An Example of Epson’s Color Correction Scan Option

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Article Dedication

In Honor of

Walter Gropius & Staatliches Bauhaus

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Taken in part from Photo Restoration artist’s book by Daniel D. Teoli Jr.

 

Test shows a vintage faded photo that was scanned with Epson’s color correction scan option.

Epson scan no color correction D.D. Teoli Jr. A.C..jpg

Above: Raw Epson scan with no color correction

Epson scan with color correction D.D. Teoli Jr. A.C..jpg

Above: Raw scan with Epson’s color correction option applied

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Above: Epson’s color correction scan post processed in Lightroom. The photo could be further worked in PhotoShop.

Selection from Rainbow Girls of the Beat Generation artist’s book by Daniel D. Teoli Jr. / Daniel D. Teoli Jr. Archival Collection

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Collecting Digitally

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Article Dedication

n Honor of

James Watt & Chester Floyd Carlson

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Many times the archive may not be able to get the original item for the collection. In those cases, a digital copy may be your only option. While digital copies are not the same as having the original…it is much better than having nothing.

A lot of curators are closed minded to collecting digital copies. I’ve found collecting digital indispensable to my archives mission. In the example below, the post card collector did not want to sell the item, but he was agreeable to selling me a hi-res scan of it reasonably.

Later on I found out cards like this sell for $250 to $350 each. So even if he did want to sell it, it would have been above my budget. That is where collecting digitally can help round out the missing unaffordable / unobtainable links to a collection.

Klu Klux Klan Daniel D. Teoli Jr. Archival Collection m

With the digital collection, a curator can order up inkjet prints and could conceivable install a show in a fraction of the time it would take to beg and borrow prints from other museums. And if a museum wished to borrow an image , how much easier can it get that to drop box or email the image.

The photo departments in the art museums are on a perpetual complaint that they do not have any space for new acquisitions. (Well, maybe that is the ‘easy let down’ as an excuse to snub the photographer that is trying to make his or her way into the museum’s permanent collection. ) In any case, digital again comes to the rescue.

But, digital collecting seems to be too radical thinking for an art museums to adopt. Personally I’ve used this ‘digital only’ technique to produce a few artist’s books and have found it to be a very good method indeed.

There are some drawbacks to collecting digitally. One of the drawbacks to collecting digitally is the digital copy is not worth much…if anything. Museums and galleries have to spend lots of money on conservation, security and so forth. So they only like to collect artwork with signatures and high value.  That is one of the excuses they use anyway.  Really, what they collect is more ‘signature oriented’ than ‘art orientated’ many a time.

Further Reading:

https://danielteolijr.wordpress.com/2017/02/28/anal-photo-collectors-value-the-signature-more-than-the-photo/

Another issue is you don’t have a physical original. But this can be skirted around by printing out a letter size hard copy that can be scanned if you ever lose the digital files. If museums and archives shared digital files that would also be a great off site back-up safety net.

But, digital can also benefit an archive whereas having just one physical original cannot. In the early 2000’s a flood in Ohio wiped out 20+ years of my work. If it was all digitized I may have had high quality digital backups off-site. In my case, the one and only originals were all destroyed…prints, negs, chromes and ephemera.

https://danielteolijr.wordpress.com/2015/04/10/the-master-print-for-the-digital-photographer-is-what-the-physical-negative-is-for-the-film-photographer/

Since digital collecting can rapidly increase an archive with easy acquisitions, the curator has to be careful of not overloading the archive with too much material that can’t be dealt with. This is an area I have to be careful with. I don’t have any helpers to manage things, I have to manage things all my myself. So I ‘try’ to be selective.

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Dye stability testing of Kodachrome Enlargements / Prints

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Article Dedication

in Honor of 

Frank Tartaro & Bob Pace

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Material presented here was taken in part from

Dye Stability Testing of Color Imaging Media- Edition II

by Daniel D. Teoli Jr.

The Daniel D. Teoli Jr. Archival Collection was able to acquire a few samples of Kodachrome print media to be tested for dye stability fading. This material is very rare to come across, especially the acetate based material.

Test results show Kodachrome prints exhibit good dark storage dye stability. But when exposed to light they show very poor dye stability.

Here is a 1950 era 5 x 7 Kodachrome enlargement made on acetate that was stored in dark storage conditions in a photo album until 2016.

1 Kodachrome Enlargement 2.10.1950 D.D. Teoli Jr. Archival Collection3 Kodachrome Enlargement 2.10.1950 D.D. Teoli Jr. Archival Collection 22 Kodachrome Enlargement 2.10.1950 D.D. Teoli Jr. Archival Collection 32.2 Kodachrome Enlargement D.D. Teoli Jr. Archival Collection

You can see the gloss of the acetate. The prints do not have a paper feel at all. They feel like they are printed on plastic, which of course acetate is. Later on, Kodak switched to paper base for its Kodachrome prints as is shown below. A characteristic of the acetate prints is that the material has rounded corners.

