Fluid Scanning Technology
"I have converted entirely to the ScanScience way and
abandoned my makeshift oil methods.
I never make dry film scans anymore, it throws away too
much quality....Everyone out there who is serious about
getting the best possible scans needs to be doing wet
scanning and ScanScience makes it affordable on almost
any scanner. "
CTEIN, PHOTO TECHNIQUES, NOV / DEC 2009
- See also PHOTO TECHNIQUES Nov/Dec 2007
- PROFESSIONAL PHOTO MAGAZINE
Key to the ScanScience Fluid
Scanning Magic: In Optical
Microscopy, thanks to Fluid
Immersion, resolution and
magnification are both increased to
the limit. Fluid Immersion does the
same in scanning for the same
reason and has always been the
procedure used with drum
scanners costing up to $100K.
Fluid Scanning benefits to
photography go beyond resolution:
The extended dynamic range,
increased contrast and color
saturation makes images come The
thousands spent on your finest
lenses are only as good as the
scan. The finest quality scans are
ScanScience brings these same
cutting edge techniques to all
- This highly acclaimed eBook Total Scanning is a
comprehensive treatise on scanning aimed at the
intermediate to advanced user, the photography artist
and teacher. It covers the cutting-edge techniques of
fluid scanning and provides guidelines on optimizing
- The "Smart Scan" tables computes scan
resolution needed at a viewing distance according to
print size. You no longer have to scan at 300 ppi for all
print sizes then scale the image down in Photoshop:
Scan for the print and get full fluid-scan-quality un-
degraded by image resizing. How large a quality print
can I make from my scan? What file size do I need for a
scan? Should I scan in 16 or 8 bit? Total Scanning
provides the answers.
- This new electronic book has great advantage over
print books as it is alive with numerous internal and
external hot-links to help you navigate, explore and
research many topics further. It is a valuable teaching
aid and reference, and it is richly illustrated
- This book can be purchased for $15.00 with any kit, or
purchased without kits for $30.00.
|You are viewing the dry scanned image.
Run the mouse over the image to see the true
saturated colors on film wet-scanned with
Copyright ScanScience / JAF 2012
USER'S REVIEW of ScanScience
Raw Scans, untagged with any color space can go directly to Photoshop to be tagged with a non-clipping, non
distorting color space like the relatively new Adobe Wide Gamut RGB. With digital cameras choosing RAW should
allow you to select a color space, but not always: you may find that a clipping color space like Adobe RGB or worse,
sRGB were tagged to the image file, shortchanging the palette of modern printers like Canon's IPG 5000, and 6300,
and Epson 4800.
could print the reds, greens and blues that are printable today. These vintage color spaces suited vintage printers,
not todays modern printers and inks: After all your printer is limited to the colors in the selected color space. Color is
a very critical issue for gallery prints and Art Photographers: You have opted for below is a must read.
SCANSCIENCE FLUID-SCANNING TOOLS ENABLE THE PUREST EXPRESSION OF THE MEDIUM
|COLOR: FILM VS THE DIGITAL CAMERA - Excerpts from the forthcoming eBook Total Scanning 2
|All graphs Images & Graphs in this page produced by
ScanScience with Chromix Software. Copyright
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 images color 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 depend
on the monitor. DO NOT choose monitors which are color-poor and can only
see the sRGB color space. One such monitor (Apple) boasts 5K resolution,
but can only see sRGB. 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 blues which were unprintable years ago.
Vintage color spaces like sRGB were developed for vintage printers and
monitors, and are inadequate today. You value color, reason why you use
LUMINA so it is time for a change in color space or printer or both. We
recommend Adobe Wide Gamut, and the best of todays 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
The representation of color is a 3 dimensional affair which plots the
chromaticity coordinates in the horizontal axis' and luminance in the vertical
axis. (2D graphs are a simplification). This is shown in 3D Figures 1 and 1a,
2 and , (on the right), where the base is the gamut of visible colors, the CIE,
shown here for comparison. The wire frame in the 3D graphs represents
color working spaces, i.e. Adobe RGB and Adobe Wide Gamut RGB (AWG).
The solid color figure within the wire frame is the 3D profile of Canon's
Image Prograph 5000 set out against the color space in the wire frame, and
the CIE gamut in 2D as the base. Evidently both color spaces are smaller in
places than the printer profiles. The wire frames 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.
Therefor when you set SRGB as the color space which you do by saving to
a JPEG, you sacrifice millions of colours.
