Vuescan & ColorPerfect, A Guide.

September 25, 2010 at 8:15 pm

Introduction, Raw Scans, Neg Film, Highlight Compression, Slide Film, PhotoShop, Conclusion

(updated 7 Mar 2013)


Some time ago I wrote an article about getting the most from colour negative scans with VueScan. Since writing the article my workflow has changed significantly, and these are the main reasons why:

  • It takes far too long to profile the film base colour using VueScan, scanning isn’t fun at the best of times and I’m an impatient person.
  • I’m now shooting a lot more colour slide film, and wanted something that would work equally well if I needed to tweak colour.
  • I’m shooting 8×10 & 4×5 sheet film which doesn’t have an area of clear base that I can sample.
  • I realised that the old method didn’t stop me having to tweak colour in PhotoShop, and that often the output was worse than from a film preset.

By chance A friend, Raoul Gatepin (Who is an awesome photographer) introduced me to the PhotoShop plugin, ColorNeg, and since then I’ve not really looked back.

ColorPerfect is the latest incarnation of ColorNeg (it amalgamates ColorNeg & ColorPos for slide film) and is the plugin I use on a daily basis, I’ll do my best to describe my workflow here using both text and imagery.

Note: this article does not cover Screen or Scanner profiling, both are critical to good colour workflow, it’s particularly important to ensure your screen is profiled otherwise how will you know if you are making good colour decisions?

Raw Scans

For ColorPerfect to work at its best we need to ensure that VueScan does not do any image processing on our scans whatsoever, for this reason we must save our scans as 16 bit RAW Linear files. Before going any further with this article you will need to own a licensed professional version of VueScan otherwise RAW output is unavailable.

I’m also very much of the opinion that sharpening, dust removal, etc should be done selectively and by hand in PhotoShop so I disable things like ICE & sharpening, here’s a quick run through of how I think you should configure VueScan.

disable ice & sharpening in vuescan

The first thing I turn off in viewscan is the automatic saving of scans – I often find that the scan shows an imperfection that the preview does not, meaning I’ll discard the scan, so why waste disk space keeping a copy?

disable scan auto save in vuescan

Although we’re going to save our scans as RAW files it’s important to keep VueScan’s Media setting configured to ‘Color Negative’. With this setting enabled VueScan scales the output of each colour channel so that they are roughly the same. There is typically 1 EV difference between each channel with red being brightest and blue darkest.

Increasing the number of samples helps to eliminate noise in the shadow areas of the scan, obviously the more samples the longer the scan will take so I opt for 3 as a minimum number to average out error.

Next you need to untick every format except ‘Raw file’ on the Output tab, be sure to leave Raw DNG unticked! Set the ‘Raw file type’ to ’48 Bit RGB’. I also like to set Printed Size to ‘Scan size’ to stop VueScan resizing the output.

enable raw output in vuescan

Now that you have a baseline configuration for ColorPerfect you should save it for future reference. It’s time to start scanning.

Neg Film

Once you’ve scanned, saved and opened your image in PhotoShop you should have something looking a bit like this:

raw file opened in photoshop

The orange cast of the film base is very apparent, next you need to assign a reasonably wide gamut colour space to the scan so that none of the colour information is lost, I usually opt for Adobe RGB. Once you’ve done that you can start the ColorPerfect plugin via the Filter menu in PS (Filter->CF Systems->ColorPerfect).

colorperfect plugin running

I’ve deliberately chosen a difficult film stock here, it’s a cheapo Boots Chemist 200 speed film, most branded films are a doddle to colour correct because the film preset is obvious but in this case some internet searching showed the film to be a Fuji rebrand. So with this in mind I simply chose the film base that gave the most natural looking colour – although you can see that there’s a slight magenta cast to the sky/neutrals.

You’ll notice that I have ringed the three areas of importance in red, film brand, film type, and gamma input mode. The Gamma Input mode should always be set to L for colour negatives (which should always be Linear 16 bit scans), the other setting of G is for use with positive files produced from Slide Film. It’s best to use a gamma C setting of 2.2 for negs. Also always set the ‘specific’ mode to ‘Clear>Initial’ otherwise the plugin will use the settings from the last time it was used in this mode.

