| Black and White Beach Photography is just one of | | | | process is scanning the negatives on to your |
| the many subjects I love to photograph using | | | | computer. I use an Epson V700 flat bed scanner. As |
| B&W film. | | | | with all equipment there are pro's and con's with each |
| My fine art work is taken with an old manual Leica | | | | type. Ultimately your choice will be made based on |
| rangefinder and a hand held light meter. To me this is | | | | your budget and image end use. When setting up the |
| the purest way to capture subject, light and texture. | | | | scan, set the resolution for how big you final output |
| There was a point in my life where I stood firm and | | | | will be. I usually scan the negative at 100%, with the |
| stated I would never go "digital". But as I learned | | | | resolution at 6400dpi. That gives me a large image to |
| more about the software and it's capabilities, it has | | | | work with once I convert the scan to 300dpi in |
| now become a "tool" for the final image in my | | | | Photoshop. I also suggest leaving the scan pure, |
| creative process. My chosen software is Adobe | | | | meaning don't let the scanning software adjust |
| Photoshop. | | | | exposure, remove dust, sharpen etc. As great as |
| As a black and white nature and street photographer | | | | these features sound, they are all pre-set and may |
| based in NYC, access to darkrooms is limited. I didn't | | | | do more harm than good. If you scan the film |
| have the flexibility I needed to work on my | | | | without adjustments, you can make changes in the |
| photographs. So I developed a work flow that suits | | | | editing stage with Photoshop. This give you the |
| my creative style. I love the fact that I can be | | | | freedom to make all necessary changes as you see |
| working any time day or night using the few pieces | | | | artistically appropriate. |
| of equipment I have in my studio. I share my | | | | I usually fill the negative carrier with 4 strips (or 24 |
| methods to allow you another creative option and | | | | images) and let it scan. Based on the size and |
| bridge the film and digital world. | | | | resolution you choose for your output this will take |
| Most of my black and white beach photographs are | | | | up to 60 minutes. Shut down all other applications to |
| taken at dusk; I shoot with ISO 400 B&W | | | | keep this running smoothly. (I would also recommend |
| (35mm) Ilford film. This is my favorite time a day to | | | | scanning to an external hard drive as these files will |
| capture the light and shadows. Once I have | | | | eat up quite a bit of space on your computer.) |
| completed my day of shooting, I take the film to a | | | | This scanner also gives you the option of choosing |
| lab on 22nd street in NYC. (*When you use a lab, | | | | one frame at a time, where you will "marquis" the |
| make sure they are experienced in processing Black | | | | size. I use this with night shots where the scanner |
| & White film. Color processing and Black & | | | | cannot pick up the edge of the frame. I also use this |
| White processing are very different; your film can be | | | | when I want to include the negative border as part |
| ruined if not done correctly.) Ask them to develop | | | | of the final print. Once you compete the scan, you |
| the film without cutting. You can also have them print | | | | can then print your own contact sheet. |
| contact sheets, but I find this unnecessary as you will | | | | Part of why I enjoy this process is that I know |
| see in the next step. (A good lab will also ask you if | | | | there will always be a negative to work from in case |
| you "pushed" or "pulled" the film while shooting so | | | | anything crashes or gets deleted. As you continue |
| they can compensate in developing.) | | | | with this process you will find what works best for |
| Once your film is ready to go, the next step in this | | | | you. |