Nikon ls-2000.Nikon LS 2000 – movie scanner (35 mm) Series specifications

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Nikon ls-2000


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VueScan is the best solution to get your Nikon LS taking care of Windows 10, Windows 8, Windows 7, macOS Big Sur, and more. Understand why over 10 million folks have downloaded VueScan to get the most out of their scanner. Mar 18,  · Nikon LS SCSI Scanner & Windows 10 X Discussion in ‘Nikon’ started by fpapp, Sep 18, FPapp. For those of you who own older Nikon SCSI Scanners, I can concur that it is possible to install and use all of them on Windows 10! I have been utilizing my LS for a while with Windows 7 X64 by following techniques outlined in this link. Nikon LS 35 mm Film Scanner User’s Guide 1. Overview Thank you for the buy of a Nikon LS scanner for 35 mm film. The LS is a high-speed, high-resolution scanner effective at creating images suitable for numerous jobs, including table .


Nikon ls-2000.Nikon LS motorist for Windows 10, macOS & much more | VueScan

VueScan is the better way to get Nikon LS focusing on Windows 10, Windows 8, Windows 7, macOS Big Sur, and more. Realise why over 10 million folks have installed VueScan to get the most away from their particular scanner. The Nikon LS Super CoolScan movie Scanner which I bought before i got myself an electronic camera might now be considered a dinosaur as greater quality, plug and play scanners came along. The Nikon LS is a SCSI program which required a little bit of strive to get arranged. The LS is a compact desktop package that will function in a choice of of two orientations. Most users not taking advantage of the automatic slip feeder accessory (see further discussion below) will.
Nikon LS-2000 SCSI Scanner & Windows 10 X64
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They will have already been making waves in the digital world with their highly successful CoolPix camera, but for much longer have already been really serious players during the deluxe of 35mm desktop movie scanners. In our experience, Nikon ended up being 1st producer to seriously determine color management for negative film, with their original design Recently, Nikon forged brand-new ground along with their “CoolScan” category of slide and movie scanners, the “Cool” within the name talking about making use of LEDs since the light source, as opposed to an incandescent lamp.

Their particular earlier Super CoolScan LS ended up being by any measure a fantastic scanner, but with the LS, Nikon has attained dramatic improvements, and notably lifted the bar for your industry of desktop computer scanners.

This final referring to their implementation of the “Digital ICE” innovation developed by the appropriately named organization Applied science-fiction. Given the extraordinary array of control offered by the LS, this review is going to be one of several longer ones on this site: Bear with us however, the main points are very well worth checking out!

EZ-Print webpage In response to audience requests, we currently offer copies of all reviews removed of all their particular formatting, to facilitate publishing. Note that the print-formatted type of the LS review can also be missing the test photographs we included below, because they pushed the horizontal measurement associated with page too wide for many combinations of printer and internet browser to accommodate.

Click the link to go to the EZ-Print page. The fundamentals The LS is a concise desktop bundle that will function either in of two orientations. Most users not benefiting from the automatic slide feeder attachment see further discussion below will likely operate the unit standing upright, in which case it takes up about since much desktop property as a thick book.

The LS is a SCSI-connected unit, a digital requirement because of the enormous amounts of information it’s with the capacity of creating. The most resolution for the LS is dpi, resulting in a maximum picture measurements of x for 35mm film. The LS comes prepared out from the package for scanning both 35mm slides and film pieces.

An APS adapter and automated 35mm slip feeder can be found as accessories. All adapters is “hot swapped,” in that they could be altered without powering-down the scanner or calling for any special businesses in pc software.

In rehearse, we discovered this an extremely useful function, even as we could change between slides and downsides really rapidly, without interrupting our workflow. We did not have the chance to try either the APS adapter or perhaps the automatic slip feeder, however some facets of the operation of this APS adapter are similar to the control of 35mm film strips, and we’ll highlight these once we visited them. At 12 bits per channel, the LS are at the top of the area, but extends even this specification with a choice to average several measurements of each and every pixel, up to 16x.

We will discuss this capacity in more detail later on, but suffice to state that it provides a “noise amount” in images of thick slides or negatives equivalent to a 14 little bit per channel device! Nikon rates the utmost optical density capacity for the LS as 3. This might be at the least in part because we’ve no adequate option to determine this parameter!

The scanner makes use of three shade LEDs to illuminate the movie, a design unique to Nikon, in terms of we know. The LEDs have very well-controlled light characteristics, and so aren’t susceptible to the diminishing of standard shade filter materials. The LED light origin is also significantly collimated the light waves travel in relatively right lines , which creates extremely razor-sharp scans, but also tends to focus on scratches, dirt, and movie defects. The aforementioned “Digital ICE” gives the LS some strange innovation for working with dirt and scratches, though.

