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Perhaps more important to all photographers, it covers the most critical points in choosing the color space when scanning and when printing from Photoshop.
The scans shown below are unedited dry and wet scans. These scans show the difference in resolution of dry as compared to wet scanning. Wet scanning can do this because it is an optical technique.
No manipulations of any kind were applied. W hat you see is the unedited scan. As you can see, the wet scans obtained through the ScanScience wet-scan technology are far superior in resolution, sharpness, contrast , and dynamic range.
Color Think Pro is unquestionably the premier color management software. One of the of the most important decisions you are likely to make in scanning is tagging your image with a working color space.
Once you do that, the image is forever confined to the boundaries of that color space. The colors contained in the film that the working color space can't include are permanently lost clipped to the scan and can't be recovered.
Choosing, after the fact, a wider color space in Photoshop is ineffective. The loss is permanent and cannot be undone. In scanning, the objective of color management is to record, with maximum fidelity, the colors embedded on film.
If you have scanned and captured all the colors in the film faithfully, the image's richness may not be fully evident in the monitor at hand, but since printers have wider gamuts than most monitors, the printer may print most colors in the scan even though you cannot see them on the monitor.
The richness of the colors in the scan are not most because the monitor does not display them or the current printer can't print them.
They are embedded with the scan, waiting to come to life and be rescued by a better monitor or printer. Opting for fluid-scanning puts within reach the highest quality reproduction possible.
To ensure this, the path from the scan to the print must be direct as regards size and color settings, with the least amount of intervention by the photo-editor software.
Best quality requires sizing the scan for the print and tagging the optimum working color space to the image from the start.
This means a color space that will not clip the colors on film nor one that will be too wide as to include artificial, mathematically created colors.
If this is done, the colors resident on the film will stand a better chance of being reproduced in print.
Although Color Science can be complicated, the working principles are not difficult and distill into relatively basic concepts. Older color spaces and older printers were blind to a large portion of the visible spectrum including blues and greens.
A weak color space like sRGB was then quite appropriate because what it could not capture could not be printed anyway. The very wide color gamut reproducible in today's best printers requires a larger color space to match.
Fortunately new color spaces are available that more closely match the capabilities of the best printers. The only remaining shortcoming is in the media, paper , which at its best, falls short of reproducing the full brightness or intensity recorded in film, readily viewable in projection, a monitor, or a light-table.
A very large color space like Pro-Photo RGB is big enough to encompass all real colors, but at the price of including many unreal, imaginary colors.
When sRGB was the only game in town, the distorted colors produced by pro-Photo RGB might have been worth the risk and a better choice than clipped colors.
The imaginary colors in Pro-Photo RGB are merely mathematical constructs, devoid of practical significance, which can lead to severe distortions of the real colors.
A large set of comparisons of many color spaces against the gamuts of several monitors and many printers is one of the many features in the forthcoming eBook.
These comparisons will help you attain the best color possible with fluid scanning. Nature is generous with color and the human eye the marvelous gift that enables it.
To do both justice you need to understand the color capabilities of color spaces and printer profiles, which you learn in ScanScience's forthcoming eBook "Total Scanning 2".
The blues which are not shown in this take , are equally clipped as would be seen if the image were to be turned around.
The best color printers of today, in conjunction with the latest color spaces, come closer to reproducing a larger portion of the visible spectrum.
You will notice that many of the greens and blues not captured in sRGB would be printable with this printer. One reason for Lumina scans is color, so it is appropriate to say something about color.
The color space you choose may or may not be able to accommodate all the colors in the film. The radar allows the control towers and aircraft to see what else is in the air space, and thus avoid collision.
Many of the greatest technological advances are made in connection with the military, and especially when you are at war. That this has later been used for more civilian tasks must be said to be a perfect situation for all parties.
The depth of field of the scanner lens is very narrow so that tiny changes in this elevation, in the order of 0.
Though the scanner and the supplied film holders are supposed to put the film at this optimum distance, production tolerances are not that exact such that every scanner that comes off the production line has a slightly different optimum focus point.
This is why both the V and V come with holders that allow you to adjust, or tune, this scanner-to-film height to get the optimum focus for your individual unit.
The holders that come with the V have a far more exact adjustment capability than those that come with the V, but the idea is the same.
Unfortunately, my V only came with two scanner glass to film positions and these measured for my configuration at 2.
There is one more height possible that is without any of the adjusters installed and that measured to be 2. These were all measured with the depth gauge on a plastic dial Vernier caliper.
I really wanted to determine the optimum scanner glass to film position more accurately than this so instead of using the film holder supplied with the scanner I printed some myself on my 3D printer.
Doing so I could test scanner glass to film positions of 1. The primary driver for this was the fact that the scanner is supposed to have an optimum scanner glass to film position of 2.
One of these typical film holders I printed is seen below. Scans were done for all these scanner-to-film heights. The scans were saved as lossless TIFFs with no in- software sharpening.
If you look at this area of interest on the PIMA ISO Resolution Chart it is very difficult for the human eye to determine the resolution difference between the scans at different heights.
I just needed to compare these to one another relatively. Concentrating on the area of interest on the scanned PIMA ISO Resolution Chart, the ImageJ software allows you to generate a sine wave graph or modulation transfer function of the gray values for the series of lines.
The image below shows a screenshot of the ImageJ software and the graph of gray values depicted as you move from left to right along this series of smaller and more closely spaced lines.
The raw sine wave data can be downloaded from the ImageJ software to an Excel file for further analysis. A typical result of the Excel graph is shown is shown below for the 1.
The number of the x-axis at this matching gives an idea of the relative resolving power of the image. Fitting these data points to a quadratic curve and taking the derivative of that curve and setting it to zero gives the optimum scanner glass to film position height for this scanner based on these tests.
In this case this turns out to be about 2. Actually the resolution of my 3D printer is probably higher than that of this optimum height estimation.
It is certainly more accurate than my eyes simply looking at the raw scans. The above optimum scanner glass to film position height determination was all done with a wet mounted negative for the simple fact that the dry mount holder supplied with the scanner could not accommodate these differ heights and the supplied holder was needed to keep the dry mount perfectly flat.
Now it was time to compare the resolving power of wet and dry mounting both in the supplied holder with no height adjustments as that is the closest I can get to the optimum height with the supplied holder and with the 3D printed support I had that was closest to the optimum height.
The results of this head-to-head comparison can be seen below. Enough with the math, in reality using the V with the supplied holder, wet or dry mounted, gives results that I have found to be the same or in many cases much better than the scans from the development lab.
One additional advantage of wet mounting though is the ability to keep the negative perfectly flat. We have seen that due to the very small depth of field in this fixed focus scanner keeping all parts of the negative at the same distance from the scanner glass is important.
For the target negative that was used here that was not a problem with the supplied holder as the film was new.
Older negatives, especially ones that have not been stored in the upmost conditions may have significant curl to them. Wet mounting is the best way to get rid of this curl for optimum scanning.
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