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David Humphrey works with Cone Studio's TrueCapture Scanner

from ARTBYTE Magazine Dec.-Jan. 1998-1999

David HumphreyDavid Humphrey

    Painter and printmaker David Humphrey began his work in digital media using a simple hand scanner, often purposely distorting found imagery by swerving the path of the scanner as he might a paint brush Humphrey then used the digital output as sketches for paintings. Since those low-tech days. Humphrey has collaborated in ever more technically sophisticated projects with Jon Cone of Cone Editions Though the technology has improved, Humphrey's latest project involved Cone's one-of-a-kind overhead scanner. Humphrey has maintained the spirit of experimentation and play that comes from an open, unprejudiced approach to technology both high and low.

     ConeStudio already uses a variety of scanners: HELL 3400 Chromagraphic drum, Scitex EverSmart Pro flatbed, PhaseOne 14bit medium format Hasselblad digital camera, and Dicomed 4x5 digital view camera. Although these scanners collectively fill the needs of a digital studio, Cone wanted a scanner that would be a catalyst for creativity and lend itself especially to working with artists who want to use more traditional materials in their digital printmaking. "I've put together a scanning system I call the TrueCapture. It's unusual because it's so capable, and scalable, and matches nearly any artistic intent. It can be used to scan essentially any reflective or transparent material, flat or dimensional objects, wet or dry materials," said Cone.

      Unlike flatbed scanners, which capture images from below, the TrueCapture is an upright scanner, meaning it captures an image from above. The primary workspace is an open vacuum base of 40x60 in. An interchangeable backlit transmissive base allows for the direct scanning of hand-drawn mylars, transparencies, and other clear materials up to 30x40 in. Additionally, there is a pivot built into the upright which permits the scanning head to be used vertically, so that materials can be scanned on an adjacent wall. "We look at the scanning bed as a workplace for artists, in which they can work with literally anything they can imagine," says Cone. "The base can support a great deal of weight. It can also be fitted with a waterproof surface so that artists can work with wet media." Cone Editions is planning a new project with Jean-Pierre Hebet in which they will be fitting the scanner with a custom built sand plotter which Jean Pierre will use to produce drawings in the sand, as in the Japanese "Karesansui" tradition of Zen stone gardens.

      The scanning head is unusual in that it is designed to he interchangeable. Cone currently uses two scanning heads and he can add other heads when new technologies are developed that become advantageous. The main reflective/transmissive head uses a lensing system that can focus from eight to 60 in. with absolute flatness and maximum clarity. It is essentially a digital camera, fitted with the latest technology in CCD digital cameras by PhaseOne, capable of creating high resolution scans up to 286MB. The clarity of the captured images is startling. Unique software automatically balance uneven lighting. The second head Cone has for this scanner is a custom WILD digital microscope camera capable of scanning incredibly tiny objects and materials with up to 6,000 x 7,520 pixels and producing RGB files up to 128MB. With only 150 pixels needed per inch of IRIS print, this gives Cone Editions extraordinary photo-microscopic capabilities.

      The scanning heads are mounted on an armature that moves up and down a precisely registered vertical column. The movement is controlled by a microprocessor that electronically moves the scanning head to the appropriate height according to the size of the area to be scanned. Focus is achieved through software with the digital camera head, and through a fitted eyepiece with prism with the digital microscope. The illumination for scanning is also interchangeable. "We can use variable intensity tungsten lighting, flicker-free fluorescent lighting, high-intensity light focused through prisms for micro-scanning, and unusual light sources such as fire and flashlights," added Cone. Using the scanner is quite easy. It uses Macintosh software that permits preview and complete control over exposure, contrast, gradation, sharpness, and 16-bit ICC color management. Once the scanner is setup, an artist is able to produce his or her own scans, and the software manages the save to location and naming of files. Literally, the artist needs only to push the mouse button to activate the new scan.