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 <mgsegal@rogers.com> 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 <jc@technicalphoto.com> *To:* Ernst Dinkla <info@pigment-print.com> *Cc:* 'colorsync-users?lists.apple.com' List < colorsync-users@lists.apple.com> *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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