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Scanning Techniques for Photography, Art, and Design
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Choosing a scan mode and bit depth


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Scanning Techniques for Photography, Art, and Design

with Taz Tally

Video: Choosing a scan mode and bit depth

Now let's discuss scan mode, and in particular, the bit depth that we're going to scan our images. We're talking about this portion of the frame right here where it says Scan Type, different scanning surfers use different terminology. They may say Scan Mode or who knows, but this is what we are going to choose the basic number of channels in the bit depth, the number of bits/pixel that we are going to have in our resulting scan image. It's a little bit complicated when you first look at it, but notice that there is a variety of different grayscale choices here, several different color choices and then this one, 1 Bit black-and-white Line Art.
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  1. 6m 48s
    1. Welcome
      1m 11s
    2. What you should know before watching this course
      3m 54s
    3. Using the exercise files
      1m 43s
  2. 1h 0m
    1. Scanners and digital cameras
      3m 6s
    2. Types of scanners
      5m 2s
    3. Scanner location
      3m 19s
    4. What scanners and digital cameras create
      7m 22s
    5. Understanding grayscale values and channels
      3m 19s
    6. Understanding pixels and vectors
      4m 1s
    7. Choosing pixels or vectors
      2m 27s
    8. Resolving resolution
      6m 32s
    9. Working with interpolation
      3m 31s
    10. Understanding the effects of compression
      2m 4s
    11. Evaluating and correcting images with histograms
      8m 26s
    12. Saving to different file formats
      7m 4s
    13. Color management
      4m 23s
  3. 33m 22s
    1. Cleaning your scanner
      7m 31s
    2. Cleaning your images
      7m 47s
    3. Calibrating your scanner
      9m 13s
    4. Creating and applying a color management profile
      8m 51s
  4. 20m 55s
    1. Evaluating your scan challenges
      9m 46s
    2. Reproducing vs. assigning colors
      6m 20s
    3. Recognizing continuous tone (contone) vs. dot pattern images
      4m 49s
  5. 36m 32s
    1. Understanding bit depth
      8m 49s
    2. Selecting a scan mode
      8m 20s
    3. Sharpening and its effects
      10m 40s
    4. Creating and assigning color management profiles
      8m 43s
  6. 2h 25m
    1. Taking the Tazmanian Oath!
      3m 38s
    2. Choosing your weapon
      4m 2s
    3. Setting up your scanning preferences
      12m 14s
    4. Performing a prescan
      2m 53s
    5. Assigning a scan frame
      5m 40s
    6. Determining scan resolution
      7m 57s
    7. Choosing a scan mode and bit depth
      5m 53s
    8. Naming images
      1m 49s
    9. Scanning simple logos and line art
      12m 21s
    10. Scanning complex line art
      7m 33s
    11. Scanning grayscale contones
      13m 22s
    12. Scanning color contones
      13m 54s
    13. Sharpening
      9m 39s
    14. Scanning printed/screened or patterned images
      7m 1s
    15. Scanning positive transparency film
      12m 33s
    16. Scanning negative transparency film
      9m 11s
    17. Capturing high dynamic range (HDR) scans
      1m 47s
    18. Setting up wet scans
      14m 29s
  7. 1h 48m
    1. Scanning, converting, and using simple line art
      5m 32s
    2. Scanning and using detailed line art
      10m 52s
    3. Scanning landscapes
      15m 50s
    4. Scanning product shots
      11m 58s
    5. Scanning combo/complex images
      9m 3s
    6. Adjusting distressed images
      11m 12s
    7. Scanning images with no neutrals
      11m 57s
    8. Post-scan touch-ups
      2m 7s
    9. Scanning images for multiple uses
      10m 44s
    10. Automatic scanning
      10m 40s
    11. Streamlining big jobs with batch scanning
      5m 22s
    12. Using your manufacturer's scanning software
      3m 14s
  8. 27s
    1. Goodbye
      27s

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Scanning Techniques for Photography, Art, and Design
6h 53m Intermediate Oct 11, 2011

Viewers: in countries Watching now:

Review the scanning techniques graphics professionals and photographers use, while delving into workflow considerations and the advanced image-quality controls available in most scanning software. Author Taz Tally explains the core concepts, such as how resolution and interpolation affect scans; introduces the industry-standard SilverFast scanning software; and shares the settings to achieve the best results from a scan. The course also covers keeping your scanner and its parts clean and free of dust, and includes a variety of start-to-finish scanning tasks.

Topics include:
  • Understanding grayscale values and channels
  • Evaluating and correcting images with histograms
  • Saving to different file formats
  • Managing color
  • Cleaning the scanner and images
  • Reproducing versus assigning colors
  • Recognizing contone versus dot pattern images
  • Understanding bit depth
  • Scanning logos and line art
  • Scanning transparent film, positive or negative
  • Capturing high dynamic range (HDR) scans
Subjects:
Design Photography Scanning
Author:
Taz Tally

Choosing a scan mode and bit depth

Now let's discuss scan mode, and in particular, the bit depth that we're going to scan our images. We're talking about this portion of the frame right here where it says Scan Type, different scanning surfers use different terminology. They may say Scan Mode or who knows, but this is what we are going to choose the basic number of channels in the bit depth, the number of bits/pixel that we are going to have in our resulting scan image. It's a little bit complicated when you first look at it, but notice that there is a variety of different grayscale choices here, several different color choices and then this one, 1 Bit black-and-white Line Art.

