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Glass negative scanning
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PostPosted: Tue Feb 16, 2010 9:11 pm    Post subject: Glass negative scanning Reply with quote
Today I bought a box of glass negative made around 1910-30. I thought perhaps I able to scan them. Any experience ?


PostPosted: Tue Feb 16, 2010 9:38 pm    Post subject: Reply with quote
I have a box full of glass plates from my mother's family. This was (badly) scanned with a cheap scanner a while ago



I just put the emulsion side on the glass, scanned, and reversed the scan.


PostPosted: Tue Feb 16, 2010 9:41 pm    Post subject: Reply with quote
wow! Did you use scan like a paper photo or scan as a negative film ?


PostPosted: Tue Feb 16, 2010 9:48 pm    Post subject: Reply with quote
Really curious how you fare with color negatives.


PostPosted: Tue Feb 16, 2010 10:39 pm    Post subject: Reply with quote
I don't think there ever have been colour negative glass plates. Early colour processes from the plate age like Autochrome could not be copied and hence were all reversal, and by the time of Kodachrome, the plate age was already past and roll and sheet film had taken over - CN came yet another five years later.

Sevo


PostPosted: Tue Feb 16, 2010 10:40 pm    Post subject: Reply with quote
Attila wrote:
wow! Did you use scan like a paper photo or scan as a negative film ?


Like a film, on an Epson 1640.


PostPosted: Tue Feb 16, 2010 10:57 pm    Post subject: Reply with quote
I've scanned 15,8x15.8" glass plates like a print, saved as 16bit tiff, inverted in Photoshop and manually set black and white point.



PostPosted: Tue Feb 16, 2010 10:59 pm    Post subject: Reply with quote
http://blogs.denverpost.com/captured/2009/10/21/color-photography-from-russian-in-the-early-1900s/

A few samples from turn-of-the-century glass negatives.

http://www.loc.gov/exhibits/empire/making.html

The process that Prokudin-Gorskii used for getting the color photographs.


PostPosted: Tue Feb 16, 2010 11:13 pm    Post subject: Reply with quote
Many thanks mates!


PostPosted: Tue Feb 16, 2010 11:20 pm    Post subject: Reply with quote
I completely misread this, I was thinking you were using them to hold
down negatives of your own. Really like the samples I've seen here and
good luck, Attila, do post some of your results.


PostPosted: Wed Feb 17, 2010 1:38 am    Post subject: Reply with quote
It would be nice to have a dedicated posting area for these old photos/negatives...good on you for saving them Attila....I heard a horrible story of what happened when an old photographers business was sold...the new owner turfed/threw out all his (the old owners) negatives.....idiot!! The only reason why he found this out was some one had gone to get some reprints after the business had changed hands.This was in the 70s Rolling Eyes


PostPosted: Wed Feb 17, 2010 1:40 am    Post subject: Reply with quote
http://forum.mflenses.com/glass-negatives-from-1910-1930-t25346.html


PostPosted: Wed Feb 17, 2010 1:52 am    Post subject: Reply with quote
Very Happy Thanks


PostPosted: Wed Feb 17, 2010 4:19 am    Post subject: Reply with quote
themoleman342 wrote:
http://blogs.denverpost.com/captured/2009/10/21/color-photography-from-russian-in-the-early-1900s/

A few samples from turn-of-the-century glass negatives.

http://www.loc.gov/exhibits/empire/making.html

The process that Prokudin-Gorskii used for getting the color photographs.

Something a couple of commenters said - look at them with a pair of old 3D glasses or red green filters. As an unintentional result of the mis-registration, some of them leap out. I'm of the opinion that the taking camera was similar in layout to the projector - ie, he took the three shots simultaneously, not sequentially. It would have been utterly impossible to have people be rock-steady for simultaneous shots. The slow emulsions of the day would have necessitated a lengthy enough exposure anyway, which certainly explains the fixed expressions on the subjects/victims.

Look at the guy's arm.


PostPosted: Wed Feb 17, 2010 7:35 am    Post subject: Reply with quote
Farside wrote:
[ I'm of the opinion that the taking camera was similar in layout to the projector - ie, he took the three shots simultaneously, not sequentially. It would have been utterly impossible to have people be rock-steady for simultaneous shots. The slow emulsions of the day would have necessitated a lengthy enough exposure


The process and cameras are well known and published - he was stepping through a three-segment plate sequentially. It is quite obvious really, as animate objects (in particular horses, leaves, water and other things that can't be told to stop moving) are out of register rather than near or far ones (as would happen with three non-coincident cameras).

Emulsions prior to WW1 were around ISO 7-15, not that slow any more, with exposures well below a second in sunlight. With the rather strong filter factors and switching time of his process thrown in, it might have summed up to a maybe thirty second cycle stepping through three filters. No big deal, the older among his subjects will still have remembered times when they had to hold still for half an hour for a black and white shot...

Sevo
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