(c) digitizing procedure and related software, including linear dimensions, negative reversal, colour management, photo editing, sharpening, grain mitigation and clean-up I’ll carry this discussion in the following order of considerations: That said, these negatives can embed very good colour, much fine detail and a well-defined tonal range from deep shadows to bright highlights, so the medium is not to be under-estimated, especially as it is the essential starting point from which all else discussed here flows. When we talk of image quality, recall that the context is photographing colour or B&W negatives, which have unique characteristics and limitations inherent to film technology. Also important is the quality of the materials used: the film back in the days, and now the equipment and applications we use for digitizing the film and editing the photos. “Colour” in this context includes grayscale (“Black and White” – B&W).
The quality of tonal gradation and colour depends on the correctness of the analog film exposure and the digital exposure of the film media. Perceived sharpness of a digitally converted negative, a property combining resolution and contrast, partly depends on the film chemistry and its processing, the quality of lenses and focus for both the original analog capture and the digital capture of the film, the parallelism and flatness of field of the digitizing set-up and the extent of magnification from negative to print. In the digital context, apparent resolution depends on the number of pixels per inch, and on seeing differences of tone or colour between adjacent pixels (Figure 2). I’ll begin this article with brief remarks about these photographic properties, to be explored in more depth further on.
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The usual telltale items in making such assessments would be, for example, the colours of foliage, skies, objects that are supposed to be gray or near-gray and skin tones. The photographs were made decades ago, and I have no precise recollection of scene accuracy and certainly no measurements, but the photographs bring back memories of the subject and I can tell whether the digital renditions of the colours I’m obtaining are credible and pleasing. Notice I did not say “accuracy” of colour rendition, because for the negatives I am converting there is no such thing. Primary factors I take into account for processing negatives are the inherent photographic properties of resolution, perceived sharpness, quality of tonal gradation, and credibility of colour rendition.
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(The full work-up of this photo is laid-out in Annex 2)
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Negative Conversion with Negative Lab Pro As well, I have substantially revised my whole set-up and workflow since the “LuLa” article. This article delves more into the technical aspects of set-up and capture, with a major focus on my workflow and findings using Negative Lab Pro (NLP – Figure 1) for converting digital negatives to positives.
My previous article about this subject co-authored with Todd Shaner and published on, explored alternative techniques for processing colour negatives photographed with a camera (mirrorless or DSLR). Digitizing Negatives with a Camera: Revisited Introduction:
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