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Copy Stand Lighting?
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p.1 #1 · p.1 #1 · