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In the colour shot, perhaps the wet scan slightly opened up the shadows a little bit more. But hardly. Very good article.
Oil mounting was standard on the Crosfield or Hell drum scanners I used to operate when I was in the print trade back in the 80s and 90s.
About 10 years ago I did my first experiments with using a digital camera as a scanner and found the results so good I abandoned flatbeds altogether.
Any scanner or clunky scanner software is just too time consuming. The technique is enhanced by using focus stacking to correct for any curvature of the film.
To my eye, I get better results with this than with my Epson V dry scans. The YouTube author then puts this self-contained wet mount into a dedicated Nikon slide scanner for digitizing.
I would love to try this wet mount with my DSLR slide digitizing routine, but am not sure how to construct the mini wet mount, in particular how to make the mount fluid-tight on three sides and how to space the two panes of glass just right.
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About The Author. Bellamy Camera hunter, photographer, camera geek, Tokyoite and Englishman all rolled into one gracefully balding package.
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Aukje on December 20, at pm. John Kossik on January 10, at am. Karim Ghantous on January 10, at pm. Harry on March 6, at pm. It would be good to know a bit more about the scans you get from the lab — Frontier?
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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. Avoid color spaces like sRGB, which clip the film colors.
Do not choose a color space like Pro-Photo RGB that contains imaginary colors which distort the color of the imag and can't be printed anyway.
The ideal color space will contain all the colors of the film and be at least as large as the gamut of colors printable in the best printers.
Whether or not you will see those colors in your monitors depends on the monitor. Only the colors within the color space can be printed, if the printer is capable.
Today's modern printers and inks reach further afield into reds, greens, and blues, which were unprintable years ago. Vintage color spaces like sRGB were developed for vintage printers and monitors, and are inadequate today.
Since you value color, that's the reason why you use LUMINA, so it is time for a change in color space or printer or both. We recommend Adobe Wide Gamut.
The best of today's printers can print some of the colors in this color space even though your Adobe RGB capable monitor can't show them. This color space is almost as large as the film gamut.
The representation of color is a 3-dimensional affair which plots the chromaticity coordinates in the horizontal axis and luminance in the vertical axis.
This is shown in 3D Figures 1 and 1a, and 2 and 2a, on the right , where the base is the gamut of visible colors. The CIE gamut is shown here for comparison.
The wireframe in the 3D graphs represent color working spaces, i. The solid color figure within the wireframe is the 3D profile of Canon's Image Prograph set out against the color space in the wireframe, and the CIE gamut in 2D as the base.
Evidently both color spaces are smaller in places than the printer profiles. The wireframes are smaller than the printer profiles which bulge out.
Where that happens, those colors outside the color space will be unprintable and not fed to the printer, even though the printer is capable of printing them.
The printers call for a larger color space. Most high-end printers of recent issue can master the Adobe RGB color space. This is shown In 2D in figure 3a.
This figure shows a large area which represents the ICC range of colors visible to the eye. The Epson does nearly as well.
Yet the Adobe RGB color space is smaller than the colors eye can see. At the present time, no printer is yet capable of matching this color space.
Advances in inks and printers will continue expanding the range of printable colors. Reaching further to print all visible colors is no doubt the holy grail of printer manufacturers.