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2008-10-07 by David Whistance
I agree, its really a question of where, and how, you choose to do the compression as it has to happen at some stage if you are going to make a print. I tend
2008-10-07 by Steve Gledhill
Bruce, Exactly. Well put. Steve Gledhill www.virtuallygrey.co.uk From: DigitalBlackandWhiteThePrint@yahoogroups.com
2008-10-07 by Steve Gledhill
Hi David, I don’t measure the actual negative densities, but I do know that I’ve yet to create a neg with an area of density that the V700 can’t scan.
2008-10-07 by Bruce Watson
... I think y all are over thinking this. What scanners do is convert the density range they see on the film to the digital range they have available. That s
2008-10-07 by Tyler Boley
Hi Tom, yes that s right. Got it. Compression is a given. No doubt, local contrast is reduced, some would say far too much. The art comes later.. Tyler ... of
2008-10-07 by Tyler Boley
Dana, I m not following you. If the film is exposed and processed such that it s density range is comfortable for the scanner, what difference does the scene
2008-10-07 by Fred
I do not doubt the 17 stops. I do believe the results would not be linear.
2008-10-07 by Tom Baker
True. But, if you really did capture 18 stops on film, the process of converting to digital will necessarily compress the tonal range. Meaning you are
2008-10-07 by Dana H. Myers
... I m sure all of us have set-up a print in an enlarger, then exposed multiple sheets of paper in direct succession, then developed them all at once. All
2008-10-07 by scott_now_coming
Thanks, but I m at a last resort here. I ve printed lieterly TONS of purge patterns and solid blocks of cyan pages. I ve run cleaning carts for a couple of
2008-10-07 by Charles Becker
An original oil painting or an original inkjet print. So if you make a copy of an original oil painting, then it s just that a copy If you make a copy of
2008-10-07 by Dana H. Myers
... No one is questioning that David gets a tremendous SBR; it s the specific number that sounds too good to be true. Dynamic range of a sample is limited to
2008-10-07 by Tyler Boley
yes that s right, and I have seen Steve s prints as well. I don t shoot interiors like Steve, but often back lit landscapes or other difficult SBR. Whether or
2008-10-07 by Charles Becker
Create a solid block of cyan (as wide as the papaer your using and about 3 inches in height) as an image then send to the printer and crank up the cyan in the
2008-10-07 by pr_roark
... I ve tested up to 14 stops even with my Technical Pan film -- the scene had 14 stops and one scan got it all. On the other hand, the quality of the
2008-10-07 by Dana H. Myers
... Bingo. Further, the A/D converters in the Epson V700 are 16-bits as well and I really don t know about the optical chain in the V700; practically
2008-10-07 by Bruce Watson
... Probably not. The most I ve ever pushed color negative film was to make a photograph in bright mid-day sun in June (I m in the northern hemisphere), of a
2008-10-07 by David Whistance
I m not sure where this comes from. 16 bits of data gives 2 to the power of 16 shades of grey, ie 65,536 of them. Should be plenty to divide by 17 stops,
2008-10-07 by Gary Weaver
I resist the t-grain films, but my opton tessar gives me a look I don t get with anything else on tmax100. My solutions are warm, so density is different. The
2008-10-07 by pr_roark
... 10% ... If the cleaning cart and Windex or ammonia on the pad over night (or for days) does not work, try a syringe with a tube on it, Windex or an ammonia
2008-10-07 by Tom Baker
But, anything over 16 can t be represented in a 16 bit tiff file. TB ... From: Steve Gledhill Subject: RE: Subject Brightness
2008-10-07 by Steve Gledhill
Sorry but I’m going to make some simple statement here – beyond that you’ll have to ask others. The 17 stops are handled by the film and the way I
2008-10-07 by Dana H. Myers
... ... and you really capture 17 stops of range in 16 bits? How do you technically achieve that? Isn t the TIFF encoding a linear value? In which case, I
2008-10-07 by Steve Gledhill
Dana, Not many images have that range – but lately I’ve been photographing in cathedrals where the deep interior shadows through to the sunlit stained
2008-10-07 by Roger Sopher
Of course, I was thinking silver halide paper printing, not the film itself; Senile old fudd that I am. Apples and oranges. Roger ... [Non-text portions of
