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You are listening to Adorama Narrated a collection of our favorite blog posts, presented in audio format. The Skinny on Film Scanning written by Steve anchell published on December 16, 2025 while the primary purpose of film scanning is to digitize negatives and transparencies for reproduction and preservation, an increasing number of photographers are using scanning as part of a hybrid workflow. Digitizing original film negatives or transparencies, AKA slides, allows you to show your work on the Internet or make inkjet prints. It can also be used to create enlarged digital negatives for contact printing with an enlarger or alternative processes such as platinum, gum, dichromate, cyanotype, and many more. Scanning is not difficult, but to do it well requires a good scanner and software, along with a few basic concepts to get the most out of both. When considering the purchase of a scanner, there are two things to resolution and d Max film Scanning Resolution Scanning resolution is how much detail a scanner can record in a single inch of an image. When reviewing the specifications of a scanner, the lower number is optical and the higher number is interpolated. The optical resolution is the one that matters. So a scanner with A resolution of 6400x9600dpi has an optical resolution of 6400dpi and an interpolated resolution of 9600dpi. Although it is not technically correct, most scanner manufacturers use DPI dots per inch when referring to both input and output. To avoid confusion, I will use dpi throughout this blog post. Optical resolution is the scanner's true resolution as determined by the manufacturer through controlled testing. In practice, scanners will never achieve the highest optical resolution for which they're rated at best. The rated optical resolution is only an indication of a scanner's potential quality. Interpolated resolution depends on software to create pixels where there are none. While this can make an image appear smoother, it degrades the overall sharpness. When considering purchasing a scanner, consider only the optical resolution. The scanning resolution determines the maximum size of enlargement you'll be able to make without compromising quality. The choice of scanning resolution is dependent on the native size of the film, for example 35mm, 6x7cm, 4x5 inch, etc. And the purpose for which the scan is intended. Three approaches to scanning resolution There are three approaches to scanning resolution. The first is to use the largest rated optical resolution and down sample it for each use. The second is to classify the film by type, fine grained, low or high, ISO, color, negative transparency, etc. The third is Based on intended use and size of the film format, all three methods will produce good scans. Use the one you are most comfortable with. Regardless of which method you use. No two scanners produce the same results and even the same scanner will produce different results with different software. For that reason, you should test each format and type of film you use and compare the results. Spend a day doing this and you shouldn't have to do it again. The following is the method I format plus intended use Internet save scans intended for the Internet as JPEGs with the preset Silverfast or JPEG quality Viewscan set at 80dpi 35mm 2000 to 2400dpi saved as a JPEG medium format all 1200 to 1600dpi 4x5 inch film 480 to 500dpi 8x10 inch film 320 to 400dpi some scanning software programs have controls that will allow you to adjust the density and color of the image prior to scanning. If you correct your images in the scanning program, you can save them as JPEGs. If you intend to post process, save them as TIFF files, Prints and digital enlarge Negatives 35 millimeter 2400-3200 dpi Medium format 1200-1600 dpi 4x5 inch film 650 dpi 8x10 inch film 320-400 dpi in the blog post there is a screenshot of the settings Steve uses for 35mm prints up to 10 x 15 inches. The scanner is an Epson Perfection V750 Pro Silverfast SE software. These recommendations are for prints up to 10 x 15 inches with a printing DPI of 300. Save these scans as TIFF files so you can edit them in post processing. In the screenshot, Steve demonstrates his print resolution, his scanning resolution, the print size, and the size of the original film. Scanning to archiving originals Though it may be counterintuitive, using the highest resolution setting does not result in better scans. Instead, it accentuates the grain and takes up more space on your hard drive without providing additional information in the highlights or shadows. Scan all film sizes at least one setting below the maximum optical resolution and save them in uncompressed TIFF or raw files. For example, if the highest optical resolution is 6400dpi, scan at 4800dpi density range Dr. A scanner's minimum density DMIN will usually be less than 1.0 with the maximum density Dmax as high as 4.0. The difference between DMIN and DMAX determines the dynamic range or doctor of the scanner. So if the DMIN of your scanner is 0.2 and the DMAX is 3.9, the doctor of the scanner is 3.7. When possible, choose a scanner that has a DMAX of at least 3.5. Types of scanners for film There are three types of scanners for drum, dedicated and flatbed. Digital cameras can also be used to scan negatives, but that is a topic for another time. With a drum scanner, the artwork is attached to a drum that spins while a laser beam activates the recording sensors. A drum scanner can have optical resolutions as high as 11,000 dpi. This is the scanner to use for Collector's Edition