Ender100@aol.com
Date: 03/09/02-11:32:59 AM Z
Imagesetters use high contrast film.. like lith film, so they are very dense.
Since they produce a halftone image, the image is made with dots, they are
either "On" or "Off", no in between... so tonal range comes from how close
the dots are together. This is a little bit different from the dithered
color negs that Dan is making.... though one can argue that even regular film
is made up of lots of dots too.. just that they are smaller (silver grain).
Dan's color negatives probably allow some transmission of UV light through
the dye or pigment even, so this might be much closer to continuous tone than
the halftones from an imagesetter.
Inkjet actually has one thing going for it, it can produce a higher
resolution than an imagesetter, thus making the dot pattern less obvious.
The highest pixels per inch or lines per inch I have heard of from an
imagesetter (that still allows for 246 shades of gray) is around 400 lpi or
ppi. The piezography system supposedly goes up to around 1100+ ppi. I think
Dan's workaround for the imagesetter was to use bit mapped images sent to the
imagesetter instead of halftones... and this raised the effective ppi's.
Maybe John Cone or someone could come up with a quadtone or hextone orange
ink that is an effective UV blocker... that would be quite a negative
generator for alt photo.
Mark Nelson
In a message dated 3/9/02 12:21:13 AM, jseigel@panix.com writes:
<< My own experience with imagesetter is with black, not color, but those
negs had distinctly more density than negs printed from same file on the
Epson. Part of the difference was the absence of base fog, but part was
because the image setter neg is silver on film, not dye on acetate. >>
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