Most high-end printers of recent issue can math 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; The Adobe RGB
color space is represented by a triangle, and the gamut of colors printable
by two printers, Epson 4880 and Canon IPG 5000. This figure shows that
one printer the Canon IPG exceeds the colors registered in Adobe RGB.
The Epson does nearly as well. Yet the Adobe RGB color space is smaller
than the colors eye can see.
Figure 3b, shows a better color space which approximates what the eye can
see: Adobe Wide Gammunt RGB, (AWG). At the present time, no printer is
yet capable of matching this color space. Advances in inks and printers
have will continue expanding the range of printable colors. Reaching further
to print all visible colors is no doubt the holy grail of printer manufacturers.
|Film, like the eye sees logarithmically. When the film's
sensitivity is exceeded by the light, the overload is local
and does not affect the surrounding areas. But when a
digital sensor is overcome the output spills over
neighboring pixels. Film-generated images have as result
a naturalness that is driving photographic artists back to
film. Large-format film can produce ultra-fine detail,
beyond a digital camera's capacity and almost all what the
eye can see, well beyond adobe RGB. Know of a 220
MP digital back for 4 x 5? That is how many pixels would
be required to match digitally the content of 4 x 5 film.
Color also may be another reason for using film. With
film scans you are free to choose the color space which is
probably the most important decision you will make.
Larger color spaces than Adobe RGB and sRGB, were already available before the introduction of Adobe Wide
Gamut color space but they had big problems: These color spaces bulged with false colors that caused severe
color shifts and distortions.
Kodak, introduced the first big-color space when, tired of the inadequate tiny the color spaces available at the time,
introduced ProPhoto RGB, which was much larger than then available color spaces. From the extreme of a color
space, that was too small to render an image with fidelity it went to the extreme of rendering an image with lack of
fidelity because that color space bulged with false colors in the blue areas. The false colors existed only in numbers
but are not visible to the eye. This is shown in Fig 4. Imaginary colors in a color space have the effect that the
image's pixels are spread into the bulge of false and imaginary colors destroying the natural color balance. The
result is major compensations and color correction in editing.
Adobe Wide Gamut RGB solved this problem, it adds no false colors and it only contains real, visible colors. Adobe
Wide Gamut is the preferred the color space for now and the future.
Printers still fall slightly short of filling Adobe Wide Gamut, and do not yet have profiles to match it, requiring color
adjustments, -though fewer, but not clipping any colors in film. Presently, Don RGB, another named color space,
comes closer to match available printers. As this is written, digital camera manufacturers such as Canon now use
AWG instead of ProPhoto RGB in their latest version of their application, Digital Photo Professional (DPP). With
Wide Gamut RGB, Adobe has successfully created a modern color space tailored to modern times.
Film users are free to choose a color space for their scans but digital users can't always do that and many find that
their RAW files are tied to clipping spaces like adobe RGB. (sRGB, short for skinny RGB or other unprintable
words that begin in s), does not deserve mention in the realm of art printing.
|NEW! Focusing Target #9.17
Essential for all scanners, a must for flatbed scanners.
Order yours now
We recently had an opportunity to scan an ideal image made with a 5 x 7 camera and B&W film, by well
Known photographer Craig Alan Huber from "In Platino Veritas Images" in Washington State. This image
gave us the opportunity to show the differences between fluid scanning and dry scanning which are shown
here. Thanks to Mr Huber for generously giving his permission use his image and post the results.
ALL THE SCANS ARE RAW SCANS WITHOUT SHARPENING!
At ScanScience we scanned the negative on an Epson V750 using Silverfast 6i at 3600 ppi resolution, on a
16 bit gray scale, using ScanScience tools and Lumina Scanning fluid. The result was an enormous 750 MB
plus file, which gave enabled us to crop various sections at high resolution and magnification. This very high
resolution scan for such a large negative was chosen as it delivered the best looking image at high
magnification. We also tried a scan at 6400 ppi, found no improvements, only bloated files that took longer to
scan, so we did not use it.
The optimum focus of V scanners is known to vary so we first determined the optimum elevation for our unit
by scanning the new ScanScience target. It turned out to be 2.6 mm, so all scans including the dry scans
were run at 2.6 mm. (The negative was very flat so the un-sharpness of the dry scan was due solely to the
inadequacies of dry scanning, which throws away much of the quality.)