Again, this film stock is generic, and although we know the approximate brand we’ve no way for sure to know the actual film type. Even when we know the brand and stock, individual batches can be quite different from one another. The development process throws even more variance into the mix. In short, it’s quite obvious that the inbuilt profiles may never actually give us the best match when we know a film stock, let alone when we don’t. This is where a great new feature of ColorPerfect comes to the rescue, it’s a feature called Filmtype

fine tuning the film characteristic

You can see in the screenshot above that I’ve selected the ‘FilmType’ setting in the main dropdown. All that you need to do after this is find a neutral gray area in your image and click on it. For this photo I clicked about in the grey parts of the cloud until the overall balance was as close as I could get it. Now here’s the nifty bit, by dragging the main slider up and down ColorPerfect varies things just slightly, and typically somewhere in the entire slider range you’ll hit the sweet-spot. You can fine tune thing even further by clicking on the ‘FilmType’ button, this will toggle into ‘SubType’ mode; adjustments of the slider now makes even more subtle changes.

Things still aren’t quite right, the contrast looks a little off, so now it’s time to adjust Gamma.

adjusting gamma

Change the main drop down setting to Gamma, then simply adjust the main slider until the blacks look about right. That’s it. Often these changes may be marginal, but it’s what feels right that is usually best.

So now that I’m happy I simply click ‘OK’ and use PhotoShop to ultra fine tune colour and levels.

Highlight Compression

Another great feature in ColorPerfect is the ability to compress the highlights in your image, essentially, this stops highlights being blown when you are trying to boost shadow detail. This is important because although colour negative film has a dynamic range which is often in excess of 14 stops, a typical positive image (be it on screen or print) has far fewer. Naturally you’ll need to represent as much of this information as you can but in a non linear fashion.

clipped highlights

The above example exhibits significantly blown highlights. I’ve ringed the highlight compression box, this consists of 3 settings, these are, from left to right: the number of stops correction(or off), range of values, & the image percentage being blown out/clipped. So, for this example you can see that the compression is off, the range is 220 (default), and the clipping percentage is 18.86%

less clipped highlights

Simply by setting the compression range to 0.2 stops I’ve reduced the percentage of blown out pixels from 18.86% to 7.3%. I’ve deliberately chosen to leave a reasonable percentage of blown pixels because otherwise the image can start to look pretty flat. I believe that blacks and whites should almost always be clipped to some extent – have a play with the feature yourself and see what looks best to you.

Slide Film

Working with slide film is essentially the same as working with negatives, but the main difference is that colorperfect must be set into ‘colorpos’ mode and a gamma mode of G. Usually the gamma mode of G is automatically set when switching to colorpos mode, but it’s always worth checking. As with negatives, I always also make a point of setting the ‘specific’ mode to ‘Clear>Initial’ otherwise the plugin will use the settings from the last time it was used in this mode.

colorperfect plugin running in slide mode


When I’m finished with the image in ColourPerfect I may want to fine tune some things, usually this will be levels work and fine tuning of colour. I must admit that I find the PhotoShop interface much more intuitive to work with than that of ColourPerfect so I tend to use it for fine tuning even though most of this can easily be achieved in the plugin.

Firstly I apply a ‘Levels’ adjustment layer (Layer->New Adjustment Layer->Levels…)

adjusting levels in photoshop

Next I correct any overall cast by adjusting neutral colour balance with a ‘Selective Colour’ adjustment layer (Layer->New Adjustment Layer->Selective Colour), in this image you can see that the greens have a bit too much magenta in, so I remove as many points of magenta as are needed to achieve a good overall balance to the greens:

adjusting neutral colour in photoshop

Finally I adjust sky colour by making a white colour collection, you can see in the screenshot below that I had to drop out some magenta and boost cyan. The key is to always try and make the smallest corrections possible otherwise you can end up with clipping somewhere else in the gamut, and that normally leads to posterised colour.

adjusting white colour in photoshop

As I mentioned above you can also make these adjustments within ColorPerfect using it’s colour correction (CC) filters – however, one benefit of doing this in PhotoShop with a selective colour layer is that you can easily revisit the adjustment layer to make changes. ColorPerfect is what I term a ‘destructive’ process, by this I mean that once you click OK you can’t go back without starting from scratch on the original scan.

And that’s pretty much it for PhotoShop other than any selective contrast and sharpening work I would normally perform


ColorPerfect saves me a lot of time when using VueScan. Before my use of ColorPerfect I had to perform time consuming exposure locking and film base colour sampling all because VueScan has very limited film profile support. Even after carrying out these long correction procedures, I was still having to fine tune colour in PhotoShop: and sometimes it was more course than fine tuning.

