Re: fine art reproduction questions
Re: fine art reproduction questions
- Subject: Re: fine art reproduction questions
- From: neil snape <email@hidden>
- Date: Sun, 02 May 2010 21:56:13 +0200
- Thread-topic: fine art reproduction questions
on 2/05/10 21:28, Mike Strickler wrote :
> Maybe I read too cursorily, but why the concern here with HDR? The
> luminance range in studio work, where one can and does control
> lighting, after all, does not tax the dynamic range of digital
> cameras, which are quite wide compared with, say, transparency film,
> which has been happily used in the studio for years. In photographing
> paintings the luminance range is also quite short, at most about 50:1
> and usually much, much less. We're not talking about the proverbial
> redwood forest on a sunny day...
Mike you may be right about a watercolour but the contrast ratio of
oil/acrylic paintings is a lot higher than that. It's not about what the
painting is about but what you are using to capture.
Not sure I follow about the controlled lighting, how does that change the
contrast ratio?
Copy lighting is usually set to 1/10th of an f stop, and visually compared
for shadow density with a pencil for shadow strength and shape. OF course
if you use a Cruse scanner the lights are already done, yet still variable
for texture and reflections one of the great advantages of those scanners.
Film was a lot harder to capture both ends of the extremities, almost always
a lot was left to the scannerist to pull out. Yes digital cameras have a lot
of info in them but the extremities are not always of a usable quality.
Right again on HDR it is theoretically but also mathematically the max you
can use but it is a way to do wonderful thing that Canon DSLRs are not made
to do from a single capture.
We were talking about how to maximise potential with Canon Dslr , not
needed for paintings with a 50:1 contrast ratio!
Neil Snape
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