Archived posting to the Leica Users Group, 2004/02/20

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Subject: Re: [Leica] "Show Me the Monet"
From: "animal" <s.jessurun95@chello.nl>
Date: Fri, 20 Feb 2004 09:00:51 +0100
References: <LNBBLBNFHNEHGFKFMALGKECOJOAB.timatherton@theedge.ca>

> 
> > >Darryl,
> > >
> > >This is from a report from one the largest online Epson vendors.  If
> > you scroll half way down this link, you will see it.  Very impressive:
> > >
> > >http://www.inkjetart.com/news/archive/IJN_02-18-04.html
> > >
> > >John
> > >
> 
> Here's an unsolicited response to the above article:
> 
> Begin quote....
> 
> "Thank you for your very favorable review of the Monet
> reproductions I made for Epson's display at PMA 2004. I thought
> that you and the members of the group might be interested in
> some of what went into making the prints.
> 
> As you mentioned, they were printed on UltraSmooth paper on a
> 9600. I use the Epson driver. No RIP. However, I do make my
> own profiles with Gretag ProfileMaker Pro 4.1.5. I have found that
> 4.1.5 makes the best profiles for UltraSmooth. Shadow detail is
> noticeable improved with this version of ProfileMaker Pro.
> 
> All of the reproductions were made from files created with the
> Sinarback 23 digital camera back. The camera also has a
> custom profile. The paintings are proofed in our studio to the
> monitor under GTI proofing lights. We are able to get virtually an
> exact match, both in color and dynamic range. The dynamic
> range of the paintings was always impossible to accurately
> capture on film.
> 
> One of the key reasons the paintings look so "real" is our lighting
> technique, which has been developed over 20 years of
> photographing paintings for print reproduction. It is a
> combination of raking light and polarization, which is customized
> for each painting. We treat the paintings as 3 dimensional
> objects because most have a surface dimension.
> 
> But the final piece of puzzle is the printer, ink and paper. I can
> match the color gamut of the paintings with the Ultrachrome
> inkset on UltraSmooth paper. Aside from it's important archival
> qualities (a pre-requisite for us to sell prints to the public), the
> lack of optical brightners, natural white base and smooth surface
> are essential for facsimile fine art reproduction.
> 
> John Woolf
> Digital Imaging Specialist
> Museum of Fine Arts, Boston"
> 
> end quote........
Is that the cooled back with the 14 stops dynamic range?
jes
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In reply to: Message from Tim Atherton <timatherton@theedge.ca> ([Leica] "Show Me the Monet")