So now I have the best of both worlds, I can use my preferred scanning software, and spend minimal time in post production. I figure I spend about a minute per image correcting colour, and ColorPerfect is usually just a few seconds of that time.

I am quite sure that far more can be done with ColorPerfect, and I’ll update this article as I discover new techniques, and perhaps offer contrasting views if I believe that the same can be done more quickly in Photoshop. If I had one wish, it’s that ColourPerfect could be an adjustment layer rather than a plugin. But nothing is ever perfect.

I do hope that this is of use to some of you and please remember that you’re very welcome to post your own workflow and process improvement suggestions right here.

  • Ben Anderson

    Vuescan still inverts the image on screen but the RAW output should NOT be inverted, I’ve just tested this again with latest version and it works fine.

  • Ben Anderson


  • A2U

    What a gem! I’ve used VueScan for several years, mainly for slides, piece of cake. Scanning negatives is a totally different ballpark, with a lot of toil and tears to tweak the colors, both in VueScan, and in Photoshop. However, with ColorPerfect it’s a totally different ballpark! Works like a charm. Comparing with professional lab output of prints from the negs, it may even surpass this. Thank you for pointing in this direction – it saves me a *lot* of time and effort.

  • Patrik Partanen

    Do you still use this method for C41 color film ? :)
    Or have you found a better workflow, also what workflow do you use with Vuescan for B&W negatives ?
    Would be interested to know, just got a scanner and VueScan Pro for my film :)

  • James Smith

    Hi Ben.

    Sorry, I made a silly mistake. With a fresh start today I realize what I was doing wrong! Initially I supposed that, to save the scan without the locked exposure value, unticking “lock exposure” and hitting “save” will do the trick, but actually you have to re-scan the image to get a non-locked exposure scan… And it makes perfect sense, since a locked exposure scan comes from the lamp working with a specific light intensity, that you have to re-scan if you want different results. After re-scanning without locking the exposure I got a differently exposed scan.

    Thanks for answering in the first place, hope this helps if any other negative scanning noob like me reads your article :)


  • Ben Anderson

    Hi James,

    My understanding is that lock exposure should most definitely affect what you will see in the output regardless of whether it’s RAW or soemthing else.

    I can’t comment for you scanner (perhaps e-mail Ed Hamrick directly, he’s very helpful), but I’ll try and get some tests done on my V700 to see if I also see this result.

  • James Smith

    Hi Ben.

    I’m scanning with Vuescan and Reflecta Proscan 7200. I figured out my workflow through different tutorials and workflow suggestions (including your new method with Colorperfect), but I’m also trying this “lock exposure” method.

    Since I’m producing linear raw files, I’m aware that none of the settings in the “Color tab” affects the raw output, but as some say, the exposure setting in “Input Tab” should affect it and I’m not getting that at all: I obtain the same exact raw files using lock exposure values and not using them. Looking at both histograms is like looking at the same picture.

    I can’t figure out if this is: a) correct, and tutorials are misleading because “lock exposure” doesn’t affect linear raw files; b) incorrect, hardware not being able of doing exposure lock; c) incorrect, software not being able of managing the hardware, as Vuescan Bibles states, exposure lock is the software managing the lamp in the scanner.

    Can you please clarify this? Thanks in advance.

  • Ben Anderson

    Once I’ve worked on the RAW TIFF in photoshop using colorperfect I save the ‘develop’ as a PSD. Web sized versions are saved as jpegs, and print files as tiff’s.

  • Miles

    Thank you for this. I have only one question. Do you save the final product as a .TIFF, or .JPEG file? I noticed the .tif files were rather large, but I’m sure the .tif files are of much better quality than the .jpg files. What do you recommend when it comes to getting most out of the scan?

  • Ben Anderson

    Ha, my USB cable was unplugged, plugged it back in and I get a RAW option. Oops!

  • Ben Anderson

    Actually scratch that, I just upgraded from 9.2.4 and there’s no RAW – suspect it’s a release bug, downgrade… I’ll e-mail Ed.

  • Ben Anderson

    Are you using the professional version? RAW is only available in that version.


    In VueScan 9.2.14 (64bit) in the output tab there is no RAW setting…. we have TIFF, JPEG, PDF, Index, Log.

    What is the course of action to create a raw file at this point?

  • Ben Anderson

    1. If you leave Raw DNG ticked then the saved file will NOT be a linear RAW scan that Color Perfect expects, it will be Adobe’s DNG format.

