Utilities such as Photomatix can do this automatically. In Photoshop, paste each image into its own layer, then set the opacities as follows: 100% for the background, 50% (1/2) for the next layer, 33% (1/3) for the next, 25% (1/4) for the next, 20% (1/5) for the next, and so on. The simplest way to combine differently-exposed images is just to stack them. This results in lighter or darker images that can then be combined in various ways to make the final print. NegaFix is apparently constrained to expose the negative within a fixed dynamic range (the red curves below), and there doesn’t seem to be anything that you or I can do about it but this range can be moved up and down the tonal scale by changing the brightness and exposure settings. In short, one combines a number of scans at different “exposures” to create a full-scale image.Ī negative can record a greater range of values (the blue curve below) than are reproduced in the normal scale of a print, and simply compressing the values to fit them all into the final image produces a low-contrast, unexciting result.
#Silverfast hdr 48bit raw file full#
I have since, with a lot of online help such as Ian Lyons’ invaluable tutorials, managed to hammer out a way to create an image that maximizes the full potential of the negative while making use of the color adjustment provided by NegaFix. The official SilverFast documentation is so sparse for an application of this complexity, that one seriously wonders if even its developers fully understand it. I spent a long time frustrated by the lack of control over the histogram while using SilverFast’s NegaFix utility, and originally wrote this page to accompany I had the good fortune to obtain a copy of SilverFast Ai with my Epson 4870 scanner, and lately I have been using it to scan medium-format color negatives. Combining Multiple Exposures with SilverFast HDR ®
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