Re: Does MF color slides scanning in 24 bit still make sense
Re: Does MF color slides scanning in 24 bit still make sense
- Subject: Re: Does MF color slides scanning in 24 bit still make sense
- From: Ernst Dinkla <email@hidden>
- Date: Thu, 21 Jan 2016 17:15:19 +0100
You mean the Callier effect as mentioned earlier in one of the messages. I
doubt that. Sure that effect could be introduced in scanner or slide copier
illumination but true point light sources + condensors are not used in 99%
of scanners but the drum scanners. The last can eliminate that effect again
with aperture control which in practice is similar to CCD scanner multi
sampling, the sensor resolution being below the scan sampling resolution.
That is baked in hardware wise in the Epson and some Umax models but can be
extended with Vuescan and Silverfast. For the Nikon scanners the multi
sampling is a choice in the driver software. Even lighting in scanners is
more or less impossible with true point light sources but (I imagine) a
flying spot.
In color negative film the elimination of the orange mask should not
compromise the dye color capture, noise will appear one way or another. For
color negatives discontinuous spectral lighting whether with LED or CCFL
light sources can actually improve the dye capture if the spectral spikes
are placed at the maximum dye densities and the sensor RGB sensitivity
aimed at the combination of both spike and dye density. Intensity per
channel controlled to get neutrality. Human observer has lost any meaning
there.
Color film should not create a Callier effect. The pepper grain effect in
scans made on the Minolta scanners etc could be reduced with an extra
diffusor in the light path but what actually caused it was not a Callier
effect but this:
https://luminous-landscape.com/fuji-pepper-grain-the-mystery-resolved/
The problem showed less with wet mount scans, as I wrote before film
emulsion surfaces can play dirty tricks in scanning. Small bubbles in
lenses have no influence, small bubbles in film do, I recall there was
actually a commercial film that relied on it: Vesicular film. Not lost in
obscurity I see: https://en.wikipedia.org/wiki/Vesicular_film
In the seventees I had a Durst M610? enlarger. Normally equiped with a opal
bulb tungsten lamp + 45 degr mirror + condensor lens. Fascinated by the
German Veigel enlargers with their projector lamp lighting I tinkered a
slide projection lighting in the Durst. Then adjust the overlap of the
filament + mirrored filament correctly. Creating übergrain prints William
Klein style. On cheap document paper. It had nothing to do with sharpness
and all with contrast. Not usable for color either.
Met vriendelijke groet, Ernst
Dinkla Grafische Techniek
Quad, piëzografie, giclée
www.pigment-print.com
On Thu, Jan 21, 2016 at 3:07 PM, MARK SEGAL <email@hidden> wrote:
> The visibility or accentuation of grain depends on the kind of lighting
> set-up used to make the capture. Think diffusion versus condenser enlargers
> of the film era and you'll have a good enough feel for the basics.
>
> Mark
>
>
>
> ------------------------------
> *From:* John Castronovo <email@hidden>
> *To:* Ernst Dinkla <email@hidden>
> *Cc:* 'colorsync-users?lists.apple.com' List <
> email@hidden>
> *Sent:* Thursday, January 21, 2016 1:40 AM
> *Subject:* Re: Does MF color slides scanning in 24 bit still make sense
>
> I've always found that drum scans of color negative films show a lot more
> grain than a direct chromogenic print made from the same neg. I usually
> soften the grain through independent channel by channel noise reduction,
> but
> I'm curious to know how others deal with it. I"m not sure how a DSLR sees
> color negs, so I'm leaving the subject line as is for the moment.
>
> john castronovo
>
>
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