|Professional PHOTO Equipment As New Sale
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 alive.
The thousands spent on your finest lenses are
only as good as the scan. The finest quality
scans are fluid scans.
ScanScience brings these same cutting edge
techniques to all scanners.
- 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
scans for printing.
- 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
- 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 is included with Pro Kits for Film Scanners
and can be purchased for $15.00 with any kit, or
purchased without kits for $25.00.
|Run the mouse over the image to see the saturated colors of
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:"
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."
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
range: Only colors within by the color space are
available to the printer. Today's modern printers
and inks reach further afield into reds, greens
blues which were unprintable years thus require
color spaces that will make those colors available.
Because vintage color spaces like sRGB and later
Adobe RGB, (which many photographers still use)
were developed for vintage printers and monitors,
those color spaces of yesterday are inadequate
today. If you value color, it is time for a change in
color space or printer or both.
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 2b, (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
|Film, like the eye sees logarithmically. Digital
their capacity, it spills over neighboring
sensors. 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. Know of a 220 MP digital
back for 4 x 5? That is how many MP would be
required to match digitally the content of 4 x 5
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.
This is also shown In 2D figures 3a, which shows
the ICC range of colors visible to the eye, against
the Adobe RGB color space, (triangle) and the
gamut of colors printable by two printers. In this
figure we see that the Adobe RGB color space is
smaller than the colors printable by the Epson
4800 and Canon IPG 6300.
In figure 3b, where the color space is AWG,
clipping is avoided. At the present time, no printer
is yet capable of printing the full range of visible
the ICC range of visible colors). Advances in inks
and printers have expanded the range of
printable colors. Reaching further to print all
visible colors is no doubt the holy grail of printer
Larger color spaces than Adobe RGB and sRGB, were already available before the introduction of
AWG but they had big problems. They were bulging with false colors that caused severe 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 too small color space, things went to the other extreme: It was large, but included false
colors that bulged out of the blues. This is shown in Fig 4. Imaginary colors in a color space have the
effect that while attempting to interpret the file, the image's pixels are spread into the bulge of false or
imaginary colors. In ProPhoto they spread out into this imaginary 'neverland' destroying the natural
color balance, which requires requiring major compensation 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 color space for a long time to come.
Printers still fall slightly short of filling AWG, 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.
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
|Professional Photo Artists, Institutions and |
universities the world over use our products to
produce high quality images for galleries and
We do not advertise, nor use our friends post
favorable comments on our behalf or negative
ones about our competitors and we are into
our sixth year of operations.
Our business has expanded thanks to word of
mouth from satisfied customers.
The images on this page are an
example of what can be produced
with a pro-summer scanner, a
ScanScience kit and two minutes
spent preparing the fluid mount.
Produced with the Epson V750,
these images are but one example
of the leap in image quality that
owners of other scanners such as
the Nikon 9000 can expect when
using our kits.
The improvement in resolution,
contrast and dynamic range are
From Photographer Charles Cramer whose magnificent landscapes were published in the
May issue of Outdoor Photographer Magazine and whose images grace our Gallery page:
"I have switched from Kami mounting fluid to Lumina. It works just as well, is safer,
and the odor doesn't cause headaches".
"I've done about 160 scans this summer of my 4x5s, and have found some nice
images hiding in my archives. It's been great to use Lumina!"
Note: Mr. Cramer uses a Tango drum scanner.
Visit our new Gallery page to see some of his beautiful images.
Our LUMINA Optical Super Fluid replaces old scanning fluids, with a safe and pleasant material for operator film
and equipment. Wipe it dry and let it dry a few minutes, no mess no drudgery. Two minutes turn a mediocre dry
scan into a superb scan
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 scan.
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
- ScanScience kits are the essential tool to drive high the best photo optics to excellence.
High quality optics are wasted on Dry scanning.
- If you have a fine scanner, ScanScience tools drive that scanner to the max. Pro-
summer scanners will deliver amazing quality when used with ScanScience tools.
- Precise focus is extremely important. An off-focus scan is the most common cause of
ordinary wet scans. With flatbed scanners, the accuracy of the film plane elevation is an
absolute necessity especially with flatbed scanners. With the ScanScience target and
tools you can be sure of dead accurate focus and high-quality images.
- With the V700 you must have dedicated software like Silverfast ot Vuescan to access
the high resolution optics. Generic software like EpsonScan, only scan at low
Science Kit Fluid Scan