How to Digitize Classic and Vintage Prints

Preserving, Sharing, And Printing Your Timeless Memories

Follow these meticulously crafted guidelines, and you will wield the power to effortlessly transmute your cherished prints into digital superheroes—each pixel is a tiny crusader, preserving memories with unrivalled clarity and detail. Witness the magic unfold as you unlock the secret vaults of preserving, sharing, and printing your timeless memories. As you embark on this noble quest to rescue your prints from oblivion, embrace your inner hero. Let the digital transformation commence, and may your memories shine brighter!

Custom Camera Settings for Scanning Prints

• Exposure Mode: Aperture Priority

• White Balance: Custom-5000, 5600 (matched to lights)

• Aperture: f5.6 to f8 (or your lens's sharpest setting)

• Focus: Manual Focus, Peaking On

• Screen Histogram: On

• Self-Timer: On – 2 Seconds

• Stabilizer: OFF (to avoid on-stand distortion)

• Quality: RAW

• ISO: 100 – or the camera's lowest (not auto ISO)

Transforming Beloved Prints into Dazzling High-Resolution Digital Wonders

Behold the enduring legacy of black-and-white prints, the unsung heroes of the photo world! These vintage family prints, like ancient guardians, have endured for 50 to 100 years, preserving memories with a resilience that rivals super-heroic durability. In contrast, color images, with their cyan, yellow, and magenta dyes, are more delicate tricksters that are prone to fading and yellowing when exposed to constant light. Treat your prints like precious relics, shielding them from light and heat before the grand scanning spectacle. If the urge to display them arises, unleash the power of digitization, letting your digital copies bear the adoration of public attention.

Unleash Creative Power in Your New Digital Copy

The nostalgic charm of yesteryear, embodied in vintage photographs, often tempts us to preserve those weathered prints exactly as they are — curls, scratches, stains, and all. However, when combined with expert editing, digitization presents a unique opportunity: the ability to use a digital paintbrush for precise retouching, combining the authenticity of the past with the pristine clarity of the present. It serves as a reliable companion on your nostalgic journey! Step into the world of photo restoration, where the power of a robust editing program, particularly one that excels in RAW mode, performs its magical work. Time's ravages, from scratches to tears and stubborn stains, can be banished in mere moments. Watch as your images transform from timeworn relics to sleek digital marvels, heroic in their revival. If you are one of those people who prefer that well-worn look, then you can just keep both.

Prints: The Eloquent Storytellers

When you compare the trinity of prints, slides, and negatives—vintage and classic prints— the eloquent storytellers can uniquely bear descriptions on their backs, like secret messages passed down through generations.  As you embark on the journey of digitization, recording these messages in metadata serves as the unsung hero. This process involves capturing vital information about each print, slide, or negative. Metadata includes descriptions, keywords, dates, and other essential details that transform each image into a well-documented piece of history. It's akin to adding footnotes to a grand novel, enriching the narrative and ensuring that future generations can understand and appreciate the context behind each photograph. By diligently recording metadata, you provide not just images but an enduring legacy of stories and insights. 

You'll find prints in numerous packages and groupings

• Albums

• Montages

• Boxes

• Individual envelopes containing prints

• Envelopes with prints and negatives

• Individual enlargements

• Photographs in frames

Prints in albums, montages, and envelopes have likely been curated

People likely curate groups of prints in albums, montages, and envelopes to tell a story. These groupings may be significant for you and your other family members. I suggest keeping albums and montages apart from other prints due to their distinct processing methods. If you have been capturing films previously, you can put away the 'Essential Film Holder' and the base light for now, as you will use the copy-stand base and its' integral lighting for this process. You still need to ensure that all other lights are off, as they will cause glare and damage your image. 

Behold the Pixel-Shift technology!

But wait, there's more! Behold the pixel-shift technology, a secret weapon that can catapult your image into the stratosphere of up to 150 megapixels. This technology is ideal for creating grandiose prints or capturing the intricate details of artwork. It's like having a superhero with the power of a hundred regular cameras. As your archival crusader, I'm on a quest to ensure your archive reaches the pinnacle of quality, providing maximum value to generations yet unborn. Why settle for mediocrity when you can soar to super-heroic heights? Let the legacy-building commence, and may your digital collection be a beacon of excellence for all time! 

