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If this is done, the colors resident on the film will stand a better chance of being reproduced in print.
Although Color Science can be complicated, the working principles are not difficult and distill into relatively basic concepts.
Older color spaces and older printers were blind to a large portion of the visible spectrum including blues and greens.
A weak color space like sRGB was then quite appropriate because what it could not capture could not be printed anyway.
The very wide color gamut reproducible in today's best printers requires a larger color space to match. Fortunately new color spaces are available that more closely match the capabilities of the best printers.
The only remaining shortcoming is in the media, paper , which at its best, falls short of reproducing the full brightness or intensity recorded in film, readily viewable in projection, a monitor, or a light-table.
A very large color space like Pro-Photo RGB is big enough to encompass all real colors, but at the price of including many unreal, imaginary colors.
When sRGB was the only game in town, the distorted colors produced by pro-Photo RGB might have been worth the risk and a better choice than clipped colors.
The imaginary colors in Pro-Photo RGB are merely mathematical constructs, devoid of practical significance, which can lead to severe distortions of the real colors.
A large set of comparisons of many color spaces against the gamuts of several monitors and many printers is one of the many features in the forthcoming eBook.
These comparisons will help you attain the best color possible with fluid scanning. Nature is generous with color and the human eye the marvelous gift that enables it.
To do both justice you need to understand the color capabilities of color spaces and printer profiles, which you learn in ScanScience's forthcoming eBook "Total Scanning 2".
The blues which are not shown in this take , are equally clipped as would be seen if the image were to be turned around. The best color printers of today, in conjunction with the latest color spaces, come closer to reproducing a larger portion of the visible spectrum.
You will notice that many of the greens and blues not captured in sRGB would be printable with this printer. One reason for Lumina scans is color, so it is appropriate to say something about color.
The color space you choose may or may not be able to accommodate all the colors in the film. Avoid color spaces like sRGB, which clip the film colors.
Do not choose a color space like Pro-Photo RGB that contains imaginary colors which distort the color of the imag and can't be printed anyway.
The ideal color space will contain all the colors of the film and be at least as large as the gamut of colors printable in the best printers.
Whether or not you will see those colors in your monitors depends on the monitor. Only the colors within the color space can be printed, if the printer is capable.
Today's modern printers and inks reach further afield into reds, greens, and blues, which were unprintable years ago. Vintage color spaces like sRGB were developed for vintage printers and monitors, and are inadequate today.
Since you value color, that's the reason why you use LUMINA, so it is time for a change in color space or printer or both. We recommend Adobe Wide Gamut.
The best of today's printers can print some of the colors in this color space even though your Adobe RGB capable monitor can't show them.
This color space is almost as large as the film gamut. The representation of color is a 3-dimensional affair which plots the chromaticity coordinates in the horizontal axis and luminance in the vertical axis.
This is shown in 3D Figures 1 and 1a, and 2 and 2a, on the right , where the base is the gamut of visible colors. The CIE gamut is shown here for comparison.
The wireframe in the 3D graphs represent color working spaces, i. The solid color figure within the wireframe is the 3D profile of Canon's Image Prograph set out against the color space in the wireframe, and the CIE gamut in 2D as the base.
Evidently both color spaces are smaller in places than the printer profiles. The wireframes are smaller than the printer profiles which bulge out.
Where that happens, those colors outside the color space will be unprintable and not fed to the printer, even though the printer is capable of printing them.
The printers call for a larger color space. Most high-end printers of recent issue can master the Adobe RGB color space. There is a definite reduction in visible grain in the scans from the Epson V Closer observation shows that this is not true.
If you look at the faded upper sign on the post you will see that many of the faded letters on this white sign are distinguishable in the V scans.
When comparing the dry and wet scans done on the V little difference can be seen though there may be a little more dynamic range shown on the wet scan.
Now let us look at some color images. Taken on a trip down there from Detroit before I left for the West Coast, knowing I would probably never see her again.
Both are very acceptable captures of all the detail that this old negative can capture. That said, both are good scans and if printed one could question whether the printing process, depending which is used, could capture as much of the dynamic range as the wet scanned negative.
It also should be noted that this part of the image was from the center of the negative and this old film has a lot of curl to it. Whether the dry scan mounted in the holder would have been flat enough to produce consistant results on the edges is questionable.
I personally hate to fish, but when your Uncle asks you to do something you comply. The image here is of my Uncle fishing Sulphur Creek.
There were 30 lb King Salmon running up the creek at the time but he was fishing for trout. The salmon would have been not very good eating even if it was legal to actually take them home at the time as they are at the end of their life and half wasted away.
Goerz Rectagon Lens large format lens mounted on it. This gives an image with about a 90 degree angle of view. I wet scanned this at ppi so of course the actual.
Note the amount of detail that the wet scanning can extract from this film is so good that you can make out my Uncle fishing on the shoreline!
So obviously the Epson V can give some great results and the ScanScience wet mounting kit can enhance these results even further and ensure that the negatives remain perfectly flat in the process.
I am still working on my technique to minimize dust that has to be digitally removed later, but that will simply take practice.
Since the labs that I use charge so much for scans and these scans are worse or at best equal to what I can get from the Epson V, I think my days of having scans with my developing are over.
A note about scanning software. That supplied with the V cannot access the High Pass Optics of the scanner. That supplied with the V I purchased does but the software would not work with my latest version of Mac OS.
As a result, if you purchase either the V or V you will have to upgrade the software supplied to access these High Pass Optics.
Many thanks to John for coming back to us with another fantastic article. If you have your own experiences or tips please leave them in the comments below.
Thanks JCH. Camera hunter, photographer, camera geek, Tokyoite and Englishman all rolled into one gracefully balding package. I have been living and working in Tokyo for 14 years now and it is my home.
Tokyo is heaven for cameras and I know the secret spots and special places. Let me be your 'camera enabler'. I considered buying an Epson Vish for a long time but decided against it.
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War is generally a terrible time, but within the field of technology pushes the participants to the utmost to find an advantage, allowing many inventions that is especially beneficial for traffic.
Previously, it was radio contact, map and human coordination from the control towers, which made sure that air travel went, as it should.
The radar has revolutionized this and made sure that human error cannot play as big a role as the former may have made in aviation.