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Death knell for film ?
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Chris Moody wrote:
There are lots of reasons why it might not be working for you but I do know that the R3000 should be able to deliver the goods if used correctly. This is how I would go about it.
Scan your negative flat without adjustment or correction.
Assuming you are using a decent monitor. Profile it using the manual options: Gamma 2.2 6500K whitepoint and and luminence of around 120. It’s important that you keep your working environment consistent and block out window light. Your editing room should be comfortably lit – I use a 5000K flourescent bulb relected off a white ceiling.
Make your adjustments in photoshop.
Make a print using the Advanced Black and White options in the Epson Driver. The results are very good.
You could also use the Quadtone RIP software which supports the R3000.
Don’t expect your print to match your monitor exactly. If you want to compare screen to print then an affordable option is 4700K Solux Clip on light.
The best advice of all is to read ‘Real World Color Management’ by Bruce Fraser and understand what’s going on under the hood.
It’s been a while since I did any Colour Management work so some of my advice may be outdated. Apologies in advance.
Thanks for the info. Will keep trying. Im using the same scanner as yourself i think the V700, computer wise its a 24inch IMAC so the screen I would think should be ok. I might invest in a new monitor calibrator as the one im using is an old Spyder 3… Ill look into “Quadtone RIP” also and try to get my hands on ‘Real World Color Management’ Thanks for the detailed info.
Of course you can still have the best of both worlds and send your scanned, prepared file off to the likes of Metro Imaging to have it printed on traditional silver based fibre paper. I’ve never tried this though so have no idea of what the results are like.
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