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What's the latest on giclee quality
On Sun, 2 Aug 2009 19:00:34 -0700 (PDT), miko1 wrote:
Last time I was hear reading about giclee(several years ago), the consensus amongst photographers was that it was all hype and BS, especially the archival issues. I found the posts informative and you guys seemed to have a good handle on what was going on. So now I'm back here, wondering if anything has changed in these intervening years.... I don't know much about giclée other than from the very good information and tutorial (download the PDF file from the "HOW TO PRINT THE PERFECT GICLEE" link) from these guys (guy & gal, actually). Whether anything that they do is different that what you were familiar with years ago depends on what you knew. Much of what they do is make high quality copies of paintings : http://www.kauaisprintmaker.com/ |
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What's the latest on giclee quality
ASAAR wrote:
On Sun, 2 Aug 2009 19:00:34 -0700 (PDT), miko1 wrote: Last time I was hear reading about giclee(several years ago), the consensus amongst photographers was that it was all hype and BS, especially the archival issues. I found the posts informative and you guys seemed to have a good handle on what was going on. So now I'm back here, wondering if anything has changed in these intervening years.... I don't know much about giclée other than from the very good information and tutorial (download the PDF file from the "HOW TO PRINT THE PERFECT GICLEE" link) from these guys (guy & gal, actually). Whether anything that they do is different that what you were familiar with years ago depends on what you knew. Much of what they do is make high quality copies of paintings : http://www.kauaisprintmaker.com/ Giclee is the brand of a printer first used to make archival prints for museums. It's also used to describe a female urinating in some dialects of the French language. A catchy name like that just had to be adopted by inkjet printers to try and elevate themselves above a mere inkjet... Even if they now have 12 ink tanks as opposed to the 4 of a genuine Giclee. My newest wide format printer claims to have 200 years of print life. I'm thinking of offering a 50 year guarantee with prints from it... Except with my luck, I'll live past 120 and have to replace some. What surprises me most is that since I first wrote here about my enlargement algorithm and got attacked by the hungry mob for even suggesting my bit mapped Interpolation with vector overlay process of enlargement actually added detail, it's become a mainstream process used by large and small print shops to make wide format enlargements up to 1000% bigger than the native size of the image. What's changed? There were no weapons of mass destruction. half a million people died for nothing... Thank you Mr Bush. The Japanenese decided to continue slaughtering whales to measure the wax plug in their ears for science... And eat the leftovers afterwards! Usenet has shrunk since then too. Mainly (I think) because of the idiots who think they know it all and don't, but can't resist beating up on those who do. -- I'm coming back as a Pelican... Watch out because I'm staying the worlds biggest ass-hole! |
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What's the latest on giclee quality
On Mon, 3 Aug 2009 15:37:52 -0700 (PDT), miko1 wrote:
that's one helluva site. there's no way to contact them so maybe i'll ask here. tghere is a part in their shooting where they say "overexpose and underdevelop". this pertains to film cameras, but can this be done with a dslr? Not quite. I'm assuming that this is done to maximize the dynamic range. I used to do this with Tri-X, using much higher than normal ASA (overexposing it) and using Rodinal to develop it, which was quite different than other developers. Used in a very dilute mixture, along with minimal agitation, the overexposed part of the film wouldn't be overdeveloped since the local developer absorbed into the emulsion would quickly become exhausted, and stop developing, while the parts of the negative that received less light would continue to develop, as in those areas the Rodinal hadn't been used up yet. With DSLRs, the idea would be to shoot RAW and to maximize the exposure while avoiding blown highlights in any of the three (R,G,B) color channels. This commonly referred to as Shoot To The Right, referring to the right side of the camera's histogram. Unfortunately, as Thom Hogan, Ilya Borg and others have noted in their discussions of UniWB, all histograms lie. The histograms are based on the JPEG values that have multipliers for each of the channels, so if you ever see individual R, G and B histograms that appear to be near maximum, without any blown highlights, in most cases the *real* R, G and B photo sites could have had more exposure without reaching their limits (full well values). Thom estimates that by setting his DSLRs to use UniWB instead of any of the other default white balance settings, he generally gets 1/3 stop or more of exposure without blowing any channels. The drawback is that the playback on the camera's LCD looks pretty horrible, with every shot getting a distinctly green cast. Anyway, whether UniWB is used or not, once you have the pictures in RAW format, you'd post process them in a good editor, such as PhotoShop, where you'd be able to set your white and black points, and fiddle with curves to get the same "overexpose and underdevelop" advantages that some got working in their darkrooms. With DSLRs, the overexposing part really wouldn't be overexposing in the true sense, because the exposure most cameras use for their default is actually slightly underexposed. Maximizing the exposure allows you to get the most detail in the shadows while minimizing the noise and other defects in those dark regions. You just have to make sure that if there are any "blown" highlights, they're in parts of the image where it can be tolerated without detracting from the rest of the image, such as the highlights reflected from chrome surfaces in cars on a sunny day. |
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