books. Dedicated film scanners have higher optical resolutions than flatbed scanners but less than drum scanners. These dedicated film scanners are limited to 35 millimeter and or 120 film. If you can live with this limitation, then the Plustek Optikfilm 8300i with an optical resolution of 7200dpi, Dr. 3.6 and infrared dust removal is one of the best options for film negative and transparency scanning. Use a dedicated film scanner for archiving your negatives. Flatbed scanners such as The Epson Perfection V850 Pro are more versatile in that they can scan large format negatives and prints. The scan quality is not as good as a dedicated film scanner, but good enough for any purpose except Collector's Edition books. For that, a drum scanner is the best choice. The V850 has an optical resolution of 6400dpi and a Dr. Of 4.0. It can scan in 48 bit color mode and 16 bit black and white. It is also capable of fluid mount scanning which can be used to effectively remove scratches and reduce grain. Fluid mount is especially effective for scanning large format negatives intended for display film scanning software Even the best scanner relies on the use of good software to create the highest quality scans. Most scanners come bundled with dedicated software such as Epson Scan or plustek quickscan Plus. The bundled software works well with the scanners it is intended for but is often not updated by the manufacturer and usually has limited features. For more complete control of your scan, try using third party software such as viewscan or Silverfast se. Vscan is known for its compatibility with a wide range of scanners, including many that have been discontinued. It is intuitive to use, containing many advanced features including infrared dust removal if your scanner supports infrared multi exposure and batch processing. Silverfast SE is a more robust program that also supports infrared dust removal, multi exposure, and batch processing. Silverfast allows more control over the process. It also has a full auto feature workflow pilot that produces great image quality. Both vuscan and Silverfast have trial versions. If you're new to scanning, I recommend learning with the software that comes with your scanner. Once you have the hang of it, try the ViewScan and Silverfast trial versions and decide which one works best for you. This has been the skinny on film scanning, written by Steve Anchell. Read for you by Nikki Haller. For more posts like this, check out the 42 west blog at adorama.com blog links are in the show notes. Be sure to follow adoramanarrated on your favorite podcast app and leave us a review if you enjoy the content. Remember, create no matter what.
Podcast: Adorama Narrated
Episode Date: April 16, 2026
Original Blog Author: Steve Anchell (Published Dec 16, 2025)
Narrator: Nikki Haller
This episode is a narrated version of Steve Anchell's in-depth blog post “The Skinny on Film Scanning.” The episode demystifies film scanning for photographers—from hobbyists to professionals—explaining essential concepts, tools, and workflows for digitizing film. By focusing on practical considerations such as resolution, scanner types, software, and best practices, listeners gain actionable advice for building an effective hybrid film/digital workflow.
"Scanning is not difficult, but to do it well requires a good scanner and software, along with a few basic concepts to get the most out of both." (00:53)
Resolution Explained
"When considering purchasing a scanner, consider only the optical resolution." (02:13)
Choosing Scanning Resolution—Three Approaches
Suggested Settings by Film Size & Purpose
(Save for Internet as JPEG; for prints as TIFF. Settings below are recommendations, not mandates.)
"Using the highest resolution setting does not result in better scans. Instead, it accentuates the grain and takes up more space…without providing additional information in the highlights or shadows." (08:11)
Drum Scanners
Dedicated Film Scanners
"If you can live with this limitation, then the Plustek Optikfilm 8300i...is one of the best options for film negative and transparency scanning." (13:45)
Flatbed Scanners
"Even the best scanner relies on the use of good software to create the highest quality scans." (17:47)
On optical vs. interpolated resolution:
"Interpolated resolution depends on software to create pixels where there are none. While this can make an image appear smoother, it degrades the overall sharpness." (02:55)
General best practices:
"Spend a day doing this [testing] and you shouldn't have to do it again." (05:57)
On scanner choice:
"No two scanners produce the same results…and even the same scanner will produce different results with different software." (05:44)
The narration maintains a practical, reassuring, and jargon-light approach. Steve Anchell’s expertise is clear, but the advice is approachable and actionable—encouraging experimentation and ongoing learning, rather than rigid rules. Listeners are advised to embrace testing and to "spend a day doing this and you shouldn’t have to do it again.” (05:57)
This episode offers a comprehensive, step-by-step guide to film scanning, covering terminology, gear, settings, and workflow advice for new and seasoned photographers. The focus is on understanding what matters (optical resolution, dynamic range, good software), making informed buying decisions, and adopting practices that balance image quality, file size, and future flexibility.
For anyone looking to digitize their film archives or integrate scanning into their creative process, this episode delivers all the core knowledge needed to get started.