Prepare Your Lighting for Capturing prints

Prepare your lighting for capturing prints. You will use the lighting stands attached to each side of your copy stand. The lights should be above the print and at a 45-degree angle. Some commercial lights have a top-of-light baffle that prevents light from spilling out in the camera's direction; this is a beneficial idea. You could also create a light baffle with some black cards. For best results, soft box-style LED lights or diffusers can minimize glare and harsh shadows, ensuring your digitized prints look as crisp and balanced as possible. LED lighting truly offers a modern, precise touch to preserving cherished memories! 

Leveling Is Essential

Leveling is essential. Your baseboard should always be level and on the same plane as the camera. It is also necessary to guarantee that the baseboard is perfectly level in every direction. I rely on the Round Bubble Level for copy base levelling to achieve this. Next, place a small mirror on the baseboard. Activate the grid on your camera screen. Then, adjust the camera on the stand so that the camera's reflection in the mirror (and thus your viewfinder) is squared, and its edges are straight. Only then can you replace the mirror with your subject print.

Final preparations for Capturing Prints

For the final preparation for capturing photo prints, have your camera on the copy stand and check that the camera is level by checking the bubble level you have slid into the accessory shoe. You should have configured your custom settings and set your custom dial to your configured setting. Use your bulb blower to ensure everything is dust-free, including the front and rear lens elements. I also utilize the camera's automatic sensor cleaning option at the beginning of every shooting session.

I always have one more check to ensure the lit subject is level, flat, and dust-free. If you use strip magnets to hold the prints down, ensure they are placed along the full horizontal length of the print but not at the ends facing the lights, to avoid casting shadows (depending on their thickness). At this stage, I typically wear cotton gloves. Use the air blower to dust off the subject, ready for capture. 

Extraneous Light Is Your Worst Enemy When Doing This Work!

There should be no other light in the room when you are working. Avoid unnecessary light when performing this task! Keep your camera in color and RAW mode even when capturing black-and- white prints for the best post-editing results. You will appreciate having the RGB channels during editing, even with what appear to be monochrome images. Many vintage photos will be sepia toned; you may wish to retain this.

Check the Evenness of Lighting on the Baseboard

The most effective way to check the evenness of lighting on the baseboard is to use an incident, hand-held light meter. Please move the meter across all sections of the baseboard image area, taking readings up to the maximum print size you plan to capture. Note that you will not be using these measurements as your capture exposure, only to confirm even lighting. Set an ISO and shutter speed on your meter, then, whilst moving the meter around, ensure the f-stop readings from all regions are as close to the same f-stop reading as possible. Move or adjust the light's distance and lateral angle on both sides to rectify any discrepancies in lighting; this can become a bit tricky to balance at times but is well worthwhile. Try to keep the up-down tilt of the lights at 45 degrees. The larger the print you are capturing, the more important this test becomes.

No Light Meter? —Use Your Camera Meter

Should you have no hand-held light meter, remove the camera from the copy stand to move it freely over the image on the baseboard. Use spot metering mode. You need to achieve optimal aperture readings (with identical shutter speed and ISO). Now proceed precisely as described in the previous paragraph. 

Photograph the Archive Group label

Before starting the capture process, please make sure to identify the container of prints for your records. Do this by affixing the archive label you have previously created to the baseboard and photographing it in close-up. This image will serve as the starting point for the captured images associated with this media container and will remain permanently stored in the corresponding computer folder. When working with a new media container, repeat this procedure using the new label. By following this method, you will always be able to determine which images correspond to each container when reviewing them later. For further details, refer to the link to my Archive Structure page provided above. If you need a reminder about archive groups and labelling media containers, then it is important that you review the details on my archive structure page.