    2. I just prefer not to use compression, .

    I don’t make any changes on the color tabs or curves tab, as far as I am aware vuescan ignores them when saving a linear RAW file.

    You could test this by saving the same file with different extreme settings then seeing what you get.

    Thanks for commenting.

  • John

    Thank you for the tutorial.

    1. Why do you recommend to leave Raw DNG unticked?

    2. It is said in the VueScan documentation that “Compression of the raw TIFF file will not cause any loss of image data”. So why you set “Raw compression” to “Off”?

    3. I’m scanning photos (not films), and just like you, I also think that sharpening, dust removal, etc should be done selectively and by hand in PhotoShop.

    You say that “Color tab” don’t affect Raw files, but VueScan documentation says “Little processing is done on raw files so they are a close representation of exactly what the scanner has produced”.

    So what “Color balance” and “Curve low/high” should I choose in “Color tab” so the image will be completely unaltered?

  • Ben Anderson

    I don’t see why not, but you might need to set a custom white balance on the DSLR to match whatever you are backlighting the negative with.

  • c3auer

    Great guide.  Thanks.

    Will this same technique work if you “scan” a negative with a DSLR and output a raw file?

  • Ben Anderson

    Updated the article to include:

    Setting an initial colour space.
    Filmtype ‘Subtype’ fine tuning.
    Working with slides.

  • Ben Anderson


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  • Ben Anderson

    Slide is pretty much the same as neg, except scan in color slide mode in Vuescan, save as a RAW still then when running through colorperfect set the mode to ‘colorpos’ and the L/G toggle to G. Will update the article at some point.

    I don’t shoot B&W so won’t be writing anything up for that.

  • cabbiinc

    Any idea if/when you’ll get some info on doing slide or black and white scanning done?

  • Ben Anderson

    I rarely scan B&W images, but I hear that many people scan them as a colour image and then use PhotoShop to do the actual B&W conversion…

  • Ben Anderson

    Hi, afraid I don’t use the MAC version, but I’m more than happy to mail my vuescan settings file to anyone that uses the PC version.

  • Kost_r

    thanks for posting this article. fantastic stuff. I’m going to have a right royal crack at this as i’d like to shoot some more colour film :)

    if you use the mac version posting your vuescan option file would be sweet ;)

  • NYc_kid

    Any suggestions on how to get good B&W scans from vuescan?

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  • Ben Anderson

    OK, by neutral grey, I mean anything that has equal amounts of red, green & blue, NOT that it must be mid grey (ie 128,128,128). So in this example I picked an area of cloud, which can usually be counted on to be pretty neutral under mid day conditions. Hope that helps clear things up!

  • Oscar Carlsson

    All that you need to do after this is find a neutral gray area in your image and click on it.

    What is a good neutral gray value in this? It’s probably quite obvious but I’m confused and probably (hopefully) not alone in this. Earlier, when color correcting with levels/curves (using the Kelby howto, more or less) I was told that 128/128/128 was a nice, neutral value, but it doesn’t seem to be the case with ColorPerfect.

  • Craig Butcher

    Great guide! :-)

  • Iluvhatemail

    This has been the best solution i’ve found. A bit more work but even my half-frame 35mm color negatives come out great. Thanks.

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  • Dennis ten Hove

    Thanks ben,
    I bought colorneg when i read your first post on it.
    Now this post makes some more things clear, so I’m looking forward on using it again

  • Davidjoseph

    Thank you soooo ( !! ) much for taking the time to post this article , I tried the demo of colorneg and instantly went out and paid for it ( ok i didnt have to go anywhere lol ). I had been looking for something simple to help me stay with film and now I have found it.. once again thanks for taking the time.

  • Bab

    Hi Ben, Don’t worry about my last query. I just decided to stick with what I was doing, it seems fine. Actually just found out changing the one setting actually outputs different dimensions. But I’ll just keep doing it how I was doing it, it works.

  • Bab

    Ben, wondering if you might know… I’ve asked this elsewhere, but haven’t worked it out yet

    You suggest to save images manually. Set “Input | Auto Save = NONE”. And Set “Output | Raw Output with = SAVE”.

    I was doing this, but found that I never made any corrections, just the crop size, which was always the same for all the photos. Plus I kept forgetting if I hit save yet or not, so was ending up with multiple copies of the same file! And so I decided to use Auto-Save on each scan.

