Preparation and Handling

  • Film should typically be photographed with the emulsion side down. The emulsion side is the more matte surface with a raised texture, while the base side is shiny. Any text on the film should read correctly when viewed with the emulsion side down.

  • Slides and film should be resleeved in the same order they were shot, mainatining the emulsion side down orientation.

  • As dust is a significant challenge during the digitization of transmissive media, working areas should be cleaned regularly and kept as dust-free as possible.

Equipment Setup and Operation

Equipment Setup

  • Lighting equipment should be powered on for at least 5 minutes before beginning a session.

  • Camera alignment should be verified with a laser level at the beginning of any new project and/or whenever any adjustments are made, e.g. changing a lens.

Capture Settings

  • ISO and Aperture: Maintain a consistent ISO of 50 and an aperture of F9 for transmissive captures.

  • Base Characteristics: Set camera Base Characteristics to “Photography” Mode. Initially set the Curve to “Linear Scientific”, then switch to “Linear Response” after LCC creation.

  • Sharpening and Noise Reduction: Apply consistent sharpening settings (Amount=100, Radius=1, Threshold=0, Halo=0) and noise reduction (Luminance=0, Details=50, Color=40, Single Pixel=0).

Capture Workflow

  • Focusing: Start by creating a capture of an IT8 target or a negative for initial focus. Use Live View at 100% with single incremental movements to achieve sharp focus and visible film grain. Measure PPI with the Capture Resolution Ruler to confirm resolution

  • LCC (Lens Cast Correction): Capture an LCC Raw File directly off the Photon light source (not Plexiglass) with the film removed, exposing for mid-gray. Alternatively, apply a pre-set LCC based on the film format.

  • White Balance: With film removed, capture a mid-gray image and white balance off the Photon light source in the center of the frame

  • Base Exposure: For color positives, set the exposure (film removed) until the Photon reading is at 243 (without exceeding in any RGB channel), with underexposure being preferred over overexposure. For B&W negatives, set exposure off the negative’s unexposed film base to 235 (without exceeding), as Gray Gamma 2.2 displays a single grayscale value. Fine-tune with minimal “Exposure” tool adjustment.

  • Levels and HDR Adjustments: Apply a custom Levels preset for the Atom system and specific film stocks. Adjust Shadow detail under the HDR (High Dynamic Range) Tool as needed. For B&W negatives, HDR adjustments are “reversed” (Shadow adjusts highlights, Highlight adjusts shadows). Be mindful not to overdo shadow recovery to avoid flattening the image. Kodachrome films may require more shadow recovery (15-25)

  • Next Capture Adjustments: Set “Next Capture Adjustments” to “Copy From Last” to maintain consistency across captures

  • Batch Capture: Once settings are finalized, capture all slides/negatives within the work order/production. Tag vertical captures (e.g., green for slides, green/yellow for negatives) for easy bulk rotation later.

Capture Processing and Output

  • File Formats and Bit Depth: Create both Primary Files (U Files) and Service Files (S Files). U Files should be lossless TIFF (uncompressed) at 16-bit depth for maximum detail and long-term preservation. S Files are typically 8-bit.

  • Color Space: U Files for color positives use Adobe RGB (1998). U Files for B&W negatives use Gray Gamma 2.2. S Files for both generally use sRGB for optimal web display.

  • Cropping: For 35mm slides, U and S files should have the same crop size (4300 x 6100 pixels). For B&W 35mm negatives, S files are approx. 4230 x 6330 pixels, and U files are approx. 5050 x 8500 pixels. U files should include the full film border, and for roll films, a small portion of adjacent frames. S files are generally cropped outside the image area, showing some of the dark film base or slide mount.

  • Rotation: Rotate all vertical captures in bulk during post-processing

Key Considerations and Challenges

  • Dynamic Range: Recognize that transparency films can have a very high d-max (approaching 4.0), which challenges even the best imaging sensors. Phase One digital backs are noted for their 15-stop dynamic range. Highlight/Shadow tolerance aims should be ideally within 245/10 (+/- 5) RGB values

  • Film Type Specifics: Be aware that Kodachrome films require specific IT-8 targets or professionally produced ICC profiles for correct digitization, as standard Ektachrome targets are insufficient. For B&W and color negatives, the tone scale is non-linear, and they may appear flatter than positive prints

  • Color Casts and Degradation: The aim for color transparencies is to create a digital surrogate representing their current condition as viewed on a light table, not to “color correct” casts resulting from poor development or degradation over time. Dust processed into the emulsion should be captured.

  • Moiré and Motion Blur: If moiré patterns or color noise are present, rotate the material to mitigate the effect, potentially requiring a reduction in PPI to create adequate rotational space. Be wary of motion blur, especially with shutter speeds slower than 1/20s

  • Negative Inversion: The current practice for B&W negatives is to capture them in their negative state and then invert them to create a positive, with minimal adjustments (e.g., straight invert, 100% desaturation, slight midtone pull in Curves) The decision to save the positive inverted version as the Primary File (U) is currently under review.