On 21 March 2012 13:00, Mark C <pdml-m...@charter.net> wrote: > The second biggest challenge was getting the image exactly registered with > the film plane - no perspective tilts.
Put at mirror on the copy plane. When the lens's reflection is in the centre of the viewfinder then you've got perfectly parallel image and focal planes. Re-position the artwork (without altering its tilt) to centre up the framing, but don't move the camera again for this setup. Batch the paintings into similar sized groups to minimize the number of setup changes you'll need. Works with low textural relief can be treated as simple copies using equal lights from each side, or from each corner if the work is larger than 50cm a side. If the work has high textural relief then light it as a 3D object, but watch out for falloff of illumination, because the light will be predominantly one-sided. One trick is to feather the light so that the bright centre of the beam is directed to the further edge, while the nearer edge to the light gets the dimmer boundary of the illumination circle. Half of the light will be wasted, so be careful that it doesn't reflect back into the copy area. Use barn doors if you can. With care and luck the light spread will be even. And, importantly, ensure that the light appears to come from "above", i.e. the dominant light should come from the top edge of the artwork, even if you've laid it down or have it hanging/standing sideways. regards, Anthony "Of what use is lens and light to those who lack in mind and sight" (Anon) -- PDML Pentax-Discuss Mail List PDML@pdml.net http://pdml.net/mailman/listinfo/pdml_pdml.net to UNSUBSCRIBE from the PDML, please visit the link directly above and follow the directions.
