Subtitles of the Movie

As I have said many times, you will get a lot better result if you scan from a negative or a slide. Indeed you can get a lot better result when scanning a negative than the same picture from a print. Now having said that why do magazines and fine arts print houses insist on slide film? Because the nature of the print is that it has limited dynamic range; the nature of print film or negative film is the same. Now generally print film dynamic range is not as wide as slide film, color accuracy is better with slide film than with print film. So that is why all magazines and fine arts print houses insist on slides when submitting work. Now let us take a look at the difference between a scan from a print and a scan of the negative of the same photograph. Now this image here is the scan from the print; this image is the scan from the negative, exact same photograph. Now this right here, there are some telephone lines that got into the picture and I took them out down here, but otherwise the only thing that was done to this photograph was that I adjusted the gamma on the slide exposure to match the gamma on the print scan. So that's the only difference, but look at the difference between these two photographs. There is more color, yellows, oranges, deeper oranges; we have blues up here, we have blue here and blue, reds coming through. On this one, it is flat not blue; it's gray, very dingy, that is narrow dynamic range. This is right about a 2.0 on the DMAX scale. This, I would say, is a three point five. And I am just guessing those numbers, but that is the difference between scanning a print and scanning a negative of the same print, same photograph. Now let us talk about the difference between grain in slide film and print film. It is another reason that magazines and fine art print houses always want to have slides instead of negatives because grain is a lot less. Now this is a photograph of Dierdre and Sara obviously playing with a puppy. This is four hundred Fuji film, shot with an A1A filter, now obviously on a flash at about 8 p.m. Now let us take a look at this, hundred percent magnification, we will take a look at Dierdre's face, and look on this photograph, brace yourself folks, it will blow this one up, this is going to be ugly. Blow this one up to hundred percent magnification, look at the grain, it is raining grain, there is a huge gash and a scratch, I will fix all that later, we will work on this photograph for a long time in this tutorial. But look at the grain, this is four hundred film, also; it is print film, it is Kodak Gold. But look at this, where is the grain? And you really kind of have to look at some of the underexposed areas of this photograph to see that. But do you see any grain in Dierdre's face? This is a hundred percent magnification, same as the other photograph, and there is a little bit of grain right here, you see just a little bit, but it is not intrusive, you can barely detect it, when you have a lot of contrast in your image, you can not even see it. Great photograph too, I love that shot; I love that one, too. Print film, slide film, both of these are four hundred ISO, or what we used to call ASA. So learn the lesson, use slide film only.