Ensure Prints Are In Size Order 

You should ensure that you organize the prints you capture by size. This arrangement will help streamline the sorting process and ensure that each print is easily accessible when needed. Additionally, consider labeling each category clearly for quick reference. These steps will save you a great deal of time during print capture, as you won't need to raise and lower the camera on the copy stand as often as you would if they were not so ordered. 

Place Prints on the Baseboard Inverted

Since the camera will be mounted upside-down on the copy stand, it is important to position horizontal prints in the same orientation — that is, upside-down from your perspective. This alignment ensures the resulting images are properly orientated relative to the camera's position. Neglecting this step would result in numerous photos needing rotation during editing, adding unnecessary time and effort to your workflow. Furthermore, keeping the orientation consistent across all prints not only streamlines the process but also helps maintain an organized and efficient setup, reducing the chances of errors or misaligned captures. For added clarity, consider marking a reference point on the copy stand baseboard to help align your prints consistently. When you're digitizing prints on a copy stand base, holding them securely in place is essential to achieving sharp, distortion-free images. Here are some techniques to ensure your prints stay put without damaging them. 

Methods To Hold Prints Down

Using thin strip magnets:

Thin strip magnets are an effective option and can be easily purchased online. For smaller prints, I typically place two magnets along the horizontal edges. To prevent tiny shadows from appearing on the print surface, I avoid positioning magnets on the sides facing the capture lights. For larger prints, it may become necessary to secure all four corners with magnets. In such cases, adjust the height and angle of the lights to reduce shadows, or consider exploring alternative techniques mentioned later. One drawback of this method is that it can complicate the inclusion of the original print border, in case that is important to you. If capturing the original print border is essential, you might want to utilize a different mounting technique that allows for more flexibility. Additionally, experimenting with different light sources or diffusers can help achieve a clearer image while preserving the integrity of the print itself.

Magnets Require a Metal Base

If your copy stand has a metal base, you can use small, flat magnets to hold the edges. Make sure to use a protective layer, like acid-free paper, between the magnet and the print. Consider using an anti-static or tacky mat that naturally holds objects flat without adhesive. It's all about balancing stability with preservation. If you're working with valuable prints, extra care with archival-safe materials is a must.

If you have a copy stand with a wooden base, you must use a sheet metal plate for the magnets to work; ensure that the plate is magnetic steel. I purchased one from eBay, which was pre-cut to size, and I painted it black. Ensure it is just thick enough so that it does not bend. 

Keep It Flat: Transparent Acrylic Sheets

Regardless of your chosen digitization method, either capturing prints individually or in an album— you may encounter photographs that stubbornly refuse to lie flat, exhibiting lifting at the edges or a pronounced curl. A practical solution to this common issue is the application of clean, transparent sheets of either glass or, more commonly due to its lighter weight and reduced risk of scratching delicate prints, high-quality acrylic. These rigid, transparent overlays gently flatten the print against the album page or a print, ensuring a consistent plane of focus across the entire image during capture.

When employing transparent materials like acrylic or glass, maintaining their pristine condition is paramount. Acrylic can develop static electricity, which may attract dust or fibers to its surface; any imperfections, scratches, dust, or moisture on the surface of the sheet will be faithfully reproduced in your digital image, significantly degrading the result. Therefore, the acrylic or glass must be of the best optical quality, meticulously cleaned with a lint-free cloth and appropriate cleaning solution, and thoroughly dried before each use.

Using Polarizing Filters With Acrylic Sheets

A crucial technique is to strategically use polarized light to combat unwanted reflections that can arise when photographing through any transparent material. Employing a lens-mounted polarizing filter in conjunction with polarized light sources (achieved by placing polarizing sheets over your lights) can block reflected light waves. This technique dramatically reduces or eliminates glare from the surface of the acrylic, the print itself, and even slightly glossy album pages, revealing the detail and color of the photograph beneath.  It's important to understand that polarizing light reduces the overall light intensity that reaches the camera sensor.  Consequently, you will likely need to compensate for this light reduction by adjusting your camera's exposure settings. The solution might involve widening the aperture (reducing the f-number) or increasing the ISO sensitivity. Be mindful that increasing the ISO can introduce noise, so adjusting the aperture is often the preferred first step, even if it necessitates a slightly slower shutter speed. Ensure your setup is stable to prevent motion blur if longer exposures are required.

