Nikon ls 2000
Popular sections.How to: Connect legacy film scanners to modern computers | EMULSIVE
The LS is a high-speed, high-resolution scanner capable of making images suited to a wide variety of jobs, including desk-top writing, design, and multi-media publishing. 5 rows · Nikon prices the LS’s data-transfer capability at 3 megabytes/second, lots consistent. Mar 18, · Nikon LS SCSI Scanner & Windows 10 X Discussion in ‘Nikon’ started by fpapp, Sep 18, FPapp. For anybody which possess older Nikon SCSI Scanners, I can make sure you can easily install and use them on Windows 10! I have been using my LS for quite a while with Windows 7 X64 by following techniques outlined in this link.
Nikon ls 2000.Nikon LS SCSI Scanner & Windows 10 X64 | Photography Forums
5 rows · Nikon rates the LS’s data-transfer capacity at 3 megabytes/second, lots consistent. SUPER COOLSCAN (LS) Secret Functions. Specs. little bit A/D, 2, dpi. High-speed scanning. Autofocus. “CleanImage™”. Nikon Color Management Program. Multi-sample scanning. Nikon LS – movie scanner (35 mm) vra
How to: Connect legacy film scanners to contemporary computers
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Nikon | Imaging Products | Specifications – SUPER COOLSCAN (LS)
SUPER COOLSCAN 2000 (LS-2000)
SA-20 STRIP FILM ADAPTER
Nikon | Imaging Products And Services | SUPER COOLSCAN (LS)
They’ve been already making waves when you look at the digital world using their very successful CoolPix digital camera, but for considerably longer have already been really serious players at the high-end of 35mm desktop movie scanners. In our experience, Nikon was the initial producer to seriously find out color management for unfavorable movie, due to their original design Recently, Nikon forged brand-new surface with their “CoolScan” group of slide and film scanners, the “Cool” in the title referring to the application of LEDs once the light source, other than an incandescent lamp.
Their previous Super CoolScan LS was by any measure a great scanner, but with the LS, Nikon has achieved dramatic improvements, and somewhat raised the bar for your industry of desktop computer scanners. This last referring to their implementation of the “Digital ICE” innovation manufactured by the appropriately named company used science-fiction.
Given the extraordinary number of control provided by the LS, this review is likely to be one of the longer people on this site: Bear with us however, the important points are worth exploring! EZ-Print Page In response to reader demands, we now offer copies of most reviews stripped of most their formatting, to facilitate printing.
Remember that the print-formatted version of the LS review is also lacking the test pictures we included below, since they forced the horizontal measurement associated with web page also broad for many combinations of printer and internet browser to accommodate. View here to go to the EZ-Print page. The fundamentals The LS is a compact desktop bundle that may function in either of two orientations. Most users not using the automatic slide feeder attachment see further discussion below will likely operate the machine standing upright, in which case it takes up about since much desktop computer property as a thick book.
The LS is a SCSI-connected unit, a digital necessity due to the large numbers of data it’s capable of creating. The maximum quality associated with the LS is dpi, resulting in a maximum image size of x for 35mm movie. The LS comes prepared from the box for scanning both slideshow and film strips.
An APS adapter and automatic 35mm slide feeder are available as accessories. All adapters can be “hot swapped,” for the reason that they could be changed without powering-down the scanner or calling for any unique operations in software. In practice, we discovered this a very helpful feature, as we could switch between slides and downsides very quickly, without interrupting our workflow.
We did not have the opportunity to take to either the APS adapter or perhaps the automated slide feeder, however some facets of the procedure associated with the APS adapter resemble the control of 35mm film pieces, and we’ll emphasize these once we arrive at them.
At 12 bits per station, the LS reaches the top of the industry, but stretches even this specification with an alternative to normal multiple measurements of each pixel, up to 16x. We’ll discuss this ability in greater detail later on, but suffice to express it offers a “noise amount” in photos of thick slides or negatives equal to a 14 bit per channel unit!
Nikon rates the utmost optical thickness convenience of the LS as 3. This can be at the very least in part because we now have no sufficient solution to determine this parameter! The scanner utilizes three shade LEDs to illuminate the film, a design unique to Nikon, as far as we know. The LEDs have very well-controlled light attributes, and are usuallyn’t susceptible to the fading of standard color filter materials. The Light-emitting Diode light resource is also somewhat collimated the light waves travel in relatively straight lines , which produces extremely sharp scans, but additionally tends to stress scratches, dirt, and film flaws.
