Re: fine art reproduction questions
Re: fine art reproduction questions
- Subject: Re: fine art reproduction questions
- From: neil snape <email@hidden>
- Date: Sat, 01 May 2010 17:55:29 +0200
- Thread-topic: fine art reproduction questions
on 1/05/10 15:13, Ben Goren wrote :
> Well, that's theoretically true, I suppose...but, for art, the dynamic range
> is very small to begin with. I've never, ever, ever even come remotely close
> to clipping highlights on artwork when starting from a proper exposure. And
> I've yet to actually be able to see shadow noise when doing art reproduction,
> either -- even years ago when using the original Digital Rebel. Then again,
> I've never tried to reproduce a portrait of Elvis done on black velvet with
> fluorescent paint and neon lights incorporated into the work.
>
> But how on Earth do you manage to get a good profile out of HDR as a starting
> point? I can't imagine the workflow nightmare that must be...is it even
> possible? What kind of colorimetric match do you get out of the final print?
>
> And...well, for that matter, if the art has more dynamic range than the camera
> can handle, how on Earth are you going to get your printer to reproduce it?
>
> Can you share some of your experiences with HDR for art reproduction? Because
> the more I think about it, the less sense it makes....
>
> Cheers,
Dynamic range is the total package, there are in old film terms toe and heel
in the response of the captor. To expand the range significantly you must
use multiple exposes, best done in HDR.
Building camera profiles with the x-Rite Passport and using multiple
exposures outside of HDR is a good way to expand on the range.
While with film we flashed (preflashed to be more correct) to move the
shodows up a notch or two, Dslrs certainly need this.
The range of tones possible is aided by dynamic range expansion, for
optimising the print condition around the preferences from the original. The
key word is optimising, and with most inkjets the shadow information
certainly can be improved with crafty methods such as HDR.
Agreed the best 3D lens is the 50mm , but copy work for reasons of
reflection are almost always better with a longer lens. On the 8x10 I used ,
always used the Nikkor 450 / f9. For Dslr that would be rather a 100mm or
better.
The best output will be had by best techniques. Dslrs are pretty nice but as
you move up into higher dynamic range cameras the results are really
stellar. Most All MF backs are 16 bit, have a lot more DR, and better yet
are scan backs like Better light.
Neil Snape
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