nykopp
04-24-2005, 05:39 AM
I'm preparing the images for an exhibition in France. Large prints (93*80, 80*226, centimeters of course, no inches in Europe). Printing on a Durst Lambda (continous tone) in France. Lambda's native is 300dpi but they say a 150dpi file prints ok.
Now for film originals those sizes present no problem - apart from working on them being SO slow due to file sizes!
But I'd like to include three digital captures (Olympus E-1). Which brings us to interpolation of course. And sharpening. Whatever I do the quality will not match the film originals (by what I know and can), but anyhow.
I received now the test prints with full-size critical-for-detail strips from the images, worked through 5 different workflows, as follows:
A)
1. RAW file color corrected and interpolated in ACR to the max of 5120*3840 yielding at 150dpi 108*81 cm
2. Capture sharpen HRD
3. Minor work in PS
4. Output sharpen at Contone 150
5. Printed at 150dpi file setting
B)
1. RAW file color corrected and interpolated in ACR to the max of 5120*3840 yielding at 150dpi 108*81 cm
2. Capture sharpen HRD
3. Minor work in PS
4. Output sharpen at Contone 300
5. Printed at 150dpi file setting
C)
1. RAW file color corrected and interpolated in ACR to the max of 5120*3840 yielding at 300dpi 54*40,5 cm
2. Interpolated in PS w Bicubic Smoother to 108*40,5
3. Minor work in PS
4. Capture sharpen HRD
5. Output sharpen at Contone 300
D)
1. RAW file color corrected in ACR at native size, 2560*1920
2. Capture sharpen HRD
3. Minor work in PS
4. Interpolated with Genuine Fractals to 108*40,5
5. Output sharpen at Contone 300
E)
1. RAW file color corrected in ACR at native size, 2560*1920
2. Interpolated with Genuine Fractals to 108*40,5
3. Minor work in PS
4. Capture sharpen HRD
5. Output sharpen at Contone 300
Looking at the test prints (with the same strip from the image but through workflows A to E at 100%) first from a viewing distance and then from as close as my eyes focus:
E looks clearly best. C and B are quite equal, and better than D.
But that's another **** slow workflow, as I'm doing more and more digital also for exhibition contexts, due to the file sizes.
Does anybody there have experience on using GF vis-a-vis ACR for up-interpolation?
AND what is the official advice from PixelGenius re the workflow for images that need to be up-interpolated?
Now for film originals those sizes present no problem - apart from working on them being SO slow due to file sizes!
But I'd like to include three digital captures (Olympus E-1). Which brings us to interpolation of course. And sharpening. Whatever I do the quality will not match the film originals (by what I know and can), but anyhow.
I received now the test prints with full-size critical-for-detail strips from the images, worked through 5 different workflows, as follows:
A)
1. RAW file color corrected and interpolated in ACR to the max of 5120*3840 yielding at 150dpi 108*81 cm
2. Capture sharpen HRD
3. Minor work in PS
4. Output sharpen at Contone 150
5. Printed at 150dpi file setting
B)
1. RAW file color corrected and interpolated in ACR to the max of 5120*3840 yielding at 150dpi 108*81 cm
2. Capture sharpen HRD
3. Minor work in PS
4. Output sharpen at Contone 300
5. Printed at 150dpi file setting
C)
1. RAW file color corrected and interpolated in ACR to the max of 5120*3840 yielding at 300dpi 54*40,5 cm
2. Interpolated in PS w Bicubic Smoother to 108*40,5
3. Minor work in PS
4. Capture sharpen HRD
5. Output sharpen at Contone 300
D)
1. RAW file color corrected in ACR at native size, 2560*1920
2. Capture sharpen HRD
3. Minor work in PS
4. Interpolated with Genuine Fractals to 108*40,5
5. Output sharpen at Contone 300
E)
1. RAW file color corrected in ACR at native size, 2560*1920
2. Interpolated with Genuine Fractals to 108*40,5
3. Minor work in PS
4. Capture sharpen HRD
5. Output sharpen at Contone 300
Looking at the test prints (with the same strip from the image but through workflows A to E at 100%) first from a viewing distance and then from as close as my eyes focus:
E looks clearly best. C and B are quite equal, and better than D.
But that's another **** slow workflow, as I'm doing more and more digital also for exhibition contexts, due to the file sizes.
Does anybody there have experience on using GF vis-a-vis ACR for up-interpolation?
AND what is the official advice from PixelGenius re the workflow for images that need to be up-interpolated?