For the dye stability tests photos in this post,  I cut the media in half. One half of the media was put in sunlight for 6 months. The other half was stored in total darkness. After 6 months of sun, the 2 halves were married and scanned. The half exposed to the sun was marked with an ‘S’. The half stored in the dark was marked with a ‘D’.

 

4 Kodachrome Enlargement D.D. Teoli Jr. Archival Collection (2)5 Kodachrome Enlargement D.D. Teoli Jr. Archival Collection (1)

Sample of acetate Kodachrome print fade tested for 6 months of sun.

6 Kodachrome Enlargement D.D. Teoli Jr. Archival Collection (3)7 Kodachrome Enlargement D.D. Teoli Jr. Archival Collection (4)

Sample of paper based Kodachrome print fade tested for 6 months of sun.

Here is some information on the various print material Kodak used.

https://books.google.com/books?id=6l0zAQAAMAAJ&pg=PA84&lpg=PA84&dq=when+did+kodak+make+kodachrome+prints&source=bl&ots=SWXVKaEYqk&sig=2KyJRfFP53pl0fdmz7m457Ru4y8&hl=en&sa=X&ved=0ahUKEwjNit6FnPrUAhXH6iYKHSh3ApwQ6AEIVzAI#v=onepage&q=when%20did%20kodak%20make%20kodachrome%20prints&f=false

Kodachrome slides have very good dark storage dye stability. Here is a vintage slide from the 1950s that was scanned in 2017. No color enhancement was done, this is how the slide looked after 60 years of dark storage.

Rainbow Girls of the Beat Generation Daniel D. Teoli Jr. A.C (1)

But give Kodachrome slides some sun and they fade pretty quick.

Selection from Rainbow Girls of the Beat Generation artist’s book by Daniel D. Teoli Jr. / Daniel D. Teoli Jr. Archival Collection

I have dark stored Kodachrome slides dating back to June 1940 and the colors look perfect. From talking with collectors, they report seeing Kodachrome slides from the late 1930’s that look good.  It will be interesting to see if Kodak’s Kodachrome acetate print material ages the similarly.

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Selection from The Americans…60 years after Frank artist’s book (Candid)

by 

 Daniel D. Teoli Jr.

A complete list of artist’s books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

 

 

Selections from ‘The Realists’

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Article Dedication

in Honor of

Paul Strand & Weggee

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Rainbow girls of the beat generation D.D. Teoli Jr. Stereo

Selection The Realists D.D. Teoli Jr. A.C.

Selection The Realists D.D. Teoli Jr. A.C. 2

Rainbow Girls Stereo Beatniks D.D. Teoli Jr. A.C.

Chastity Belt Realists Daniel D. Teoli Jr. Archival Collection

Selections from The Realists artist’s book by Daniel D. Teoli Jr.

Daniel D. Teoli Jr. Archival Collection

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Selection from ‘Pigskin Chronicles’

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Jack Gunther 1938 Daniel D. Teoli Jr. Archival Collection

Jack Gunther – 192 pound fullback

Pre Santa Clara vs Stanford Game 1938

Selection from ‘Pigskin Chronicles’ artist’s book by Daniel D. Teoli Jr. / Daniel D. Teoli Jr. Archival Collection

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Managing a 8mm and 16mm film archive on a budget can be tough.

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Article Dedication

in Honor of 

Lewis Hine & Harold Edgerton

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Even though movies are not my specialty area, the Daniel D. Teoli Jr. Archival Collection has a large number of 8mm and 16mm films in its collection. Dealing with films from the 1940’s to 1970’s can be tough if you are on a budget.  Just finding a working editor can be hard nowadays.

Here is a recent crop of editors I bought that didn’t work out…

8mm film editors Daniel D. Teoli Jr. m

For one reason or another all these editors ended up not working. They had broken bulbs that are hard to replace. One had stripped film transport gears that would jam the film up ever foot or so. One that did work, had a very dim viewing screen that made the image hard to see. One had a lens that came loose during shipment that broke the mirror inside the unit. Another one was sold as 16mm and ended up being Super 8. And one editor blew the bulb out as soon as I plugged it in.

You would think that buying replacement bulbs for the editors would not be a problem, but it is. Same with projectors. You have to go to specialists and even then it may be a no go.

http://www.donsbulbs.com/cgi-bin/r/t.pl

The people that are selling them are generally not the original owners. Most of the sellers are pickers that buy them at yard sales for a couple bucks then sell them online for $30 to $60 each. Since they don’t know a thing about them they are usually sold as-is.