Documentation for the LS is very substantial, but we grumbled a bit within the fact that the most-detailed documents is supplied just by means of Acrobat PDF data on the software CD. The upside is guides are provided in a minimum of six different languages, but we dislike being forced to print out our own manuals, in order to have hardcopies. Special functions Beyond its remarkably strong basic abilities, the LS features a number of unique functions that really set it up aside from more ordinary scanners.

These are sufficiently unique we wished to phone focus on all of them separately:. This image is a “raw” scan of a badly abused 35mm negative. These two images had been scanned on a Mac, utilizing the sRGB color room opted for.

One result was a somewhat “electric” blue on the woman’s coat. NO manual retouching has been done! Note though, that the image is a bit gentler overall than the detail in the left. Nikon’s “Digital ICE” for Image Correction Enhancement defect-removal answer, is really the most amazing innovations in scanner technology we’ve ever seen.

Under optimal situations, it could entirely remove scratches, dirt, and fingerprints from a slide or negative, while making the underlying image unblemished! This was therefore amazing, we’d to use it ourselves, therefore found an old and defectively scratched shade bad to scan. This particular negative was rescued through the concrete flooring of a storage area, where it had fallen right out of a storage box, been walked on, and apparently managed with extremely dirty, sweaty hands: In regular use, we question you had ever experience an adverse as badly damaged as that one ended up being.

In fact, a “white report” published by Nikon seems to declare that technology is even effective at discriminating little voids within specific emulsion levels, removing problems that affect only 1 color layer of the emulsion not others. In practice, we discovered the ICE technology very effective, at the very least from the movie emulsions we tested. Nikon’s own literature proposes it isn’t effective with Kodachrome film, possibly due a thin emulsion, or perhaps the means the layers for the emulsion are stacked.

At any provided quality degree, it produces a small softness in the image relative to an unadjusted scan, but the overall outcome is incredible! There is a computerized sharpening purpose contained in the “Clean Image” options in NikonScan, but you will want to try out it a little.

We found the built-in sharpening relatively effective for lower-resolution scans, but nonetheless chosen the unsharp masking in Photoshop, because it gave us a great deal more control of how the sharpening was applied. On a negative as deeply scraped as that one, the method can’t completely get rid of all evidence of harm, especially at higher resolutions.

The photos below of this eye and cheek reveal the effect associated with technology, at optimum scanner resolution. You will keep in mind that you may still find minor imperfections remaining when you look at the image, however their nature is so that they’d be rather easy to eliminate either by cloning or with a “smudge” tool in a paint system.

At optimum scanner resolution, the problems cover significant aspects of subject detail, making modification a lot more difficult. Only at that resolution level, Digital ICE can correct most, but not all of the defects. What’s left is relatively simple to manage manually, in a course such PhotoShop tm or PhotoPaint tm , though. As a whole, it’s difficult to over-emphasize the impact the Digital ICE innovation may have in a production scanning environment: The tendency would be to concentrate on severe harm for the type we have shown here, but in rehearse, you’re greatly predisposed to come across arbitrary dirt specks that need tiresome “spotting” to clean up.

After using it, we’re convinced that Digital ICE can completely get rid of the significance of this procedure, during the savings of hours and hours in manufacturing shops. We need to say that this is certainly probably one of the most truly useful innovations we’ve seen to date in scanner technology, with the capacity of conserving literally hours of retouching for each damaged picture it recovers! Analog Gain Control Underexposed slides or dense downsides are a challenge for almost any film scanner: With so small light coming through the movie, the electronics have actually difficulty calculating it, and “noise” from the sensor often swamps the signal from the picture.

Approaches for coping with this consist of making use of analog-to-digital converters the “measuring” element with greater little bit depth, to designing lower-noise electronics. These two approaches add considerable price though, therefore the LS is already a fantastic performer within these places. Instead, Nikon took several different ways to enhancing performance for high-density subjects. One of the most basic enhancements would be to observe that merely enhancing the brightness associated with the light source would increase the quantity of light enduring to the sensor.

This might be carried out via the notably mis-labeled “analog gain control” function, which increases or decreases the brightness of the LEDs providing the illumination. Although this increases overall brightness and level in to the shadows on slides, that is: when you look at the highlights on downsides , the less-dense regions of the film can experience a light overburden. Hence, this control’s usefulness will depend significantly on the specific picture becoming scanned.

