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 p.2752 #8 · Leica M/X/T/S/Q/CL/SL Picture Thread | |
Desmolicious wrote:
While that can work ok, I have found that I get much better results using negativelabpro (which has to be used with Lightroom).
Yes, they are many ways to work. My workflow is not automatic, I have a set of tools I can use and I adapt depending on the negative.
0. Scan: whatever I want (favorite in Minolta 5400 II followed by LS 5000 followed by repro using the M11 and a excellent lens)
Scan output: something grey with all the information in 16 bits color mode. No inversion.
1. Noise Reduction First
I always deal with noise first because it has a major impact on both contrast and perceived detail.
To do this, I convert the image to a Smart Object, edit its contents, duplicate the layer, and apply Topaz DeNoise AI or Photo AI to reduce the noise a lot to the point where the image is too clean.
I then reduce the opacity of the denoised layer to somewhere between 50% and 75% in order to retain some film grain. After saving, I return to the main image.
The exact opacity depends on the image and the intended output:
* Around 67% works well for screen viewing.
* For printing, especially when the scan shows coarse “salt-and-pepper” grain, 75% often gives better results.
The advantage of this approach is that the Smart Object’s underlying .psb file contains a simple two-layer grain-management setup, while all subsequent adjustments remain as Smart Filters in the main .psd. It allows the use of a powerful noise-reduction algorithm without introducing artifacts or creating a complex stack of layers, while still preserving the texture and character of the film.
2. Handling Difficult Areas
In some images, Topaz DeNoise/Photo AI can produce artifacts in smooth, low-detail areas.
When this happens, I either:
* Use a less aggressive denoising mode or
* Process different parts of the image separately.
For localized treatment, I make separate selections, place each area on its own layer, apply the most appropriate noise reduction settings to each region, and then merge the denoised layers.
It is also possible to selectively restore grain. To do this:
1. Select the denoised layer.
2. Create a layer mask using the Add Layer Mask button.
3. Alt-click the mask to view it.
4. Invert the mask.
5. Use the Magic Wand to select the black area.
6. Fill it with a gray value (for example 90% gray).
This partially reveals the denoised layer and allows a controlled amount of grain to be reintroduced into specific regions.
3. Global Tonal Adjustments
Next:
1. Invert the image if necessary.
2. Set the black and white points using Levels.
3. Add a Hue/Saturation adjustment layer and reduce saturation to zero.
4. Flatten the layers.
I then perform local tonal corrections using curves, adjusting different areas of the image according to the desired final rendering.
Whenever possible, I use Photoshop’s AI-powered selection tools rather than the Magic Wand, as they generally produce much cleaner and more accurate selections.
4. Sharpening
A moderate sharpening pass such as:
* Amount 20–30%, Radius 2 px
can add some punch.
For stronger detail enhancement, settings around:
* Amount 100%, Radius 2 px, Threshold 5
can work well, although they also make grain more prominent.
For sharpening, I generally prefer Topaz Sharpen AI using the Too Soft, Very Noisy model. It often produces better results than Photoshop’s sharpening tools, although it can occasionally introduce artifacts. In those cases, a more conventional sharpening pass such as 80/2/5 may be preferable.
5. Silver Efex
I also use Silver Efex when appropriate. The image needs to be in color mode.
It can be applied either:
* Early in the workflow, with a light touch, or
* Near the end for fine-tuning, particularly for local contrast and structure adjustments.
Used carefully, it can add subtle refinements without compromising the natural look of the scan.
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