scanning color negs
scanning color negs
- Subject: scanning color negs
- From: "LensArtGallery" <email@hidden>
- Date: Sun, 23 Mar 2003 23:53:20 -0800
From: "john c." <email@hidden>
>
One reason that service bureaus don't like to scan negatives is that there
>
is too much left up to the good judgement of the operator. The time spent
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seriously cuts into profits. In the case of a chrome or print, the
operator
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has something to match, aesthetics don't enter into it, and the service
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bureau makes money.
>
>
Custom photo labs have always had to deal with this problem. The "real"
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color of a negative is always an open question. It's as different with
each
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printer, paper, enlarger or lens as it is with each scanner or PhotoShop
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operator. What the customer wants, to make matters worse, can be what was
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seen on a cheap proof.
>
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For this reason, we always do a raw scan of negs and save multiple
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correction layers in PhotoShop to make the conversion. This is so that we
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make it easy to make any changes after the customer sees the final result.
>
Working this way has an overhead, but it's the only way I know of to get
the
>
job done.
Scanning of negatives is a particularly dificult area, but this only points
to the larger problem of getting control of the processes involved, into the
hands of the creatives. This is what the digital revolution is all about,
and service providers who are innovative in finding ways to accomplish this
end will succeed.
An artist doesn't necessarily want to own a drum scanner and say, a Light
Jet and 60 inch paper processor. He is however probably interested in
having control over the processes which shape the end product.
Creatives will always favor the avenues that offer them the most control or
input into the process.
Rob Scheid
LensArt Gallery
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