The aforementioned “Digital ICE” provides LS some unusual technology for dealing with dust and scratches, however. Documentation for the LS is fairly substantial, but we grumbled a bit over the undeniable fact that the most-detailed documentation is supplied just in the form of Acrobat PDF data in the computer software CD.
The upside is that guides are provided in no less than six different languages, but we dislike having to print our very own manuals, simply to have hardcopies. Special functions Beyond its remarkably powerful standard abilities, the LS features a number of unique features that really set it aside from more ordinary scanners.
These are sufficiently unique that we wished to call focus on them separately:. This image is a “raw” scan of a badly abused 35mm bad.
Both of these photos were scanned on a Mac, with the sRGB color space opted for. One result was a somewhat “electric” blue from the girl’s jacket. NO manual retouching was done! Note though, that the image is a bit softer overall than the detail on the remaining. Nikon’s “Digital ICE” for Image Correction Enhancement defect-removal answer, is truly perhaps one of the most amazing innovations in scanner technology we’ve ever seen.
Under optimal situations, it can completely remove scratches, dirt, and fingerprints from a slip or unfavorable, while leaving the underlying image untouched! This is so amazing, we’d to test it ourselves, and so found a classic and terribly scratched color negative to scan. This particular damaging had been rescued from the concrete floor of a storage area, where it had fallen out of a storage box, already been walked on, and apparently handled with extremely dirty, sweaty hands: In regular use, we question you had ever experience a negative as terribly damaged as that one was.
In fact, a “white report” posted by Nikon appears to suggest that technology is even effective at discriminating small voids within specific emulsion levels, eliminating flaws that impact only one color layer of the emulsion although not other individuals.
In practice, we discovered the ICE innovation helpful, at least on the film emulsions we tested. Nikon’s own literature suggests it’s not efficient with Kodachrome movie, maybe due a thin emulsion, or the way the layers of the emulsion are stacked. At any offered resolution amount, it creates a small softness when you look at the picture relative to an unadjusted scan, however the overall outcome is incredible!
There clearly was a computerized sharpening purpose included in the “Clean Image” choices in NikonScan, however you will desire to try out it a bit. We found the integrated sharpening relatively effective for lower-resolution scans, but nonetheless favored the unsharp masking in Photoshop, as it gave us much more control over how the sharpening ended up being used.
On an adverse as profoundly scratched as this one, the method can not entirely eliminate all proof of damage, specifically at higher resolutions. The pictures below of this eye and cheek reveal the end result associated with technology, at maximum scanner quality. You are going to observe that there are still minor imperfections left in the picture, however their nature is such that they’d be rather easy to remove either by cloning or with a “smudge” device in a paint system.
At optimum scanner resolution, the problems cover significant aspects of topic detail, making modification a whole lot more tough. As of this resolution amount, Digital ICE can correct most, but not all of the defects. What’s remaining would be not too difficult to deal with manually, in a program such as PhotoShop tm or PhotoPaint tm , though. In total, it’s hard to over-emphasize the impact the Digital ICE technology may have in a production scanning environment: The tendency is always to target extreme harm of this type we have shown here, however in practice, you’re much more likely to encounter arbitrary dust specks that need tedious “spotting” to clean up.
After dealing with it, we’re convinced that Digital ICE can completely eradicate the need for this operation, at the savings of a lot of time in manufacturing shops. We need to say that this can be probably one of the most undoubtedly helpful innovations we have seen to date in scanner technology, capable of conserving literally hours of retouching for every damaged image it recovers!
Analog Gain Control Underexposed slides or thick negatives are a challenge for almost any movie scanner: With so small light coming through the film, the electronics have actually trouble calculating it, and “noise” from the sensor often swamps the signal coming from the picture.
Approaches for coping with this are priced between utilizing analog-to-digital converters the “measuring” element with greater bit depth, to designing lower-noise electronics. Both of these approaches add substantial cost though, therefore the LS is already an excellent performer within these areas.
Instead, Nikon took various ways to enhancing performance for high-density subjects. Perhaps one of the most basic enhancements was to observe that merely enhancing the brightness for the source of light would boost the amount of light living through to the sensor. That is accomplished via the somewhat mis-labeled “analog gain control” function, which increases or decreases the brightness associated with the LEDs providing the lighting.
While this increases overall brightness and level to the shadows on slides, this is certainly: when you look at the highlights on downsides , the less-dense regions of the film can have problems with a light overburden.
