetts.

The sun was perfect and I used this opportunity to make several photos of the train as it held for westward Conrail intermodal freight TV9, which passed CP123 at 8:13am

This is a Kodachrome 25 slide (using the professional PKM emulsion) exposed using a Leica M2 with 50mm Summicron lens.

I scanned the original Kodachrome slide with a Nikon Coolscan5000 scanner using VueScan. Later I scaled the file using Lightroom. I did not alter color balance, contrast, sharpness or other inherent characteristics. The original image has an overall cyan (blue-green) bias that was characteristic of Kodachrome from that period.

I calculated my exposure using a Sekonic Studio Deluxe light meter, and set the camera at f6.3 (half way between the marks for f5.6 and f8) at 1/125thof a second. This was equivalent to my standard exposure for ‘full sun’.

I learned when I moved west that ‘full sun’ is brighter in the Western states than in New England. A bright day in the Nevada desert is a full stop difference than in the Berkshires of Massachusetts.

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Amtrak Pepsi Can on Kodachrome—High Resolution Scan (and how I made it).

I have thousands of properly exposed Kodachrome slides from the 1980s and 1990s. This view of Amtrak 502 was exposed at Oakland, California 16th Street Station in August 1992.

Gradually I’ve been scanning these into my archive. I’ve experimented with several different scanners and software, using various settings and techniques.

So far, I found that I get sharpest and most colorful scans by using a Nikon Super Coolscan 5000 driven with VueScan 9×64 (version 9.5.91) software.

For more on VueScan see: www.hamrick.com

VueScan offers me a high degree of control, but I’ve found requires a bit of practice and experimentation to obtain the best scans.

I typically scan Kodachrome 25 slides at 4000 dpi (dots per inch) and  then output as a Tif file to obtain the greatest amount of data. For this slide I opted to make a multiple pass scan to retain a higher degree of shadow detail. (VueScan offers the multiple pass option under its ‘Input’ pull down menu).

To make the most of the scan for internet presentation, I imported the Tif file into Lightroom and lightened the shadows and balanced the highlights, before outputting as a scaled Jpg. (The original scan remains unchanged during this process).

Kodachrome slides recorded tremendous amounts of information and the original Coolscan Tif is far too large to present here.

Incidentally, a version of this photo appears on page 148 of my book Modern Diesel Power (published by Voyageur Press in 2011). The scan in the book was made by my publisher and isn’t the scan presented here.

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Boston & Maine Railroad in the 1980s; Working with some Underexposed Photos.

In March 1984, I borrowed my father’s Rolleiflex Model T and exposed a roll of 120-size Ektachrome of Boston & Maine freights in the Connecticut River Valley.

The Rollei was an old camera and there was nothing electronic on it. Setting the camera was entirely up to the photographer. I was still in high school and my skills at using a hand-held light meter were less than perfect.

In short, the combined effect of snow on the ground and my lack of experience left me with some seriously underexposed medium format transparencies.

Scanning lightened the photos significantly, yet the results still demonstrate my failure to expose properly. To make for a more pleasing images I needed to adjust exposure and contrast in post processing. However it was important to scan the transparencies in such a way as to capture as much information as possible.

I was disappointed with my results and left the uncut film in the box that it was returned to me from the lab. I left them there for 33 years and only re-discovered them a few weeks ago. (Try that with your digital photos. No actually, don’t try that!).

With the technology now at hand I decided to see what I could do to make these photos presentable despite serious underexposure (suffering from receiving insufficient light).

Working with an Epson V750 flatbed scanner, I scanned the transparencies (positive color film) using VueScan 9×64 (version 9.5.91) software.

Scanning, like photography, is an art and I’ve found to make the most effective scans often requires a bit of knowledge and skill.

I’ve worked with both the Epson and VueScan software, and while both produce excellent results, for this effort I chose VueScan because it allowed me greater control of the scanning process.

To extract more information from these difficult photos, I opted to make multi-pass scans, which do a better job of capturing detail in high-lights and shadows. The software combines the data in the final file.

This is a screen shot of the VueScan work window. Notice the histogram at the left. This shows the distribution of data in the image relative to highlights, middle areas and shadows. The graph thus indicates that too much of the data is toward the shadow end, thus the unfortunate effect of gross underexposure.

This is the input control window. Notice that I’ve selected to make a multiples scan with three samples. This gathers greater amounts of information from the image than a single pass scan. While not necessarily immediately evident to the naked eye, this provides a base with which to adjust the photograph in post processing. In other words I’ll lighten the image after scanning, but want to retain as much detail as possible.

Once scanned, I then imported the Tif files into Lightroom for post processing adjustments. The photos presented here are scaled from the original tif files (which are far too large for internet presentation).

Here’s the lightened scan after scaling for internet presentation. Keep in mind that original transparencies are nearly opaque.

The results are not perfect, but vastly superior to the muddy, dense original chromes.

To allow you to better understand how I’ve set up the scanner with the VueScan software, I’ve included screen shots (above) of the various sub-menus which show the various options and parameters I used.

There is more than one way to make a scan, and I’m sure if I continue to play with these chromes I may get an even better result. However, I have thousands of photographs that need scanning, and I’m limited to 24 hours a day.

For more on VueScan see: www.hamrick.com

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