Reportedly it's still going, though barely. At some point the original version will have to stop due to reaching the physical limits of how small you can make a switch (cramming more SRAM memory cells on a given die) and be replaced with something more pragmatic.I don't think Moore's Law even applies to computers any more. In the beginning, processor and memory capabilities increased at a neck-break pace. But for many years it has just been creeping up in small steps each year.
I guess film with gold in the emulsion for many reasons is not a good idea.B&W research was cut back in the 80s. There was no real market for it. Really!
There was a joke at Kodak that a really high speed film could be made with good grain and sharpness, and it didn't use Silver. The CTO was then informed that there was only one tiny problem. It used Platinum!
PE
Film was always HDR.
.Some of you who are long-time readers of our technical pamphlets may remember one, published in 1966, claiming that the luminance recording range of Kodak Plus-X Pan film was 1,000,000 to 1. A member of our scientific staff wondered if this would apply to newer black-and-white films with Kodak T-Grain Emulsion. We've tested these films and we're happy to say they do
Are speaking from a sales perspective.?B&W research was cut back in the 80s. There was no real market for it. Really!
PE
It's not enough to just punch through with enough light, if your sensor and optics bloom, flare and gets oversaturated.It depends on the film, on the scene/exposure and on the scanner.
Densities in negative film (bw or color) are not a challenge for basic scanners, they easily take 2.8D desnities that woud hard to print in the darkroom. Deepest underexposed shadows in Velvia may reach 3.8D, and to recover all detail there a drum may be required.
Somewhat ironically, considering everyone always mentioning slides limited DR, nothing beats a well exposed slide projected with a good projector in a darkened room, for range, colours and resolution..Problem is not maping colors in the slide, problem is that monitors/TVs have a color triangle that is different than the velvia one, also dynamic range of velvia surpases the one possible in the TVs. An slide is an slide, its greatness cannot flow in the TCP/IP networks...
It's strange that at the least two electron sensitization has not been applied to the TMAX range?B&W research was cut back in the 80s. There was no real market for it. Really!
There was a joke at Kodak that a really high speed film could be made with good grain and sharpness, and it didn't use Silver. The CTO was then informed that there was only one tiny problem. It used Platinum!
PE
Looking back, there was NOT tremendous evolution in B&W film emulsions from the 1960s to the 1990s...Tmax emulsions were launched, but many photographers preferred trusty Tri-X over the new stuff!
In color film, there was more evolution than in B&W...first, faster emulsions with ASA 400, then finer grain in the ISO 400 films being very similar to ISO 100 emulsions!
So where would we be today in films, if digital had not bouldered over the film world?!...I don't think a whole lot different that what we have today...simply more varieties of emulsions, rather than emulsions dying off like soldiers on Civil War battlegrounds!
Analog Photography had the Silver barrier. Since 1850 to 2000 insane amounts in R+D had been invested yet, with diminishing returns, but industry was still using the same than Archer and Le Gray 150 years before: Silver halide crystals ...so a revolutionary improvement in performance would have been dificult. Perhaps a bit less grain for the speed, a bit more DR, and for sure a more eco friendly manufacturing/processing.
Kodak "Tech bits" (Issue no 1, 1990) about T-max 100 and 400 films; by Gordon Brown:
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Yeah, a great example of how much knowledge, research and tacit skill was lost, forgotten or deliberately downplayed ten to fifteen years ago.Great reference ! Thanks for posting
It's not enough to just punch through with enough light, if your sensor and optics bloom, flare and gets oversaturated.
That's why the tiny, tiny aperture of the drum scanner in that instance is a good idea.
Somewhat ironically, considering everyone always mentioning slides limited DR, nothing beats a well exposed slide projected with a good projector in a darkened room, for range, colours and resolution..
I believe it self-evident to anyone well versed in the art, that film is the vastly technically superior image recording medium/method.
It’s not constant, like the film image is not constant.PMTs in drums have a wider dyn. range, still non drum scanners have a good strategy to overcome CMOS limitations, this is Multi-Exposure, The Nikon improves from 3.18D to 4.0D with that, for example.
Usually the taking camera has way more flare than the scanner, and you always can easily clip out that flare, as it is a constant exposure just by trimming "levels" you get rid of any flare.
You essentially have to do the equivalent of dodge and burn in camera.Yes... while slides have a limited DR in the taking because medium is designed to take what can be projected, Velvia latitude is narrow at about 7 stops, but on a light table it can display more than 8000:1 static contrast, I guess, which is an insane mount.
Shooting nice slides requires an accurate metering, and good technique (with graded ND) if situation is challenging !
It’s not constant, like the film image is not constant.
I stumbled upon the following page, where R Gould writes about two electron in a simplified way for a chem course. From reading it I get the impression the process currently works with dye formation, and thus, color film.It's strange that at the least two electron sensitization has not been applied to the TMAX range?
"It takes 4 silver ions to make one dye molecule. However, for the exposed crystals, ALL of the silver ions in the crystal can get involved in making dye molecules."
I bet we'd have a good film scanner that cost less than $2000!
It’s sensitizing dyes. Those are used in B&W film too.Quite interesting thread, and have always liked reading about non-released and prototype products.
I stumbled upon the following page, where R Gould writes about two electron in a simplified way for a chem course. From reading it I get the impression the process currently works with dye formation, and thus, color film.
http://www.asu.edu/courses/chm233/notes/amines/aminesRL2/tes.html
For 135 and 120 I find the Epson flatbeds severely lacking for anything but small web postings.Just 'noticed' you post ...
I sold a 'specialised' Pentax Lens and 'invested' in an Epson 850 Pro to allow me to scan and 'slightly enlarge my 4x5 negs and print onto PIctorico 'OH film for printing the 'archaic' print processes... and it 'set me back' less than $1200 "Canuckian.
I am more than pleased with the 'quality'
Ken
For 135 and 120 I find the Epson flatbeds severely lacking for anything but small web postings.
I am not sure where 2e sensitization is used currently among the Kodak product mix, but it is in use. And, it uses a heavy metal complexed with the dye.
PE
Well, this is a huge subject, so let me reply with a couple of links to threads that already discuss the issues:This is true, every row has a different flare depending on the densities we have in the illuminated transversal strip, but most of the times we can overcome well that in the edition. Anyway flare is low even in cheap scanners, as only a transversal strip is illuminated and not all image is producing flare. That flare would have an impact when reading densities beyond 3.0D and having clear film in the same illuminated strip.
With negative film we don't usually go to very high densities, so scanners have usually an easy job, anyway sometimes a drum is required, sure...
There are absolute limits to what kind of resolution you can extract from the scanner.I guess this is not the right thread to debate that, but anyway IMO in scanning the most important thing is if operator/edition is skilled or not, more than the machine itself. There are people obtaining perfect result from a V700, they know how to do it. Instead some drum operators deliver files with banding.
PE, can this be related with Neopan's low LIRF?
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