View allAll Photos Tagged Workflow
Part 3 of 3
Then I do the same for the water area. Note that at this point this image is very similar to by 0EV capture—no surprises there. This was what I saw when I photographed this photo. I do HDR not for effect, but just so that I can have some details on the shadow area.
At this point you see that really there is not much color to this scene. In fact, they stand to distract the overall image, so I removed it. Here since I have been working in Lab mode I just quickly removed the color channels or just removed the color saturation. If I work with images filled with color I usually would use the channel mixer in RGB mode or use the black and white tweaking modules inside Lightroom. But as you can see there is not much color in this image to start with so I can simply just remove the color saturation.
After importing back into Lightroom, I tweak things further as I feel that I can still get some more details in the shadow area. If I were inside Photoshop I would do a image-wide shadows/highlights tweak but since Lightroom version 4 there is this new Clarity parameter which works very well in manipulating local contrast so I used it.
And that’s it. But remember, every single image is different. This is not a recipes. There are no rules. Now go have some fun!
Cheers.
# Full video
+ youtube.com/watch?v=0N9RWxVO5gw
# Presentation PDF
+ www.slideshare.net/seeminglee/hdr-process002
# Final photo
www.flickr.com/photos/seeminglee/9370400032/
# Notes
Hope this is useful for some…
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
HDR Photography Workflow: Part 3 of 3 / SML Tutorials
/ #SMLPhotography #SMLTutorials #SMLEDU #SMLUniverse
/ #HDR #photography #workflow #tutorials #video #edu
David Muth "Preface", Valokuvagalleria Hippolyte, Helsinki Dec. 2012.
Drum scans provided by CastorScan
-----
CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
-----
CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
This is a vertical panorama stitched using seven 7D RAW captures (at 98mm) of the entrance to 中環廣場 Central Plaza in Wan Chai, Hong Kong. Escalators at the entrance of the building are typical in Chinese architecture, as the ever flowing energy is similar to that of water, an important element in 風水 Feng Shui.
I never liked the design of the building. Most of the people in Hong Kong also question the naming of the building when it was built—although its name suggest that it is in 中環 Central, it is in fact located at Wan Chai—which is two MTR stops away.
# About 中環廣場 Central Plaza
This 78-storey, 374 m (1,227 ft) skyscraper was completed in August 1995 and is located at 18 Harbour Road, in Wan Chai on Hong Kong Island in Hong Kong.
It is the third tallest tower in the city after 2 IFC in Central and the ICC in West Kowloon. It was the tallest building in Asia from 1992 to 1996, until the Shun Hing Square in neighbouring Shenzhen was built. Central Plaza surpassed the Bank of China Tower as the tallest building in Hong Kong until the completion of 2IFC.
en.wikipedia.org/wiki/Central_Plaza_(Hong_Kong)
# SML Data
+ Date: 2013-02-11 12:42:17 GMT+0800
+ Dimensions: 3410 x 7867
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200 f/4L USM + Canon EF 1.4x Extender
+ Focal Length: 98mm
+ Panorama FOV: 14 degree horizontal, 33 degree vertical
+ GPS: 22°16'50" N 114°10'28" E
+ Location: 中國香港灣仔港灣道18號中環廣場 中国香港湾仔港湾道18号中环广场 Central Plaza, 18 Harbour Road, Wan Chai, Hong Kong, China
+ Serial: SML.20130211.7D.22610-SML.20130211.7D.22616-SML.Pano.001.Rectilinear.14x33
+ Workflow: Hugin 2012, Lightroom 4
+ Series: 人流 Human Logistics, 形 Forms, 全景攝影 Panoramic Photography
“中環廣場 Central Plaza” / 香港商業建築人流全景之形 Hong Kong Business Architecture Human Logistics Panoramic Forms / SML.20130211.7D.22610-SML.20130211.7D.22616-SML.Pano.001.Rectilinear.14x33
/ #人流 #HumanLogistics #形 #Forms #SMLForms #全景 #Pano #SMLPano #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #建築 #建筑 Architecture #攝影 #摄影 #photography #城市 #Urban
DRUM SCANS BY CASTORSCAN.
Photo: Marcus Schneider
----
CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
-----
CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
This is my current workflow, the last step may vary naturally. I don't always use the same filters, but Adjust and Detail from Topaz Labs quite often used
The 2nd app in my workflow I use is Photogene... More on how I use it at:
digitalchemicals.blogspot.com/2014/02/ipad-photography-wo...
