Archived posting to the Leica Users Group, 2004/02/20
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]> > > >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 - -- To unsubscribe, see http://mejac.palo-alto.ca.us/leica-users/unsub.html