It will be best on film or slides which can be dark overall. We discovered the analog gain control become of good useful benefit for darker photos, particularly if using the services of our very challenging “train” test slip.

With this picture, we discovered we could operate all of the gain-control sliders practically all the way-up to their limits to boost shadow detail, without losing detail when you look at the highlights. We found that the person red, green, and blue sliders added to the result of the main or overall gain slider: By working the sliders when it comes to specific channels up besides the primary one, we achieved a whole lot more shadow detail than we’re able to making use of just the overall control.

We were surprised by how far we’re able to push the analog gain without dropping highlight detail in this slide, in which the clouds and sun-baked sand are nearly clear in the initial.

Multi-Sample Scanning Another approach to lowering noise in dark regions of the scan would be to simply take multiple readings for each pixel, and average the outcomes.

As the noise is random in one dimension to another, its impact has a tendency to average-out over more and more measurements. The LS takes advantage of this by giving the choice to typical numerous measurements, using either 1, 4, or 16 examples per pixel. In practice, we felt there was little difference between the 1x and 4x, but the 16x did actually substantially improve sound within the shadows.

Of course, there is an amount to pay for, in that the scans just take greatly longer, because the LS is basically scanning the whole image 16 times. Also, it seems that this purpose relates to the preview mode also, drastically slowing preview scans.

Thus, we suggest switching it off during previews and back on once more for the main scan. Inspite of the trouble this introduces into the workflow, therefore the longer time it takes to perform a scan with the purpose enabled, the outcomes are worthwhile for really dark slides: We venture to express that the LS is capable of extracting useful scans from slides that different scanners is completely not capable of handling.

Full bit per channel output Adobe Photoshop tm versions 4 and 5 and Corel PhotoPaint tm version 8 can both manage images with as much as sixteen items of data at a negative balance, green, and blue shade stations.

Meant for this, the LS can export TIFF data containing the entire 12 items of information per channel grabbed because of the scanner. This program is very important if you need to make considerable alterations to tone or color following the scan is grabbed: by providing the application much more data to utilize, relatively radical tonal changes may be made, minus the extreme “posterizing” for the picture that will happen with 8-bit data.

The procedure is rather simple, yet not awfully well-documented: After scanning the thumbnail previews, select those needing adjustment, and put the scanning parameters while you typically would. Once you’ve created all your valuable adjustments, find the images you need to scan by doing a control left-click in Windows, or a command-click with all the Mac from the corresponding thumbnails.

This may choose multiple thumbnails without de-selecting those you have already opted for. When all have been selected, click scan to proceed. Nikon Scan will ask you to answer where to keep the images and what things to call them. It takes the file title provide it, and name successive scans “name1,” “name2,” etc. For expert applications, ICC profiles and a robust color-management system is crucial that you repeatable color and an efficient workflow.

Since we don’t have any methodology for assessing color-management systems, we didn’t test out Nikon Scan’s color administration options. Nikon also points out within their manual that the color management system both slows the scanning procedure and dramatically increases memory demands.

Thus, although we take it as a very positive sign for illustrations specialists that the LS includes an ICC-compliant color-management system, we can not give any evaluation of the effectiveness. In our analysis, the scanner was connected to a PowerMac G3 system, with an uncalibrated monitor set to K white point, and a gamma of just one. Because the sRGB standard makes use of a much higher gamma setting, and it is otherwise geared more to the default problems of Windows devices, we unearthed that we obtained the best outcomes with the uncalibrated RGB mode.

Whenever we had a calibrated monitor system though, and were working in a manufacturing environment, we almost certainly could have used ICC profiling for all our work. Film Handling The LS includes three movie holders, one for mounted 35mm slides, one for loose pieces of 35mm film, and a third “clamshell”-style holder for handling badly-curved pieces of film through the slip adapter. The different film adapters plug into an extended cavity right in front of this product.

Some adapters such as the film-strip feeder have an electrical connect on their back that carries energy and signals involving the film transportation and the scanner itself. As mentioned previously, the different media adapters could be plugged and unplugged with impunity at any time the LS is not actually scanning: The scanner and motorist computer software instantly recognize which adapter is being used.

The SA movie strip feeder are designed for pieces of film from 2 to 6 frames very long. The Nikon manual cautions against wanting to feed film strips that are curved side-to-side across the slim measurement associated with film by in excess of a few millimeters.

To greatly help judge whether an item of film is simply too poorly curved to feed safely, Nikon offers a measure on top of the movie strip adapter. Used, only our “severe harm” test negative had been curled appreciably in this direction, most decided to curl along the amount of the movie.

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