2008-10-07 by Dana H. Myers
... Do you really capture 17-stops of range using a 16-bit TIFF? Dana
2008-10-07 by Steve Gledhill
Roger, It’s not a paper question, it’s a film and scanning question. The film is inherently capable of capturing that huge SBR - fact. I accomplish this
2008-10-07 by steveabrink
... I was downsampling to 3200ppi typically & oocasiaonlly to 2400 ppi from 4000ppi. With prints I cannot, but there is tiny differnce at 100%+ enlaregment w/
2008-10-07 by Roger Sopher
Tyler, did you ever use a Wratten 90 as a viewing filter? When I was doing large format B&W I found that could be useful in helping to appreciate the scene
2008-10-07 by jim kitchen
Dear Roger, That tonal range happens to be available on the B&W film... jim k [Non-text portions of this message have been removed]
2008-10-07 by Tyler Boley
HI John, it s interesting to me that Bruce and I were both busily writing on this same issue in reply. It s a different thread than the OP s original
2008-10-07 by Roger Sopher
Sorry to jump in to a private conversation Steve, but how do you obtain 17 stops range. When I was doing large format B&W using the zone system, the difference
2008-10-07 by Dana H. Myers
... In my experience, the look of traditional B&W is very difficult to credibly achieve by any scheme other than initially capturing on B&W film. The grain
2008-10-07 by Ernst Dinkla
... Did you test both file sizes 4000 and 2400 PPI on really big prints say 4 feet wide and notice no difference ? If they are equal, do you get enough
2008-10-07 by John Labovitz
... I m glad I m not the only one to feel this way! I ve always found it strange, but true, that what I see through the viewfinder changes depending on
2008-10-07 by hjswim56
...the curious question I get more and more often these days is is this an original? - what else would it be. Can you call an inkjet print an original ?
2008-10-07 by Steve Gledhill
Bruce, I m a 5x4 B&W photographer. Many of my more recent images are created in extremes of subject brightness. And I want detail all the way from the
2008-10-07 by Bruce Watson
... I m not Tyler, but I can give you some thoughts on this. First, B&W films have different spectral responses than do color films. This is particularly true
2008-10-07 by Tyler Boley
It depends on what you consider best . If the options available when converting to B&W fom a color source are most important, than that might be called best.
2008-10-07 by btvarner
Hi Tyler, Changing subject somewhat here but I wanted to respond to your last email. Not wanting to pick a nit but I believe that opinions are changing as to
2008-10-07 by Jane Waters
... wrote (in response to my question about what is an original ... Clayton, thank you for your insights. Excellent as always. I DO consider every
2008-10-07 by Tyler Boley
Well this is the B&W list, and your stated desire was the highest quality, so one assumes you re shooting B&W film. As Bruce suggests, for that level of
2008-10-07 by Leping
Just over 1GB? My layered master files are very often 2-3GB each, and my mentor Charles Cramer s, with typically 50 layers on, can be over 5GB! Buy a Mac Pro
2008-10-07 by Roger
I d keep the cleaning cart(s) in for a few days and run a few MIS R800 purge test prints on plain paper each day. It should clear soon. This worked for me
2008-10-07 by scott_now_coming
Any ideas on how to un-clog a nasty cyan channel on an R-800? I ran cleaning carts and let the printer set overnight. I m in the process of a puddle clean with
2008-10-07 by Bruce Watson
... I routinely scan my 5x4 B&W negatives to about 11x enlargement so I can have some small amount of room to clean up the rebates and perhaps correct for some
2008-10-07 by Gary Weaver
You can t have both. You have to make the scarafice. Off-hand, JPEG compression might be your best bet. gar *********** REPLY SEPARATOR ***********
2008-10-07 by Dana H. Myers
... You might think of it that way, but it doesn t seem like others commonly share that view from what I ve seen. Dana
2008-10-07 by Clayton Jones
Hello Jane, ... I think of a giclee as being a copy of an original art work. The paint artists in the west coast branch of my family had giclees made of
2008-10-07 by Ernst Dinkla
... Right, it was only to sketch that it may be more difficult to get that quality in lenses when this fix is widely accepted. -- Met vriendelijke groeten,