Digital BW, The Print

I have question for Jon Cone regarding his setting the white point while scanning the negative. Forgive my ignorance of terminology, but what exactly do you mean by "film base + fog"? I've tried scanning my negatives as positives in the past and have come out with a very flat inverted image in PS requiring a lot of curves.

Thanks,

Ross

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "piezobw" <jon@...> wrote:
>
> I agree with Walker about the positive scanning of negatives - it helps eliminate the scanner manufacturer's algorithm for converting a neg to a positive. I find this the best way to get out of the film what is there, without the scanner software imposing its own idea of what is there.
> 
> I'll add a penny to his two cents...
> 
> I usually set the white point on the film base + fog, and I set the black point on fully exposed film (leader for example). This way everything that has been exposed will exist within the dMin/dMax possibilities of the film.
> 
> 
> Jon Cone
> Piezography
> 
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Walker Blackwell <forums@> wrote:
> >
> > For BW, I often do raw (positive) drumscans of BW negs and inverted them in ACR. Then I import into Lightroom and do most of my global adjustments in there. I like it because it's non-destructive and faaast! (+ there is no duplicates. Just the raw scan files with non-destructive crop.)
> > 
> > + It gives me a more darkroom-esque workflow and I take save all my adjustments as templates, etc. For straight photography, it works really well for me.
> > 
> > Just my two cents,
> > Walker
> >
>