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What's the latest on giclee quality



 
 
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  #1  
Old August 3rd 09, 05:57 AM posted to rec.photo.digital.slr-systems
ASAAR
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Posts: 6,057
Default 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/

  #2  
Old August 4th 09, 01:11 AM posted to rec.photo.digital.slr-systems
The pixel Bandit
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Posts: 37
Default 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!
  #3  
Old August 4th 09, 11:02 PM posted to rec.photo.digital.slr-systems
ASAAR
external usenet poster
 
Posts: 6,057
Default 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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