Using Archival-quality Photo Tape or White-Tac

Use archival-quality photo tape or low-tack artists tape to gently secure the edges of the print to a flat surface; this technique prevents the print from moving whilst photographing it. Please ensure the tape does not leave any residue or damage the print when removed. Using White-Tac is also helpful for small prints but not for larger ones. I use several tiny pieces around the edges, as small as I can roll them. I then use a small rubber roller (with a sheet of protective paper between them) to flatten the print evenly. These pieces are a bit fiddlier to remove from the prints afterwards than the previous suggestions. I have never used this method on the face of an image (for capturing rear notes), as it risks damaging the emulsion. If I capture captions on the rear, I use a different approach to avoid damaging the emulsion. I would never use this method with thin, torn, or damaged prints. Do not use traditional tapes that have not undergone testing for this purpose.

Using a suction or vacuum easel

Using a suction or vacuum easel is another quite effective but more expensive way of holding prints down. If you have the required skills, you can build one using several easy-to-find parts; I have included a 'how to build it' video here. Here are instructions for a self-built photo vacuum copy stand with lights. You could alternatively source and purchase one.

Use Aperture Priority Mode

Embark on a photographic odyssey, where you wield the power of aperture priority! Imagine yourself as the curator of cherished film memories, commanding the lens with precise control. In this mode, you dictate the aperture, shaping depth of field and light intake, while your camera intelligently selects the corresponding shutter speed. Given the stability of your copy stand, the use of tethered capture, or the use of a self-timer or remote shutter release, even slower shutter speeds pose no risk of motion blur, allowing you to focus solely on the creative potential of your chosen aperture.

Ready To Capture Your First Print

If you are not using the custom setting, set your camera to RAW mode and select aperture priority mode. Using RAW mode, you will capture all the data needed to produce the most accurate and high-quality representation of the original media. It's like keeping a full-resolution master copy that can be adjusted as needed!

Set the self-timer for 2 seconds. Set the aperture to f8 (or the sharpest aperture for your lens). Turn 'focus peaking' on in your settings. As previously discussed, move your camera as close as possible to the subject print, focus manually on your first print until the focus peaking is at its most vital blinking point, and then take the shot. Click! Capture the image in your controlled lighting environment to ensure clarity and detail. Afterward, review your photos to ensure that both the print and any notes or captions on the rear are crisp, sharp, and clear.

Rear Captions: Capture The Rear of The Print

Captions and descriptions on the back of prints can hold valuable information for posterity and contribute significantly to your archive metadata. Therefore, it is advisable to capture an image of the reverse side of the print whenever captions, notes, or any other markings are present. To maintain consistency and organization within your digital archive, it's recommended to rename the image of the back of the photo using the same name as the front image, appending the suffix -bk.

For example:

• Front image filename: Image01.jpg

• Rear image filename: Image01-bk.jpg

This naming convention ensures that front and back images remain paired and logically linked within an alphabetical folder system. Such a structure makes it easy to locate and cross-reference the related images later, eliminating confusion and improving the efficiency of your archive management. Additionally, this practice ensures that both the visual and contextual details of the print are preserved for future reference.

Camera Requirements for Larger Prints or Artworks 

Expert institutions and professional archives frequently employ medium-format digital cameras for these tasks due to their superior resolution, dynamic range, and color fidelity. While medium-format cameras may be inaccessible to some, preparing your workspace with the right tools can yield excellent results with standard equipment.

It's worth noting that the size of the artwork might exceed the dimensions of a standard copy stand baseboard. In such cases, you may need an alternative setup, such as securing the artwork flat on a wall or using a larger tabletop supported by a mobile camera mount. Careful pre-planning is essential to ensure your workflow is efficient and that each capture aligns with your archive or presentation goals.