We show below two small crops of the image from the center and corner at 200 % magnification. Both
images are raw, with no manipulations whatsoever by the scanner software or Photoshop.
|You can see many more wet/dry scan samples by clicking the ScanSamples tab in the main
Image 1, is a small section at center,
and you can see that hole in the mesh
of the source image.
The wet scan at left of image 1, easily
blows away the dry scan on the right by
a large factor, -helped by the fact that at
center the lens is sharper. You would
not know the image was that sharp from
the dry scan. The detail in the mesh and
it contrast are phenomenal in the wet
Image 2 is a small crop from the left
corner of the source image. The wet
scanned image is still sharper than the
dry, but the difference between them is
not as great because camera lenses are
less sharp at the corners. Notice also
that the blacks are blacker and contrast
is greater in the wet scan.
IMPORTANT: You can not use Epson
Scan to access the high resolution
optics in the V750 or V700. You must
use Silverfast or Vuescan.
Image from Source 5x7 Negative
|COLOR SATURATION AND SCANSCIENCE
|This Just In From Australia:
" I have been happily scanning and am very impressed with the Scan Science product. I posted
about it on my blog here:" Michael Hood's Blog
Extracts from Michael's Hood Blog:
" The cost of all the materials is pretty reasonable and very much worth the investment. Why pay
for expensive camera lenses when a lot of detail is lost in the scanning stage? The Scan Science
Lumina fluid is great and I appreciate the work that has gone in to making it perform well and
(very importantly) be safe to use. I imagine it would not be very much fun to work with something
that is more toxic and less tolerant. I urge anyone thinking about this using this method to not
hold back and stop wasting time with lesser scans, fluid mounting is well worth it."
- WELCOME PAGE: See the advantages of ScanScience technology: There is
a great improvement in resolution over a dry scan. You can see
comparisons of Fluid Vs. Dry-scans in the SCAN SAMPLES page.
- The catalog and Price List which can e downloaded from the link in the
BUYNOW page will give you much more up-to-date info.
- LUMINA SCANNING FLUID has revolutionized the industry with its odor-free
and safe scanning for legacy and modern films and above all the operator
and the equipment. If you use a Drum Scanner this is particularly important.
See it in the LUMINA PAGE.
- The Technical tab explains the optics of fluid-scanning.
- The Gallery page displays images by well known photographers
scanned with our products,
- Click on the About-US page, to find out who we are
- Click on the Contact-US to place your order or to discuss your projects
and needs. We will send you a PayPal invoice according to your
directions. With PayPal you can use your credit card.
TO REACH US:
WRITE TO email@example.com.
Yahoo who hosted this website has undergone
changes and the contact-us page is no longer working.
- Scanning on the Epson V750/700 V850/800 requires a
Turn Key Kit (TKK) for the first film format and a Supplemental kit
for other film formats. NEW: All TKKs for Epson V scanners come
with a Laptop style case for the adapters, a $27.00 value.
- In the contact-us page use the form to send us an email and tell
us the scanner used and your project. If you know what you need,
give us a list, or you can leave it to us to put together what you
need and if it is OK send you a PayPal invoice. If you have
downloaded the catalog from the link in the BUYNOW page you will
see most of what you need to know. We will work with you in
configuring your order for maximum satisfaction.
We are proud to introduce well known photographer Charles
Cramer magnificent landscapes. He reports:
"I have switched from Kami mounting fluid to Lumina. It works just
as well, is safer, and the odor doesn't cause headaches. It's been
great to use Lumina!" Note: Mr. Cramer uses a Tango drum
Visit our new Gallery page to see some of his beautiful images.
Professional Photo Artists, Institutions and universities the world
over use our products to produce high quality images for galleries
We are into our 11th year of operations. Our business has
expanded thanks to word of mouth from satisfied customers.
The purpose of this section is two-fold: It acquaints you with the capacity of film as a recording medium compared to digital.
Perhaps more important to all photographers, it covers the most important points in choosing the color space when scanning
and when printing from Photoshop.
|Raw scans of the same film one dry |
scanned and the other fluid scanned
are shown below
|Using the Epson V750, the dry scan and the wetscan |
were scanned at the scanner's optimum focus of 2.6
mm. No sharpenning was applied to either image,
these are raw scans.
|The greater sharpness, contrast and |
dynamic range of the ScanScience
wet-scan technology is stunning!
|Lumina scans can deliver the richest color so you
need to know about monitors, printers and color-
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