michel legendre

I also use this lupe and I'm quite satisfied.

You can solve your problem by using your present lupe reversed, and hold it angled without touching the glass...

Michel

Hi Michael,

In my speciphic case I've been able to print very beautiful, high quality ink-jet prints, up to 16/20" on Photorag Paper with lots of details..

The scanner I use give files of about 8000 pix. on the longest side. So I'm sure I could go up to 30/40" without any problems or 24/36" if you're aware of the presence of grain.

I should say that ,in my case I didn't extensively retouched the scratches and peeling of emusion as , in a museum, this is considerd part of the "object" and this has to be documented as well.

Honestly, I could look at the prints (and original files on screen)for hours...so much details and things to look at).

Just take note that they are negatives...so the max density limitation of the scanner(DMax:4,2 for ex.) applies to dark areas of the neg... therefore the highlights of the positive image are affected.

Doesn't mean a different set-up wouldn't make a good job but it's the only one I used to scan glass plates.

Again, good luck and have fun.

Salut

I used an Imacon Progression II (the one that include a flat bed

section along with a Virtual Drum for transparencies up to 4/5) to

scan hundreds of glass plates as big as 8/10(and a little larger,

if I remember well). The flatbed section can be used for

transparancies and for reflective material.

On those plates the emulsion is often "detached"..."flaky" I mean

very fragil, so the general recommendation I'd give is to use

some "spacers" made with cardboard (thicker than the plate

itself...careful not all plates are of the same thickness) on each

side of the plate on the flatbed in order to avoid the top cover to

touch the emulsion (emusion on top of course)(in my scanner's

particular case the cover is also a glass plate).

You'll have to flip the image after.

I used a positive set-up in the scanner software(as if it was a

transparancy) in order to have an "original digital negatives" that

visualy looks like the plate(with all the little tints and color

shades that you usualy find in those B/W neg).

Then you convert and use different edited versions for different

purposes.

If you have many plates ... be sure they aren't larger that 4/5.(

glass plates were usualy handcutted and I found many, many

different sizes in a single group of images) Important if you use a

flatbed scanner with an adapter for 4/5 transparancies as a

recent Epson Scanner for exemple.

Hope it helps a little

Good luck

Salut

Hi,

You can try CORLAB in Montréal,

175 Peel Street,

Montreal, Quebec,

Canada

H3C 2G6

Ask for Roland Labelle

514-878-1320 After 10 in the morning (montreal time)

It's around 3 $cdn for a 4/5 E:6

You pay for the shipping and you have to set an account with

them before the first sending.

Not so far from Halifax after all...

Good luck

Michel

Hi,

you already have pretty good and interesting answers to your question.

Let me add my 2cents...

I think this film is going to stand a long exposure very well. But for the exact color reproduction of a scene I would follow Fuji recommendations or I would stay under 2 to 4 sec.

I found that with a longer exposure time you should be very accurate with the exposure...means the film doesn't support an overexposition and can easily shows a 'crossover'. The highlights become slightly Red and the shadows become Cyan.

So that's my experience with that film...that I really like I have to say.

Good luck

Michel Legendre

I've just noticed that you expect to use 3200 lights so EPY should

be the choice but with less predictable results that if you use

Flashes.

You will have to do test shots before you do the final one and be

sure to use the exact same shutter speed for each(use the

aperture for bracketing) because that film has a different

reciprocity failure for each color layer so you have serious color

shifts if you use long shutter speed...

Still hope that helps...

Hi Dan,

at the museum where I work I use Kodak EPN for 4/5

transparancies. It has a good color fidelity and a low contrast

rendition wich is very important in art reproduction.We have very

high standards and we produce trannies for exhibition

catalogues etc etc and you could be surprised how flat you

should keep your tr. to match the expectation of a high end 4

colors printer.

Be aware that if ever you polarize (sources or/and lens) you will

increase significantly the contrast , loosing important details in

the dark areas.

I think that Provia 100 would do a respectable job on this...

Hope it helps

Salut

I would not to wait too much from that visit regarding the

possibility of buying used LF in Montreal. I'm presently looking for

the same (I live in Montreal) and I only found one Linhof Technika

at L.R.VIALA on DeMaisonneuve street(East).

You could look at Simon's Camera on St-Antoine street but they

had nothing until last week.

Go to Photo-Services at 222 West Notre-Dame street in Old

Montreal.

If I have other ideas I will mention to you here.

See you. Salut

Michel