michael_joubert

Not a bad suggestion but I only get the error using the Printer Service Utility 2 which is required to update the firmware. When printing through the driver I don't have any communication errors. i doubt that the problem lies with the cable.

Light - Science and Magic, Second Edition : An Introduction to Photographic Lighting

I am trying to update the firmware on my Espon 4000 but get the error

message "Communication error" in the Printer Service Utility 2. I

have unistalled and reinstalled the latest driver, status monitor,

and Printer Service Utility 2 several times. I have also tried to

use every available port, USB and firewire, and still get the

commuinication error. I'm running Windows XP home edition. Any

ideas what the problem could be? Any suggestions?

 

Thanks,

Michael

As the subject explains I'm wondering if a Sinar lensboard will fit

my Cambo SCX?

I scanned a piece of 4x5 positive film last night on my Epson 3200 at

1200 dpi and noticed some strange circles appearing towards the

center of the sheet, shaped like a finger print. (They are not in

fact figer print marks on the film - it has never been handled). I

thought it may been something in the emulsion that the scanner was

picking up so I tried another sheet and the same thing happened but

in a slightly different location. As I raised and lowered the

scanner lid I noticed that the light source was creating these

circular reflections on the surface of the film. I can only assume

at this point that it may have something to do with the film 'sagging

towards the middle and that somehow the light is causing these

circles? Please take a look at the attached images. The red circle

identifies the location and size of the circles and the other crop is

a close up. Anyone else had this problem before? Any suggestions or

help would be appreciated!!

Never shot a piece of 4x5 in my life. Bought a Schneider Macro

180mm lens and a Cambo camera. Want to attach lens to lensboard.

Copals match - 1. Unscrewed rear lens elemment and then unscrewed

washer/nut. The surface behind the shutter that will make contact

with the lensboard has a tiny screw in it that sticks out and

prevents the shutter/lens from mating flat against the lensboard.

Do I need a washer of some sort to go between the shutter and

lensboard? Thanks!

Your advice is much appreciated!

Thanks for taking the time to write.

Michael

I'm in the market for some light to use in photographing artwork.

I'm new to LF and know very little about the different light options

available. Most important is the color accuracy of my work so the

lighting is a very ciritcal part of the the process. I'd like to be

able to preview the light as well before capture and will most

probably be working in low light conditions to avoide contaminating

the color with ambient light so I'll need to be able to see how the

light is interating with the pianting surface so that I can set them

in the correct position prior to capture. I have been told that

strobe lights provide the 'cleanest' light. What would you recommend?

Tim, I'm interested in what you've experiened with Vuescan and Optical. Obviously it makes sense to go for the lower price if it does just as good a job as something more expensive. Just asking but, is there any way could do scan of some film with both the Vuescan and SilverFast driver of the same piece of film and post a portion of it to this string with some comments? I know it's asking a lot so if it's not possible that fine.

Thanks John for your post. I just checked Epsons website and I found out that the 3200 �pro� version ($600) comes bundled with SilverFast Ai which is the full version of SilverFast as well as MonacoEZ. The cheaper option of the 3200 ($400) comes bundled with the entry level SilverFast SE which cannot be upgraded to the full version. I just wanted bring this to the attention of those following this string.

 

From what I�ve read on the internet SilverFast is touted the best scanning software available by a respected independent research and review group that specialises in digital capturing devices, and inkjet technology for professional use, http://www.flatbed-scanner-review.org/FLAAR_Digital_Imaging_Center/Digital_Imaging_Technology.html

 

The following (very nice) review of the 3200 has a comparison between the Epson driver and the SilverFast driver for large format film and you can see what a difference the driver alone can make. http://www.photo-i.co.uk/Reviews/interactive/Scanners/Epson_3200/page_11.htm

 

With MonacoEZ and SilverFast Ai one should be able to establish a pretty good color calibrated workflow however you�ll need to buy the OPTIX sensor to be able to calibrate your monitor, an extra $225 which is essential to a color workflow. In fact, calibrating your monitor is the 1st place to start. Personally I�m considering a NEC/Mitsubishi or a Sony Artisan monitor which are fairly spendy but there�s a reason for that and that is that it will calibrate the monitor hardware unlike MonacoEZ and other popular low-end color management software which will profile the output of your video card and reduce its gamut in the process. (There�s a string somewhere on Photo.net that discusses this).

 

No doubt in my mind that the �pro� bundle equips you with some of the best tools available on the market that will push the scanners potential to the max at a VERY aforable price. Well worth the extra $200 in my opinion. (MonacoEZ alone costs $300.)

Thanks SO much for the info and taking the time to share your experience with me. I truly appreciate it.

 

I am little confused on some issues though. I was under the impression that transparency film had a narrower dynamic range than negative film. Do I have it the wrong way around?

 

I'm going to be shooting in color exclusively and will be sending the film to a lab to be developed or processed. This is one of the reasons I'd prefer to stick with transparency because I need to maintain color accuracy as much as possible and was under the impression that there's more risk of color shifts when having a negative developed at a lab than transparency being processed. What are your thoughts on this?

 

I would have to say that color accuracy takes precedence over dynamic range for the work that I'll be doing since most of the prints will be large and probably viewed from about six feet away. If there isn't a tremendous amount of detail in the shadows I think it'll be ok. How do you find the accuracy of the Monaco profiles for those of you that are using the software?

I'm on a tight budget and can't afford the highend Imacon and Nikon

scanners so I am considering purchasing Epsons new 3200 flatbed

scanner. If you have expereince with this I'd really appreciate your

feedback. I've never scanned 4x5 before so I'm not aware of any

problems one may encounter.

Thanks, Michael.

I'm researching different methods of caturing art work so that it can

be printed full size on an inkjet printer.

 

So far it appears that a large format camera with a scanning back is

a good way to go but it's a huge investment - for me at least. I've

considered using a large format camera with film and then having the

film drum scanned. Of course there are a lot of problems with

matching color using this route and also the cost of developing etc.

 

Do you have any experience with reprography and if so what would you

reccommend as a method of digitising art work for high

quality/professional reproduction?

I would like to have some internegatives created from 35mm slides to

be used in contact cyanotype printing. Do you have any

recommendations as to how one goes about this? Would it be possible

to have it done at a lab? Is it expensive? Any suggestions?

Thanks.