----------------------
About. Me - about.me/edwardconde
The only trick here is that I've stopped using my laptop at shoots, and rely solely on the 64gb iPad 2 for downloading and reviewing. When I get home, I dump all of the photos to my 11" Macbook Air, catalog and rate them in Adobe Lightroom, then store them on one of two remote Drobo volumes, via a wirelessly shared Mac Mini. The mini is also running Backblaze, which backs up the contents of the Drobo.
This workflow will be augmented (hopefully for the better) as soon as PhotoSmith comes out.
Takes a screenshot of the selected web page using Paparazzi! & uploads it to your Flickr page
Gets the current selected web page from Safari & sends it to Paparazzi!
Paparazzi! takes a screenshot of the web page & saves it on the Desktop
Uploads the image to Flickr
Opens your Flickr photos page for organising (add to sets, groups or collections)
Ask if you want trash the image once uploaded
Download from here
With kind permission from Paul Fisher, visualisation with GraphViz.
A version of this workflow is available at www.cs.man.ac.uk/~hulld/workflows/paul_fisher_complex.xml
Earlier this year one of the participants on a discord server I frequent put up a framework python script that allows the export of node based materials in Blender to .XML text based materials usable in Studio. I've expanded on it to include more node types...enough so that it's almost usable.
One of the things that drives me crazy about Studio is the endless iteration required to develop new materials. Being able to use Blender to shortcut this process has been extremely helpful.
In this case, I've been trying to figure out an accurate solution for an acrylic material.
"Una Prospettiva Italiana". Gabriele Basilico, Vincenzo Castella, Massimo Vitali – Feb 2011 - Galleria Studio La Città, Verona, IT
-----
CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
-----
CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
This is a shot list that I make of the images that I'd like to take when I do my walkthrough with the REALTOR® client (or on my own, if no client meets me at the property).
This idea came from the Interior Photo Workshop that I took in January 2009 in suburban Chicago from Photographers Scott Hargis and Thomas Grubba
Workflow: Negs processed by apetureuk.com
Raw file scanned with Reflecta RPS 10m @ 2,500dpi
Imported to Lightroom, then 'edit copy in Photoshop' selected. Colorperfect filter applied in Photoshop then saved. Colour, sharpness and N/R applied in Lightroom.
In our tree nursery, which we have established in 2015, ten workers grow more than 4 million seedlings with the highest quality standards.
Until 2029 there will be 100 Million trees grown, planted and cared for. If 10.000 projects copy us, the trillion trees will bind a quarter of the human made CO2.
I am working on lecture notes about Australian censorship and classification legislation and its impact in libraries .
The bit I am writing will only turn into about 3 paragraphs, but researching and summarising this involves consulting about 10 documents at once - reports, opinions, blog posts, legislation, guidelines, official brochures , statements from libraries...
I love having monitor space to stretch it all out and a tool like Zotero that allows me to organise and instantly pull up all the material I need on the topic.
Overview of Codex Alimentarius
by Rima Laibow, M.D.
At the request of the United Nations (UN) in 1962, the World Health Organization (WHO) and Food and
Agriculture Organization (FAO) took on the joint role of running and administering the Codex
Alimentarius Commission (CAC) to establish standards and remove barriers to trade for all food and
food products. Having declared that nutrients are toxins from which we must be protected, the CAC
has been busy establishing enforceable international guidelines for upper limits of nutritional
supplement dosing. Codex has goals that affect every person in the UN’s 170+ member nations,
including the United States. As a tool for furthering these goals, member nations are urged to adopt
Codex standards and guidelines as domestic policy. The United States has already committed itself to
doing so despite U. S. law which prohibits this compliance.
The World Trade Organization (WTO) has adopted Codex as a standard for the adjudication of foodrelated
international trade disputes and has the authority to enforce Codex standards through
implementation of harsh economic sanctions on non-Codexcompliant member nations. Pre-existing
international treaty laws dictate that WTO rulings will override the domestic laws already in place in
its member nations and, in fact, the WHO has successfully taken both states and the U. S. government
to court in the U. S. to force changes in our domestic laws eleven times. This means our nation’s hard
won laws that give you access to over-the-counter, natural health supplements will become
meaningless. Codex’s original mandate to remove barriers to trade and assure a clean food supply has,
under the influence of private, economically-driven multinational pharmaceutical, agricultural and
chemical corporations, self-expanded far beyond its original mandate. The result is a body of highly
dangerous and restrictive policies that threaten to become domestic law in the U. S. and, as such, are
a threat to your health and freedom.
