Re: colorsync-users digest, Vol 3 #311 - 7 msgs
Re: colorsync-users digest, Vol 3 #311 - 7 msgs
- Subject: Re: colorsync-users digest, Vol 3 #311 - 7 msgs
- From: "Joseph A. Castay" <email@hidden>
- Date: Fri, 19 Jul 2002 03:10:20 -0400
Very interesting responses for Scan Back Repro Copy work
BetterLight (BL) and PhaseOne (P1) make good scan back cameras for Repro
Copy work.
P1 believes that they a have color technology that replicates the human
eye (theoretical).
BL has said similar.
BL is using the latest in Kodak tri-linear CCD's which is said to be
premo, big wows. P1 - I am not sure but likely a Kodak Tri Lr CCD. All
those comments about Mike, true!
I have worked on most high end camera software. I have the latest
versions on most. I find that once you have determined how you want to
work the process becomes mute. There will always be a plus and a minus.
How many times have I heard I wish the app had the same thing as the
other app. Throw me the nickels, watch the face.
**********************
My priority for Art Work is Resolution, Bit Depth, and Color.
Resolution = Detail. Typically lacking in many others work. And I don't
just mean lines, faint texture in very light pastel colors or
transitions in milky white on pee canvas. Buy the highest res your
business can justify. Interpolation doesn't buy you dot and is wasted
time and effort for this type of work.
Bit Depth = Tone & Color. If you have ever done any serious Repo Copy
work, you know transparency film will not hit many colors, but it does
reproduce a good tonal range ( I will be bold - a natural curve - given
processing is good). Scan backs can hit difficult and some funky colors
sometimes. I remember doing work with the Dicomed when it first came
out. It was a wow then. Software allows for you to use default or to
create exposure tone curves that are suitable for your work. Start and
stay in high bit depth until you are ready to print (not that you have a
choice).
Color = The ability to reproduce good color without profiling and better
kick butt color with profiling.
**********************
Lights / Polarize:
High Frequency Florescent, CCD's love this light. cool and clean. will
not cause stress on the art work.
HMI, good light but can art work.
Tung, dirty light can will art work.
In that order.
******************************
Dynamic Range: This is theoretical, not exact.
0.0 to 4.0 with 0.0 being White and 4.0 being Carbon Black.
Each step towards 4.0 equals 2X as dense. I believe it works like this:
(algorithmically)
0 = X
.1 = X2 2X more dense
.2 = 2X2 4X more dense
.3 = 2X2X2 8X more dense
.4 = 2x2x2x2 16X more dense
.5 = 2x2x2x2x2 32X more dense
.6 = 2x2x2x2x2x2 64X more dense
.7 = 2x2x2x2x2x2x2 128X more dense
.8 = 2x2x2x2x2x2x2x2 256X more dense
.9 = 2x2x2x2x2x2x2x2x2 512X more dense
1.0 = 2x2x2x2x2x2x2x2x2x2 1024X more dense
At least:
Newsprint 1.8
Coated Paper 2.0
Photographic Print 2.6
Photographic Transparency 3.0 16X more dense then Photo print
Digital Cameras 3.6 64X more dense then Photo transparency
Digital Scanners 3.6
The short comings of Art Repro Copy work will come from your output
device(s). Output devices are much more limited. One last note: Although
I like single capture devices, they are no match to the quality of scan
backs in Art Repro Copy work. I consider this a mute point that doesn't
warrant any debate. You can do copy work with a single capture camera,
but it is no match. It is not about what you can get away with. My
opinion!
Joseph A. Castay
Consultant - digital imaging
email@hidden
978-388-8008
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