    To get my images to ‘auto’ save at each scan, I changed the option in the “INPUT|Auto Save = Scan”… Worked great.

    Later I looked at the OUTPUT tab’s option: Raw Output With … and wondered if I should have this set to “SCAN”

    I found that doing this (setting “OUTPUT|RAW OUTPUT WITH = SCAN”), it doubles the output size of files compared to when I left it at just “SAVE”. So set at save it will be 20MB, set at SCAN it will be 40MB.

    Do you have any idea why this would happen? Which one I should be using for saving RAW files? As far as I can tell… they look exactly the same, just different sizes. :O

    Here is a screenshot of my settings…

    Would I be fine to continue saving using the left side of the screenshot settings?

  • Bab

    Sounds like excellent advice Ben, makes sense thankyou.

    Now I’m looking forward to scanning again. (Until I get through a couple hundred photos maybe, haha)

  • Ben Anderson

    I don’t think RAW output gets a profile embedded, so yes you could just assign the profile once created later on down the line – it’s not something I intend to do.If you’re scanning from prints, you’ve got to think that they may not have good colour balance anyway. This could be down to many factors, skill of the printer, fading, paper qualities, etc. So although removing the bias added by the scanner hardware might be useful, it’s unlikely to get you near to good colour.

  • Bab

    Thanks BEN!! I was wondering why my scans were saving darker then the preview!

    So, if I am scanning to RAW, then scanner profiling will make absolutely NO difference? The profiling only applies for when ‘processing’ the RAW file???

    Is that right?! Correct me if I misunderstood.

    If that’s right, that’s the best news ever! I can keep scanning the RAWS now, and apply any scanner profiling later. I was going to leave all my scanning for a couple of weeks until I got a new monitor and calibrator, and profiled the scanner. And thought I’d have to start from scratch as well. So now I don’t have to wait to do the scanning!

    But if you don’t think profiling the scanner isn’t really necessary, I prob won’t bother either. I’ll just stick with the calibrated monitor and make the corrections myself.

    Thanks for the replies, you’ve been the greatest help. It’s starting to be much less confusing now.

  • Ben Anderson

    Hi Bab,The settings in the color tab will have absolutely no effect on the RAW file output.Profiling the scanner will simply give you an icc profile that you can assign to your RAW scans in PhotoShop, it will probably get you closer to optimal colour but I doubt it will get you to a state of zero colour correction – for that reason I just don’t bother at all.

  • Bab

    Thankyou Ben. I have done as such, changing just the input media to photo and the output scan resolution to 600. It’s good because I’ve finally settled on a method to begin experimenting. So many differing ideas about the best resolution and settings, so I’m going for a in between for the dpi.

    I have been testing some images, the black and white not that great because the shadows in some are just very black, and so hard to lift in photoshop. Color is better. I still need to calibrate my scanner and monitor. I’m getting a new IPS panel soon, so I was going to wait until then before I did the calibration. Do you think I should wait until I’ve calibrated to scan the RAW files? Will the results of a calibrated scanner alter (improve) the results of the “RAW” file? (I was thinking before that it only mattered if you were ‘tweaking’ color balance etc, but realise this is probably wrong now).

    Also, I didn’t change the color tab – it’s still on the defaults. Is this correct to do? Or should I turn it off by changing color balance to ‘none’? ie so I can have a completely (I think) unaltered RAW which I can then process in photoshop.

    Sorry to throw so many questions at you. Answer if you can, thanks again.

  • Ben Anderson

    Hi Bab,

    You should be able to use this process for reflective scans (photos), just switch the media type in Vuescan and follow the same process – when you load the RAW scan into colourperfect you need to set it into ‘colorpos’ mode (with a G for gamma setting).

    Should be much the same story other than that.

  • Bab

    Hi, thanks again. I’ve been looking around for tutorials to get me push started with VUESCAN.
    Find you far easier to follow then any other tutorial I have managed to come across.

    Just wondering, do you ever scan photographs (not film or slides)? I am after some help on getting nice results with vuescan. Should they be done much differently to how you do your film here?

    Do you have any links of places I could go for a good tutorials similar to yours here, for this task? Find the Vuescan site a bit intimidating, I don’t know why. And I am finding it so hard to find a nice tutorial like yours. Thanks.

    I want to scan these photographs with Vuescan to a RAW files then, take them to photoshop or lightroom and process. I have gathered this might be the best way to do it.

    Please, any advice I am going mad trying to work out where to start.