So let's start with a simple and then move to the more complex. When we get through I think you'll see it's a little bit less daunting than it first appears. 1 Bit black-and-white Line Art, this is going to create an image that has one channel. That's going to have one bit/ pixel, just like you see here. It's either going to be black or white pixels. We obviously don't use this for continuous tone images. This is the Scan Type or mode choice, with the bit depth choice we're going to choose, when we are scanning simple Line Art, that we intend to convert into vectors or just print as high -quality pixel-based images.

That's the 1 Bit black-and-white Line Art. We're going to use this when we're trying to capture edges. Grayscale, we've got several different choices here, we have got 16-8 Bit Grayscale, then we've got 16 Bit Grayscale, then we have 16 Bit HDR Grayscale, just take them in order. This one, honestly this is the most likely mode in which you're going to scan your images, unless you do a lot of image-editing or you like to work in enhanced bit depth images, in terms of your editing and output. This is the most common mode which you'd choose for grayscale images and I'll recommend you start here.

When you choose this, the scanner captures in 16 bit grayscale data, which means it captures 512 shades of gray, and then will deliver you 8 bits of grayscale, after the scanner captures the image and you apply all the corrections you're going to do during the scan, then it delivers an 8 bit image So as long this scanner supports, which most scanners do these days, this to medium to high-quality ones, and then delivers an 8 bit grayscale image. So that's the most common one that you'll choose. The next one is it captures in 16 bit, and delivers a 16 bit grayscale image, full 512 shades of gray.

It's going to be twice the file size of the 8 bit and more importantly, it's going to have that 512 shades of gray, and if you're working in Photoshop, you can do a lot of editing in 16 bit mode, not all the editing, but most of the editing and if you are again doing lots and lots of editing in Photoshop in the postscan, this may be a good choice for you. And increasingly, there are printers that will actually print 16 bits of grayscale. Now honestly there is a good deal of debate about whether you can actually get better quality out of a 16 bit image on certain kinds of images.

My suggestion is test it, with your images, your type of editing and your type of output device. Do a couple of the same images in this mode. print them out, see if you see any difference, and if you do, then use it. The third grayscale mode here is 16 bit HDR and notice when we choose this, all of the editing modes are basically shut off over here, and when you choose 16 bit HDR, you're selecting this, if you intend to really perform most of your editing in the postscan phase, you might be working in the HDR software that LaserSoft makes, so you may be working in your 16 bit images in Photoshop or some other application that can actually work on 16 bit data.

So here you're really minimizing the amount of work you're doing during the scan and you would plan for your workflow to where most of these image-editing is occurring somewhere else. We have the same set of choices in color, we have 48 bit to 24 bit color, here the scanner is capturing in 16 bit/pixel/channel. Remember from our earlier discussions that a color image is really a scan which has three grayscale channels. If you capture in 16 bits/channel, 3 time 16 is 48, you capture 8 bits/channel, it's 3 time 8 is 24, so it's very much like the grayscale, but we're just doing three channels and we're doing the initial sampling and capture in 16 bit mode, then apply the scanner corrections and then deliver a very high quality 8 bit image, 8 bits on each channel, 3 time 8 is 24.

On the other hand, if you want to work in 48 bit color, that is 316 bit grayscale of channels, work in Photoshop that way, do most of your corrections in Photoshop or another application that can handle that, terrific, but you'll apply corrections during the scan and then work on the corrected 48 bit image, and then similarly to the 48 bit HDR, if you want to do most of your corrections somewhere else rather than into the scan, what this allows you to do is it would capture all of the raw data with very little of any corrections and then move that raw image into some other applications.

It really kind of depends upon what your workflow is like, where you do most of the correction. This boils down to three choices, right, where you can go 1 bit black-and-white, one of the three version to grayscale, or one of the three versions of the color image. If you're trying to decide between the 16-8 bit and the 16-bit grayscale or the 48 bit-24 bit color, or a full 48 bit color image, which one you want to actually create off the scanner. Run some tests with your images and your output devices, and test to see if the additional bit depth actually provides you with better image quality in the final analysis.

When we choose something like 48-24 bit color, there's a lot of other Filters that you can choose sharpening and descreening, we'll come to that later. For now I'm going to suggest for most of your scans is we are going to apply no Filtering, no Sharpening, no Descreening, unless we really want to do that during the scan, and we'll address that later on in the course. Notice we have an Image Type selection here, these are Presets for a lot of the tools that you see up here and a lot of the corrections that you would do up here, and that's kind of a semi- automated scanning technique, and we'll talk about that little bit later on in the course.

So choose a Scan Type, no Filtering, choose Standard Image with no Preset corrections, and then we're going to go apply most of the corrections using these correction tools that you see up here.

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