Managing a film archive may requires film leaders to be installed and splices to be done. Sometimes the films are mis-marked or have debris stuck on it. So having the option to view, repair and clean the film is important.

You can use old projectors to view your films. But buying used projectors always carries the risk of the projector eating up your film. On the flip side, you may have a film loaded with gunk and problems that may ruin a good projector. I’d much rather take a look at the films under controlled conditions of the hand-cranked editor.

A Wolverine scanner is affordable for $300, but the quality of the output is poor when compared to the high end scanners. It may not hold up over the long haul, so think of it as a disposable.

wolverine movie scanner 8mm

The Wolverine scanner has a warranty of 200 reels of films – a built in counter keeps track of the number of scanned reels. Be advised, every time you start and stop the machine, even for 1 frame, it counts as a 1 reel of film. If you make a mistake opening the film gate and use the nearby 8mm / Super 8mm lever while the machine is in pause, it can also raise the film counter by 1.

I’ve learned not to fool around with the machine while it is on, as I’ve hit the wrong button or switch a number of  times and raised the reel count unessearly working to chip away at my warranty. As soon as I finish a scan I turn the machine off. Then I unload the film and rewind on an editor.

The Wolverine produces tiny MP4 video files. It is very slow, taking 2 hours on average to scan a 5 inch reel of film. On the plus side, is it is easy to use. But, to be fair to Wolverine, for what it does, their scanner is a bargain at $300. You could easily pay $300 for 1 or 2 hi-res pro scans of 8mm. Just realize that your scans will not be of the same quality as you get from HD pro scans.

For instance, this film ‘Gone…Up in Smoke’ was scanned with a professional telecine unit that produces individual TIFF files of each frame. (The link is to the low res version.) The TIFF file size for the movie was over 50gb. The Wolverine produced a file of about 325mb for the same film. That is 325mb versus 50gb of information.

https://archive.org/details/GoneUpInSmok

A professional telecine scanner does an excellent job. But it is very expensive, costing many thousand dollars.

Telecine film scanner

One thing not to buy is this…

Wolverine film scanner

The film has to be advanced by hand, frame by frame and the image quality is very poor. Wolverine’s $300 ‘reel to reel’ model is much better. But if you need individual scans of a few frames of film, this unit may be for you. The Wolverine $300 unit wont give you individual scans of the movie frames.

If you know anything about my archive, you know I collect unusual and strong material.

Girl Peeing in Pisspots Collage 1910 Daniel D. Teoli Jr. Archival Collection

Selection from Before Photoshop (Unabridged 2 volume edition) artist’s book

by Daniel D. Teoli Jr. / Daniel D. Teoli Jr. Archival Collection

Many of the films in the archive contain sensitive material and some are very rare and irreplaceable. Since the films are irreplaceable I am always worried about them being lost.

Because of the content, a lot of commercial scanning companies won’t scan my films. And even if they will scan them, by the time the film cleaning, noise reduction, HD scanning and bells and whistles are all added up, each little 8mm film cost $200 to $300 to get it scanned commercially. And if you want the individual TIFF files returned to you, that cost another $150 or so.

Blackmagic Cintel Film Scanner

If you have deep pockets, this is an example of a top of the line 16mm scanner for $30,000. Archives with lots of $ can afford a dedicated film scanning lab of their own.

Paying $150 to $300 for a hi-res scan of an 8mm film is just the beginning of the process. If you have an important film and a big budget, each of the movies tens of thousands of 8mm or 16mm TIFF files can be post processed individually to remove dust, defects and to improve exposure and IQ.

Here is a professional scan from Gone…Up in Smoke to give you an idea of what you can expect from 8mm.  It shows before and after noise reduction.

Noise Reduction Barbara Lemay - Daniel D. Teoli Jr.

All things considered, if your content is not too extreme, your best bet may be to have the movie scans done commercially by a top quality lab. If you do send your films out to be scanned, it is a good insurance policy to scan them yourself before you send them out. If something does happen to the film, at least you will have a low quality digital copy for your archives.

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little-dicky-lucky-chops-2016-daniel-d-teoli-jr-m

Little Dicky

Selection from The Americans…60 years after Frank artist’s book

by Daniel D. Teoli Jr.

A complete list of artist’s books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

 

 

Selection from ‘The Honeymooners’ artist’s book.

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'Honeymooners' - Daniel D. Teoli Jr. Archival Collection

A series of bedroom photos from the 1900’s on instructing newlyweds.

Selection from The Honeymooners artist’s book by Daniel D. Teoli Jr. / Daniel D. Teoli Jr. Archival Collection

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.