Hang Your Print

Start by hanging your photo frame or artwork on a neutral-colored or white wall. Hang a landscape photo vertically on the wall for better lighting. You can rotate it later using your editing software. Next, you should use a larger "builders"-style spirit level to ensure the wall (and the print/artwork) is level. 

Confirm Your Camera and Tripod Are Perfectly level

As previously stated, you must also check that your camera and tripod are level and on the same plane as the print or art piece. Finally, return your camera to your chosen custom setting; all those settings will apply here. Use manual focus with peaking to capture a sharp image. Take an initial reference photo with the above-mentioned color reference card in the picture; this reference will be indispensable during post-editing.

Lighting for Larger Prints or Artworks

The standard lighting for larger prints or artwork discussed in this post for photographing prints using two identical lights can apply to medium-sized originals. These two lights must match in wattage or output and be the same distance from the artwork center, positioned at 45 degrees to each side, in front of the painting or artwork. It would help if you placed diffusers on each light. The originals' size will determine the room's size, the lights' size, and how many you need. You will need to move the lights around to get the best coverage. Check for any glare spots by turning off all other room lights and using two (or more) shooting lights while testing. You must ensure that you have provided even lighting from both sides of the subject.

While capturing, all other lights in the room must be turned off

While capturing, only the capture lights should be on— no other lights. With only the shooting lights on, use an incident light meter to take readings across the area to ensure even exposure, as discussed in a previous paragraph, except that this is on a larger scale. For these shots, you may need to use a round polarizing filter on the lens and polarizing sheets on each light source. You can take the photo once all the essential areas are reading for the same f-stop or as close as possible.

Capturing Prints Outdoors Is An option

Digitizing prints outdoors in daylight can be both an opportunity and a challenge. Here are some thoughts and practical tips to help you achieve consistent, high-quality results.

Natural daylight is inherently variable. Factors such as the time of day, cloud cover, and the surrounding environment can alter the quality, intensity, and color temperature of the available light. There are ways to mitigate these fluctuations. Consider working during overcast conditions or the "golden hours" (shortly after sunrise or before sunset) when the light is softer. Use portable reflectors and diffusers to help control and even out the lighting across your prints.

Outdoor settings can introduce unwanted glare, especially if you're digitizing prints with a glossy finish. A polarizing filter for your lens can help reduce reflections. Position the prints to minimize direct sunlight or harsh shadows, use diffusion. You can also use polarizing sheets for your capture lights. Consider creating a makeshift light tent or using a portable enclosure to shield the print from direct sunlight, ensuring uniform illumination.

Daylight can shift color balances, sometimes imparting a warm or cool tone to your images. Adjust your camera's white balance to match the prevailing light conditions; use a custom white balance setting or shoot in RAW format so you have greater flexibility in post-processing to correct any color imbalances. Regularly calibrate your camera using a grey card to ensure that your digital prints accurately reflect the original colors. Ambient outdoor conditions—such as wind, temperature changes, or even the movement of surrounding elements—can affect your setup.

Use a sturdy tripod or copy stand that can withstand outdoor conditions. Ensure that your prints remain perfectly flat and stable. Occasionally, the pressure of the wind or uneven surfaces might require you to use weights or clamps designed for delicate materials. Before committing to a full digitization session, take a few test shots; evaluate them for exposure, detail, and any unwanted reflections or shadows. These test sessions may reveal unforeseen issues, allowing you to adapt your technique or equipment accordingly.

Summary: 

Digitizing prints outdoors in daylight requires a balance between utilizing natural light and counteracting its unpredictability. With thoughtful preparation using diffusion, reflective control, appropriate camera settings, and stabilization, you can effectively harness daylight to create high-quality digital reproductions of your prints. This approach saves time and preserves the integrity and detail inherent in the original artworks. You may be taking a risk by moving outdoors, but if you don't have a spacious studio, you may have little other choice. I also have a page further on in this site that covers full and comprehensive details of the requirements for mounting larger prints to the wall and more in-depth instructions for professional results.

Next: How To Digitize Prints in Photo Albums