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  1. #11
    keithwms's Avatar
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    I contact print my LVTs. You can also enlarge therm. In other words, you treat them just as you would a normal neg.

    But I think you meant to ask: what would I need to take full advantage of a high res drum scan. Well, I drum for LVT(for a dupe neg) or for lightjet (for a print). Even though you could argue that those two output methods ultimately have some finite dpi resolution and bit depth... there's no important limit to how much information one can get out with the drum at least at the actual scanning stage.... we can scan right up to the optical limits of diffraction (and I would argue even beyond). I mean, with a drum you can extract absurd amounts of information. It just beats DSLRs all to crap, even the older drums, not to mention the newest Azteks. The virtually limitless scan resolution coupled with ~16-bit per channel bit depth means that virtually the only thing you aren't recording is the smell of the negative. And for the record, I do not deny that smell is important

    There is the issue of how grain works in the image though, that is another *big* topic. Some rightfully assert that they like grain and how it is renderd by optical printing, and I think much of the enmity surrounding this topic is the lousy way grain is rendered by non-drum scanners. I mean, people do crappy cheap scans and the moan. You get what you pay for.
    Last edited by keithwms; 12-01-2009 at 09:47 AM. Click to view previous post history.
    "Only dead fish follow the stream"

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  2. #12

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    I think a possiblity might exist in adapting a LCD projector, and use it as a light source, it has seemed like an interesting idea, but I've never been inclined to go find the bits and do it.

  3. #13

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    Quote Originally Posted by keithwms View Post
    I contact print my LVTs. You can also enlarge therm. In other words, you treat them just as you would a normal neg.

    But I think you meant to ask: what would I need to take full advantage of a high res drum scan. Well, I drum for LVT(for a dupe neg) or for lightjet (for a print). Even though you could argue that those two output methods ultimately have some finite dpi resolution and bit depth... there's no important limit to how much information one can get out with the drum at least at the actual scanning stage.... we can scan right up to the optical limits of diffraction (and I would argue even beyond). I mean, with a drum you can extract absurd amounts of information. It just beats DSLRs all to crap, even the older drums, not to mention the newest Azteks. The virtually limitless scan resolution coupled with ~16-bit per channel bit depth means that virtually the only thing you aren't recording is the smell of the negative. And for the record, I do not deny that smell is important

    There is the issue of how grain works in the image though, that is another *big* topic. Some rightfully assert that they like grain and how it is renderd by optical printing, and I think much of the enmity surrounding this topic is the lousy way grain is rendered by non-drum scanners. I mean, people do crappy cheap scans and the moan. You get what you pay for.
    Hmm... okay. So can any manipulation be done to the LVT image before it's written to film? This would allow straight printing, more or less, of the new neg. How large can an LVT be made? BTW, sorry for the brain-picking. I hope it isn't too painful.

  4. #14
    keithwms's Avatar
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    I think you can get LVTs up to 20x24 from Chicago Albumen. IIRC top res could only be had to 4x5 or so, though, and that was in excess of 3000-4000 ppi, permitting 10x enlargement. At the larger sizes I think you are getting a ~508 ppi neg, IIRC.

    And yes, you can do any evil manipulation you want to the file that gets fed to the LVT! E.g. scratch and dust removal....
    "Only dead fish follow the stream"

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  5. #15

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    Hmm... I must look more intensely into LVT's.

  6. #16

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    Mike Hulsman, thanks for the link. Very interesting information. I have gone to consider technical subtleties...:-)
    But for print B&W on a multicontrast paper a bit different installation is required, I think. The additive way of the print means serial exposuring of photographic paper by three (R, G and B) LEDs. For a multicontrast paper, as I understand, it is required to mix three colours in a different proportion and to exposure once. I see a problem in mixing of colours. Small LEDs in dense packing and good "mixer" are required, I think.

  7. #17

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    I like it!!

  8. #18
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    Photoexpedition,

    See also: http://www.apug.org/forums/forum41/1...rger-head.html
    And also http://www.huws.org.uk/ for a working 4x5 head and electronics.

    For VC paper you need a combination of blue or green light or a combination of both.
    Grade 5 needs the royal blue led in combination with an UV led, as I read here on apug.
    For graded paper you need blue light.
    For color you need YMC.

    I think when you use an RGB led you can have every color you need, but maybe you also need an UV led.
    On huws site he is using only 30 1 Watt leds for a 4x5 head.
    Today you can buy 3 Watt RGB leds for 10 euro's a piece.

    I do not have any knowledge on electronics, I just want a 10x10 led head as cheap as possible

    Just gathering a lot of information on the net, prior to building mysel one.
    With some help of people who knows their electronics.

    Mike
    Last edited by mhulsman; 12-01-2009 at 12:06 PM. Click to view previous post history. Reason: forgot color printing.
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  9. #19

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    Quote Originally Posted by mhulsman View Post
    For VC paper you need a combination of blue or green light or a combination of both.
    Grade 5 needs the royal blue led in combination with an UV led, as I read here on apug.
    For graded paper you need blue light.
    For color you need YMC.
    It appears for VC and graded papers all is more difficult , than I thought...
    But I print B&W images on classical barit paper, without use of filters. And I wish to have an opportunity the print of colour images in my old enlarger. This problem is slightly easier.

    For colour I require YMC if I "isolate" necessary colours from white (substractive method). I require RGB if I "collect" white (additive method). In Fuji Frontier and similar systems use RGB. For this reason modern photographic papers are adapted under frequencies of LED. It also has pushed me on idea to use LED for the print in colour.

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