  • Ben Anderson

    Hi Tony,Multi Exposure is quite useful, particularly when you want to pick out some detail from shadow areas on slides, it’s no magic bullet but will deliver some improvement. I would imagine that it must have the opposite effect on negative film, helping to bring some detail into the highlights (where otherwise they would just be blown out?).

  • Tony

    Ben, thanks for the very nice update. I had considered ColorPerfect before, but your efforts finally convinced me to purchase it. Can you tell me if there might be an advantage to using the “Multi exposure” function on the VueScan Input menu for increasing dynamic range from a color negative?

  • Ben Anderson

    In VueScan? I leave it completely alone.

  • Ben Anderson

    Hi Tim,

    I don’t use scantique. What I have started to do is following this really useful info here –

    I’ll be incorporating this into the guide before too long.

  • Ben Anderson

    I’ll put up a small sample file later that people can use – it won’t be the same photograph.

    In terms of levels in PS, what do you need to know? There’s plenty of info out there already….

    That said, I usually just adjust blackpoint (left hand slider) so that the blacks look solid, then whitepoint (right hand slider) so I drop out any flat line from the right of the curve (ie clip where there’s no highlight data). The middle slider sort of lets you alter the slider. Just fool around with it and see what you get.

  • Ben Anderson

    Hi Larry,

    Yes disabling ICE means you have to do the cleanup by hand in post – I prefer to do it this way. Another reason I do this is that I use ANR glass when I scan, ICE is much less effective when use ANR glass. Lastly, I scan 8×10 film, and ICE isn’t available when using the film area guide (different lens is used) so I prefer to just stick to one process.

    however, I believe that if you DO enable ICE then you get an extra channel output from VueScan’s RAW save that you can then use in PS for dust removal – I’ve seen an article on this somewhere so it may be worth hunting about for, I’ll post it if I find it.

    Regarding slides, yes you can absolutely use ColorPerfect to tweak them, you just set the plugin into ‘colorpos’ mode and use the same techniques as described for ‘FilmType’ and even ‘Highlight Compression’. I’ll be tackling this in the article shortly when I rescan some 8×10 Tungsten slides.

  • Bab

    Hi, thanks for the write up, you have explained things really nicely. I’m completely new to scanning. Haven’t scanned anything yet infact.

    Would it be possible to use a copy of the image you have used in the tutorial? So I can follow it step by step with your image and compare the results, might help me understand how to tweak nicely. Or do you know anywhere I can download some sample scanned images to practice on?

    I’m waiting for my scanner still, but I’d like to practice using colorperfect.

    BTW any tips on how to use levels in photoshop?

  • Larry In New York

    Hi Ben…This is a wonderful addition to the ongoing scanning workflow discourse. I purchased a V700 last week and have read countless web postings ever since, trying to get my head around the various software choices and workflow. I have a few questions I hope you can answer. With regards to ICE or infrared cleaning, my understanding is that this takes place in a channel that cannot be “seen” by Photoshop. If this is the case, and you are recommending all settings in VueScan are neutralized, won’t this result in a substantial amount of time doing that clean-up work in PS? Additionally, I’m confused with your description of ColorPerfect: “ColorPerfect is the latest incarnation of ColorNeg (it amalgamates ColorNeg & ColorPos for slide film)” Does this mean ColorPerfect does both color negs AND slides? As I do mostly color slides and b/w negatives, this means a lot to me. Thanks so much! Larry

  • Ben Anderson

    In VueScan? I leave it completely alone.

  • Nerdfunk

    great stuff! just wondering how you configure your “color” tab?

  • Ben Anderson

    Hi Tim,

    I don’t use scantique. What I have started to do is following this really useful info here –

    I’ll be incorporating this into the guide before too long.

  • Tim Parkin

    Hi Ben – Just wondering if you use the Scantique plugin to fix the gamma before using colorneg? Does Vuescan export gamma=1 images as standard? Good article btw!

  • Emailaddress

    nice tutorial Ben. i’ve been using the ColorNeg plugin for quite a while now but I’m glad I stumbled upon this page because the ColorPerfect looks to have a much better interface to work with. Cool.

  • Ben Anderson

    Article updated to include FilmType, Gamma, & Highlight Compression.

  • Joel

    Thanks for posting this. I’ve been using ColorNeg for a while but this has already helped improve my scan quality significantly.

  • Ben Anderson

    Update: mentioned the Colour Correction Filters (CC) system in ColorPerfect.

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