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Older color spaces and older printers were blind to a large portion of the visible spectrum including blues and greens. A weak color space like sRGB was then quite appropriate because what it could not capture could not be printed anyway.

The very wide color gamut reproducible in today's best printers requires a larger color space to match.

Fortunately new color spaces are available that more closely match the capabilities of the best printers. The only remaining shortcoming is in the media, paper , which at its best, falls short of reproducing the full brightness or intensity recorded in film, readily viewable in projection, a monitor, or a light-table.

A very large color space like Pro-Photo RGB is big enough to encompass all real colors, but at the price of including many unreal, imaginary colors.

When sRGB was the only game in town, the distorted colors produced by pro-Photo RGB might have been worth the risk and a better choice than clipped colors.

The imaginary colors in Pro-Photo RGB are merely mathematical constructs, devoid of practical significance, which can lead to severe distortions of the real colors.

A large set of comparisons of many color spaces against the gamuts of several monitors and many printers is one of the many features in the forthcoming eBook.

These comparisons will help you attain the best color possible with fluid scanning. Nature is generous with color and the human eye the marvelous gift that enables it.

To do both justice you need to understand the color capabilities of color spaces and printer profiles, which you learn in ScanScience's forthcoming eBook "Total Scanning 2".

The blues which are not shown in this take , are equally clipped as would be seen if the image were to be turned around.

The best color printers of today, in conjunction with the latest color spaces, come closer to reproducing a larger portion of the visible spectrum.

You will notice that many of the greens and blues not captured in sRGB would be printable with this printer. One reason for Lumina scans is color, so it is appropriate to say something about color.

The color space you choose may or may not be able to accommodate all the colors in the film. Avoid color spaces like sRGB, which clip the film colors.

Do not choose a color space like Pro-Photo RGB that contains imaginary colors which distort the color of the imag and can't be printed anyway.

The ideal color space will contain all the colors of the film and be at least as large as the gamut of colors printable in the best printers.

Whether or not you will see those colors in your monitors depends on the monitor. Only the colors within the color space can be printed, if the printer is capable.

Today's modern printers and inks reach further afield into reds, greens, and blues, which were unprintable years ago. Vintage color spaces like sRGB were developed for vintage printers and monitors, and are inadequate today.

Since you value color, that's the reason why you use LUMINA, so it is time for a change in color space or printer or both. We recommend Adobe Wide Gamut.

The best of today's printers can print some of the colors in this color space even though your Adobe RGB capable monitor can't show them.

This color space is almost as large as the film gamut. The representation of color is a 3-dimensional affair which plots the chromaticity coordinates in the horizontal axis and luminance in the vertical axis.

This is shown in 3D Figures 1 and 1a, and 2 and 2a, on the right , where the base is the gamut of visible colors. The CIE gamut is shown here for comparison.

The wireframe in the 3D graphs represent color working spaces, i. The solid color figure within the wireframe is the 3D profile of Canon's Image Prograph set out against the color space in the wireframe, and the CIE gamut in 2D as the base.

Evidently both color spaces are smaller in places than the printer profiles. The wireframes are smaller than the printer profiles which bulge out.

Where that happens, those colors outside the color space will be unprintable and not fed to the printer, even though the printer is capable of printing them.

The printers call for a larger color space. Most high-end printers of recent issue can master the Adobe RGB color space. This is shown In 2D in figure 3a.

This figure shows a large area which represents the ICC range of colors visible to the eye. Scans were done for all these scanner-to-film heights.

The scans were saved as lossless TIFFs with no in- software sharpening. If you look at this area of interest on the PIMA ISO Resolution Chart it is very difficult for the human eye to determine the resolution difference between the scans at different heights.

I just needed to compare these to one another relatively. Concentrating on the area of interest on the scanned PIMA ISO Resolution Chart, the ImageJ software allows you to generate a sine wave graph or modulation transfer function of the gray values for the series of lines.

The image below shows a screenshot of the ImageJ software and the graph of gray values depicted as you move from left to right along this series of smaller and more closely spaced lines.

The raw sine wave data can be downloaded from the ImageJ software to an Excel file for further analysis. A typical result of the Excel graph is shown is shown below for the 1.

The number of the x-axis at this matching gives an idea of the relative resolving power of the image. Fitting these data points to a quadratic curve and taking the derivative of that curve and setting it to zero gives the optimum scanner glass to film position height for this scanner based on these tests.

In this case this turns out to be about 2. Actually the resolution of my 3D printer is probably higher than that of this optimum height estimation.

It is certainly more accurate than my eyes simply looking at the raw scans. The above optimum scanner glass to film position height determination was all done with a wet mounted negative for the simple fact that the dry mount holder supplied with the scanner could not accommodate these differ heights and the supplied holder was needed to keep the dry mount perfectly flat.

Now it was time to compare the resolving power of wet and dry mounting both in the supplied holder with no height adjustments as that is the closest I can get to the optimum height with the supplied holder and with the 3D printed support I had that was closest to the optimum height.

The results of this head-to-head comparison can be seen below. Enough with the math, in reality using the V with the supplied holder, wet or dry mounted, gives results that I have found to be the same or in many cases much better than the scans from the development lab.

One additional advantage of wet mounting though is the ability to keep the negative perfectly flat. We have seen that due to the very small depth of field in this fixed focus scanner keeping all parts of the negative at the same distance from the scanner glass is important.

For the target negative that was used here that was not a problem with the supplied holder as the film was new. Older negatives, especially ones that have not been stored in the upmost conditions may have significant curl to them.

Wet mounting is the best way to get rid of this curl for optimum scanning. Now for some real-world examples. In addition to increased resolution, wet scanning can also allow the reduction of visible grain in Black and White film.

Below shows an image from a recent hike I made outside of Darrington, WA. Three images, taken with a Nikon FM3a, 50mm f1. One is the scan I got from the lab, one a dry scan with the Epson V, and one a wet scan using the ScanScience kit and the Epson V There is a definite reduction in visible grain in the scans from the Epson V Closer observation shows that this is not true.

If you look at the faded upper sign on the post you will see that many of the faded letters on this white sign are distinguishable in the V scans.

When comparing the dry and wet scans done on the V little difference can be seen though there may be a little more dynamic range shown on the wet scan.

Now let us look at some color images. Taken on a trip down there from Detroit before I left for the West Coast, knowing I would probably never see her again.

Many of the greatest technological advances are made in connection with the military, and especially when you are at war. That this has later been used for more civilian tasks must be said to be a perfect situation for all parties.

Radar has now been created as an aircraft radar so that it can be useful in peaceful times and thus ensure that air traffic is much better than it ever has been before.

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