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Taking the Tazmanian Oath

From: Scanning with SilverFast

Video: Taking the Tazmanian Oath

Our primary goal in scanning is to faithfully reproduce high-quality images, and then in some cases attempt to improve and/or edit the characteristics of the original images. However, before we begin the capturing, editing, and improving image processes, we must address a fundamental issue and take an oath. Just like the Hippocratic Oath in medicine, our prime directive in scanning is to first do no harm. While we tend to view the scanning and image editing process as an image enhancing process, it is also indeed true that many of the tools, processes, and procedures we use during the image capture, editing, and output can actually degrade the quality of our images-- and in many cases significantly so.

Taking the Tazmanian Oath

Our primary goal in scanning is to faithfully reproduce high-quality images, and then in some cases attempt to improve and/or edit the characteristics of the original images. However, before we begin the capturing, editing, and improving image processes, we must address a fundamental issue and take an oath. Just like the Hippocratic Oath in medicine, our prime directive in scanning is to first do no harm. While we tend to view the scanning and image editing process as an image enhancing process, it is also indeed true that many of the tools, processes, and procedures we use during the image capture, editing, and output can actually degrade the quality of our images-- and in many cases significantly so.

Processes such as changing the dimensional and linear resolution of our images, repeatedly resaving our images in different file formats--and especially compressed formats like JPEG-- applying improper tone compression, too much sharpening, and converting our images through multiple color spaces, can dramatically reduce the quality for our images. As I have repeatedly emphasized-- probably to your extreme annoyance at this point--working in a dusty, dirty environment with unclean hands and images can cause all sorts of unspeakable image quality degradation problems.

Here is a review of some of the damage we can inflict. Our goal with reproduction of line art is to create these nice, clean, consistent high-quality edges, like this optically-scanned edge that you see here. With very little effort at all, this nice, clean, sharp high-quality edge can become this--as a highly interpolated distorted edge interpolation--as a result of resizing, resampling, or geometric distortion. In continuous tone images, this is our goal is to have nice, clean, sharp, high-contrast images, with lots of detail and total variation. And our image can quickly go from something like this to something that looks like this.

If we apply too much interpolation or apply too much compression to our image, you can get significant loss of detail in very little time. And then, of course, if you add too much sharpening--or sharpening at the wrong time--particularly if you add that to something like a JPEG compressed image, you lose even more detail, and the quality of the image degrades significantly. You start to get these white halos around the edges, and that's certainly not what we want. If you don't really pay a lot of attention to the cleanliness of your environment and handling of your images, you can end up with adding dirt and dust and all sorts of stuff to your images--which like here on this portrait, is really a bad idea.

And then if you combine all these insults and injuries at one time on one image, you can end up with some truly hideous results. In addition to knowing what tools to use and how to properly use them, we also need to pay attention to the order in which we use tools. So it's not just what we do, but when we do it. One of the more obvious examples is applying sharpening too early in the image capture and editing process. Sharpening, as you have seen, is an edge contrast enhancement tool, which actually reduces the overall tonal content of your images, thereby reducing the editability of our images.

Before we proceed any further, you must take the Tasmanian scanning pledge, raise your right-hand--or left if you prefer--and repeat after me: first, I will do no harm to my images. One of the first steps in fulfilling our pledge to do no harm to our images is to make sure you don't add any dust or scratches to your images. To accomplish this, you want to work in as dust-free an environment as possible. Always have on your lint-free gloves and handle your images as little and as cleanly as you can. Going forward, all scan project instructions will assume you've cleaned your scanner and images, and of course, you're wearing your high-quality lint gloves.

Let's go scanning!

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This video is part of

Image for Scanning with SilverFast
Scanning with SilverFast

52 video lessons · 4297 viewers

Taz Tally
Author

 
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  1. 5m 19s
    1. Welcome
      58s
    2. What you should know before watching this course
      43s
    3. Taking the Tazmanian Oath
      3m 38s
  2. 19m 14s
    1. Launching SilverFast
      4m 2s
    2. Touring the SilverFast interface
      3m 35s
    3. Understanding SilverFast's scanning workflows
      4m 28s
    4. Using automated vs. manual scanning
      4m 31s
    5. Getting help as you use SilverFast
      2m 38s
  3. 32m 46s
    1. Touring the SilverFast 8 automatic scanning tools
      6m 7s
    2. Preparing for automatic scanning
      4m 6s
    3. Arranging your workspace
      4m 23s
    4. Setting up color management
      4m 43s
    5. Setting scan frame and resolution
      3m 55s
    6. Adjusting, naming, formatting, and locating an image
      8m 24s
    7. Previewing scan settings with the info tool
      1m 8s
  4. 1h 7m
    1. Scanning simple line art
      8m 6s
    2. Scanning detailed line art
      8m 9s
    3. Scanning grayscale photos
      11m 43s
    4. Scanning color photos
      11m 17s
    5. Scanning a color photo as a grayscale image
      12m 15s
    6. Scanning a positive piece of film
      6m 52s
    7. Scanning a negative piece of film
      8m 39s
  5. 26m 1s
    1. Touring the manual scanning tools
      7m 19s
    2. Setting preferences for manual scanning
      10m 0s
    3. Calibrating your scanner
      3m 40s
    4. Arranging your workspace
      5m 2s
  6. 1h 35m
    1. Scanning simple line art and changing it into vectors
      7m 38s
    2. Scanning simple line art and keeping it as pixels
      5m 41s
    3. Scanning detailed line art
      8m 18s
    4. Scanning grayscale photos
      14m 5s
    5. Scanning landscape color photos
      15m 51s
    6. Scanning color portrait photos
      13m 56s
    7. Scanning color product shots
      9m 29s
    8. Scanning a color photo as a grayscale image
      4m 31s
    9. Scanning a piece of positive color film
      5m 52s
    10. Scanning a piece of negative color film
      9m 56s
  7. 1h 0m
    1. Should I use SilverFast or Photoshop?
      4m 9s
    2. Making global color corrections
      4m 37s
    3. Bringing out shadow details
      4m 28s
    4. Making a selective color replacement
      3m 21s
    5. Sharpening in SilverFast
      7m 15s
    6. Working with target-based corrections
      4m 55s
    7. Color correcting with neutrals
      10m 19s
    8. Exploring automatic color correction in manual mode
      3m 35s
    9. Scanning a printed image
      5m 49s
    10. High-bit-depth and HDR scanning
      5m 28s
    11. Removing noise and patterns
      3m 32s
    12. Removing dust and scratches
      3m 30s
  8. 7m 2s
    1. Batch scanning images
      1m 28s
    2. Using the JobManager
      4m 16s
    3. Exploring SilverFast 8 shortcuts and tips
      1m 18s
  9. 1m 29s
    1. Goodbye
      1m 29s

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