The FDA has stated explicitly that its goal is complete "harmonization" with Codex and, in order to
bring that about, international regulations i.e., Codex will be given preference over domestic ones!
(Federal Register, 10/ 11 /95)
If Codex gets its way, as it already has in the EU, we can expect that, ultimately, only 18 or so dietary
supplements will be available over-the-counter in doses which are, by design, far too small to have any
discernible impact on any human being since codex classifies nutrients as toxins. High potency
nutrients will not be available either with or without physician’s prescription since these molecules
and compounds will be forbidden under any circumstances. The big surprise? Once in the hands of
pharmaceutical companies, consumer supplement costs are expected to more than quadruple. This
has, in fact, been the experience in Europe where this process is already underway and micro-dose
nutrient prices have increased 10 to 100 fold or more (e.g., in Norway a bottle of zinc lozenges which
previously cost $2 now costs $54; in France 12 Vitamin C tabs of just10 mg cost $117; while 10 Vitamin
E caps of only 10 IU each cost $110).
Australia and the European Union (EU) are in the process of enacting harmonized Codex policies that
restrict consumer access to nutritional supplements. America is next. Though Americans value
personal freedom, the fact Codex meets infrequently (and almost always offshore) and is bogged
down in highly technical language that is difficult to understand has resulted in many Americans
being unaware of this threat. The nearly total media blackout on Codex and its activities helps to
keep the U. S. uninformed and therefore, pliant.
While there have been rare serious adverse reactions to nutritional supplements during the past
decades, (usually when taken far in excess of the recommended dosing), numerous severe and even
fatal reactions to drugs (usually when taken at the recommended dosing) occur every day and are the
fourth leading cause of death in hospitalized clients in the United States when properly
used. When improperly used, they are, in fact, far and away the leading cause of death in
the United States. Even so, drug deaths are very likely underreported. Drugs are
inherently dangerous; nutrients are not. This fact makes it clear why the drug culture
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needs to eliminate all access to natural health options, including nutritional supplements,
in order to expand and intensify its influence and thus its profitability. Healthy people
take fewer drugs and thus are poor customers.
The global pharmaceutical powers -that-be have already purchased a large piece of the
lucrative global nutritional supplement pie but the considerable size of this pie keeps the
hugely profitable pharmaceutical profit -share-pie from reaching its maximum size so the
competing nutrient pie must be destroyed. Though unable to patent a natural substance,
pharmaceutical corporations can hold patents on synthetic versions of vitamins and
minerals that, unfortunately for the consumer, often do not act like their natural vitamin
counterparts in the body and often act in unpredic table and harmful ways. If Codexcompliant
Europe is any guide, the permitted micro-doses of permitted nutrients will be
only synthetic ones.
In addition to regulatory and/or administrative takeover and destruction of the dietary
supplement market and consumer access, Codex also mandates irradiation of food;
mandatory use of antibiotics, hormones and growth stimulants in all animals raised for
food, is expected to legalize the unlabeled inclusion of Genetically Modified Organisms (GMOs) (whose
safety has never been established while their serious dangers have) into our seed and food supplies and
will increase the allowable maximum tolerated levels of pesticides, herbicides, veterinary drugs and
other dangerous industrial toxins in food, likely driving up degenerative illnesses, including cancer,
diabetes, cardiovascular disease, macular degeneration, MS, etc. All of these policies are made under
the guise of free and equal access to trade for all nations and protection of the public.
Some people have “Codex Anesthesia,” a state of overwhelming, numb confusion that occurs just
before people lose their health freedom. Many otherwise well-informed people from the manufacturing
and retailing sectors of natural healthcare believe that the Dietary Supplement Health and Education
Act (DSHEA), passed in 1994 to protect Americans’ access to natural healthcare substances, will still be
in place to protect them. This is not the case: Fundamental health freedoms afforded the American
public by DSHEA, which classifies supplements as food which, as such, can have no upper limit set on
their use, are now under well orchestrated legislative and/or administrative attack. Health nuts and
junk food devotees alike are not immune from this legislative attack on health freedom.
The following is a link to Dr. Laibow's website which gives a self-prompting 5-minute presentation that
tells you about Codex: http: //www.healthfreedomusa.org/aboutcodex.shtml
More in-depth information can be found on her website, www.healthfreedomusa.org, and on
the highly informative "Nutricide: the DVD" http: /
/www.healthfreedomusa.org/aboutcodex/dvd.shtml
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