8x10 transparencies of watercolor paintings

[martin_frank]

I've been asked to make 8x10 transparencies of watercolor paintings

ranging in size from 16x20 to greater than 30x 40. I'm an amateur b

and w shooter with an 8x10 camera and a 355 G-claron lens which I've

exclusively used with b and w emulsions outdoors. Does anyone have

experience with this above described application? The

transparencies will then be scanned digitally for high quality

prints. Could anyone suggest a film, lighting arrangements, or

other pointers? Thanks.

[tim_curry]

Martin, my one suggestion would be to be certain of the light source you are using. Since you are using B&W most of the time, you don't have to think in terms of color temperature or filtration to make subtle changes in hues.

 

If you will be using transparency film, there are two choices to consider. A tungsten film (like Fuji's 64t for example) is used with an indoor incandescent type of light as a source. If you were to use this film outdoors, everything would be blue. The "normal" films for outdoor light can vary with saturation and color balance. Fuji's Astia may be the best choice for a normal rendering of color tones with daylight. If this film were used indoors, everything would be orange.

 

I'm sure others on the list will have specific lighting suggestions, but these are the basics of light and film you will need to consider to get started. Find out what type of setup is available (reflected light from a white wall outdoors or indoor floods etc.) and go from there. Based on time and money, I would be inclined to use 4X5 and not 8X10 for this project. You can get the resolution you need with a good 4X5 shot and a good scan. This will save time & money on film, developing and scanning in the long run.

[c_p_goerz]

I actually did this job for over ten years. Since you were asked to shoot 8x10 thats what you have to provide.

 

I found it best to use daylight film and strobe with polarized light. Watercolours are best underexposed by half a stop as the very light shades get blown away. Remember to pop a Macbeth chart in there, the Kodak ones will ensure your images are printed slightly yellow.

 

 

 

CP Goerz

[c_p_goerz]

PS:Your lens will do the job nicely and if you use Kodak Ektachrome you'll be just fine. Don't use any of the variants with saturated colour etc just use the plain wrap EPN stuff. It has excellent colour balance and takes some pulling and pushing in processing. Don't bracket just use the development process to fine tune the exposure.

 

Shoot polaroid!! try to se if you can pop a quick 8x10 chrome as a test so you can tune your eye to the Polaroid and get a match to it on the film. Use the type 54 ISO 100 stuff as its a close match to the film speed.

 

 

CP Goerz.

 

 

 

CP Goerz

[bruce watson]

Find a copy of <i>Light-Science & Magic: An Introduction to Photographic Lighting</i> by Fugua and Hunter. This book does a really good job of explaining how light works, and what that means to lighting things for photography. It explains how to light things like flat art, and best of all it tells you why. It covers everything from placement to polarizing the light to control reflections.

<p>

So, if you want to figure out what lights to use, how many, and where to place them, this book is great.

[john_hoenstine]

I use Kodak EPY with 3200 K lights. Place one or two lights an each side and equal distances from the painting at 45 degrees to the painting. I polarize both the lights and the lens but if this is a one time thing it probably isn't worth the cost of the polarizers for the lights and if you don't polarize the lights don't use a polarizer on the lens. Be sure to turn off all other lights in the studio. Use and incident meter and shoot a test to check for color balance.

[jim_shanesy]

EPY is what the National Gallery of Art uses. FWIW.

[tedharris]

I do it the same way C P Gorez does ..... one difference I use polaroid T79 as I am

getting a color check as well as a check on the rest of the scene .... keep in mind that

we are talking a 4x5 reducing back here to use thse films.

 

The Macbeth color chart is critical for this sort of work IMHO.

[paul moshay]

Martin, I do this work for a living in my studio so I feel I can give you good pointers. First, you have a great lens for the job. Second, use Kodak EPN. It is the only film rated "accurate" in color balance. Third, get a box of the film and test it for color balance with your lighting. It may take three sheets to get a balance unless you have a split dark slide that can give you two different filter pack tests on one sheet. Be sure to use a VERY good lab to process the film. Use the Calumet or Kodak gels for color balance and behind the lens for flare control. be sure to flag the lens from your lights if you do not have a bellows lens hood. Make a large black area on the wall with cloth or flat paint to hang the artwork on to reduce kickback from the area, a white wall will kill contrast. When making the exposure be sure to account for the bellows extension factor. email me if you have any other questions.

Paul