Thus, this control’s usefulness will be based notably from the particular picture being scanned. It will likely be best on movie or slides that are dark overall. We discovered the analog gain control is of great useful benefit for darker images, especially when using our very challenging “train” test slide. Because of this picture, we found we could run all of the gain-control sliders practically all the way up for their restrictions to improve shadow detail, without dropping detail in the highlights. We unearthed that the individual red, green, and blue sliders added to the result associated with primary or overall gain slider: By working the sliders when it comes to individual channels up besides the primary one, we attained far more shadow detail than we could by making use of simply the overall control.
We had been surprised by how long we could press the analog gain without dropping emphasize detail in this slide, where in actuality the clouds and sun-baked sand are almost clear on the initial. Multi-Sample Scanning Another method of decreasing sound in dark areas of the scan is to just take several readings for every pixel, and average the results. As the noise is random in one measurement to a different, its impact has a tendency to average-out over more and more dimensions.
The LS takes advantage of this by giving the option to typical multiple measurements, using either 1, 4, or 16 examples per pixel. In practice, we believed there was small distinction between the 1x and 4x, but the 16x appeared to substantially enhance sound in the shadows.
Of course, there’s a price to cover, in that the scans simply take considerably longer, because the LS is basically scanning the complete picture 16 times. Also, it would appear that this purpose applies to the preview mode too, significantly slowing preview scans. Thus, we recommend switching it off during previews and back on once more for the key scan. Despite the trouble this introduces into the workflow, together with longer time it will take to perform a scan utilizing the purpose enabled, the outcome are worth every penny for really dark slides: We venture to express that the LS is with the capacity of extracting useful scans from slides that other scanners would be completely not capable of handling.
Full little bit per channel output Adobe Photoshop tm versions 4 and 5 and Corel PhotoPaint tm version 8 can both deal with pictures with as much as sixteen components of information in debt, green, and blue shade channels. In support of this, the LS can export TIFF files containing the total 12 items of data per channel captured because of the scanner. This choice is specially important if you wish to make considerable adjustments to tone or color after the scan is captured: giving the application more data to utilize, fairly radical tonal changes could be made, minus the severe “posterizing” of this image that may occur with 8-bit information.
The procedure is quite simple, but not very well-documented: After scanning the thumbnail previews, select those needing adjustment, and put the scanning variables as you usually would. Once you’ve created your entire modifications, select the pictures you wish to scan by performing a control left-click in Windows, or a command-click using the Mac on the matching thumbnails.
This may select numerous thumbnails without de-selecting those you have already chosen. When all have now been chosen, click scan to proceed. Nikon Scan will ask you where to shop the photos and things to phone all of them. It may need the file title provide it, and title successive scans “name1,” “name2,” etc.
For expert applications, ICC profiles and a sturdy color-management system can be important to repeatable color and a simple yet effective workflow. Since we don’t have any methodology for assessing color-management methods, we didn’t try out Nikon Scan’s shade management options.
Nikon also highlights in their manual that colour management system both slows the scanning procedure and significantly increases memory demands. Thus, although we take it as a tremendously good sign for photos specialists that the LS includes an ICC-compliant color-management system, we can not offer any assessment of its effectiveness. Inside our analysis, the scanner was attached to a PowerMac G3 system, with an uncalibrated monitor set-to K white point, and a gamma of just one. Considering that the sRGB standard utilizes a much higher gamma setting, and is otherwise geared more to the default problems of Windows machines, we discovered that we obtained the most effective results with the uncalibrated RGB mode.
Whenever we had a calibrated monitor system though, and had been working in a manufacturing environment, we almost certainly will have utilized ICC profiling for many our work. Movie Handling The LS is sold with three movie holders, one for mounted slideshow, one for loose pieces of 35mm movie, and a third “clamshell”-style holder for handling badly-curved strips of film through the slide adapter. The different film adapters plug into an extended cavity right in front of this unit.
Some adapters such the film-strip feeder have a power plug on their back that carries power and indicators between the movie transport while the scanner itself. As mentioned earlier, various media adapters may be plugged and unplugged with impunity whenever you want the LS is not really scanning: The scanner and driver computer software automatically recognize which adapter is currently being used.
The SA film strip feeder can handle pieces of film from 2 to 6 frames long. The Nikon manual cautions against wanting to feed film strips that are curved side-to-side over the thin measurement of this movie by in excess of a few millimeters.
To simply help judge whether a bit of movie is too terribly curved to feed safely, Nikon offers a gauge in addition to the film strip adapter. In practice, only our “severe harm” test damaging had been curled appreciably in this direction, most chose to curl over the amount of the film.