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  1. #1

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    I had no idea 35mm could carry that resolution!

    I've just had some old transparencies printed up by Peak Imaging in the UK. A few 35mm slides I had printed up to 18x12". I wasn't expecting much, the largest I've ever had 35mm enlarged to was about 10x8", but my word, they look great! I have some provia, some velvia and some K25, usually taken with either Olympus, Nikon or Tamron lenses, on a tripod, mirror locked up etc. Grain hardly visible, really sharp and lovely colours. It's forced me to re-evaluate my opinion on the quality of 35mm. There is an amazing amount of detail in there.
    Mind you, the prints from my 6x7 slides from my RB67 are...well you can guess!

  2. #2
    Thomas Bertilsson's Avatar
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    How are you having them printed? As Ilfochromes? Or scanned and then RA-4?

    I know that there is an awful lot that can be done with transparency film to get it to scan to look like a million bucks, but after having seen some Cibachrome projection prints from both 35mm, 6x6 120, and 4x5 all I can say is I wish I had more cash to print some of my own transparencies that way. Wow.
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  3. #3

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    It was scanned then RA-4, but that still looks great.

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    Ian Grant's Avatar
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    Quote Originally Posted by xtolsniffer View Post
    It was scanned then RA-4, but that still looks great.
    RIP software can work magic in preserving and enhancing quality, it's not an area for discussion on APUG though

    Ian

  5. #5
    DanielStone's Avatar
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    so did you have drum scans made of the slides? From personal experience, they are leaps and bounds better than any other type of scan done. But this is for another site, no more from me

    -dan


  6. #6
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    Quote Originally Posted by Ian Grant View Post
    RIP software can work magic in preserving and enhancing quality, it's not an area for discussion on APUG though

    Ian
    They were probably actually printed with a digital minilab, like the Fuji Frontier. These machines have a built in film scanner and they then use lasers to expose regular color paper, which is RA-4 processed like normal. The results can be very very good.
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  7. #7

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    Does all the silver get washed away in a chrome positive - leaving only the dye cloud? Or only some of the silver?
    I brake for fixer!

  8. #8
    Ken N's Avatar
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    Yes, we can't mention any form of non-analog here on this site. Everything you've said is irrelevant.



    One thing we noticed back in the late nineties was that the d_gitization process tended to INCREASE the apparent format of the film by one entire step. 35mm became as good as 645, 645 as good as 6x7, 6x7 as good as 4x5. And then the film manufacturers started to modify the film bases to improve scanning even more. Of course, this depended entirely on the scanning technology.

    Personally, I have found today's 35mm films, such as Fujichrome Velvia 100, Fujicolor 160S and Kodak Portra 160NC to be so incredibly fine and sharp that my desire for larger formats has been substantially thwarted. Most of the time, it's not the stupid film, it's the stupid photographer.
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  9. #9
    Ian Grant's Avatar
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    Have to agree that the quality of modern colour films is outstanding from Fuji and Kodak and 35mm negs and transparencies are remarkably fine grained.

    Match that up with something like a Fuji Frontier and the enlargements are even better.

    Quote Originally Posted by chriscrawfordphoto View Post
    They were probably actually printed with a digital minilab, like the Fuji Frontier. These machines have a built in film scanner and they then use lasers to expose regular color paper, which is RA-4 processed like normal. The results can be very very good.
    These machines include RIP type software, Ilford uses a Frontier for it's B&W print service and having seen the quality of their printing service the poor reputation of digital minlab quality is well in the past.

    Ian

  10. #10

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    Yes, I think it's an RGB laser thingy. The interesting thing is that one of the slides I had printed up about 15 years ago, and a side by side comparison with the new shows that it looks much much better now. I have no idea what the old process was, possibly interneg. To be honest, I'm so impressed with the results that I don't really care how it was produced. I still do my own B+W work in the darkroom, but have never really gotten many colour transparencies printed up commercially because they were always a bit poor compared to seeing them projected, but my opinion has certainly changed now. Viva 35mm (but don't tell my MF kit...).

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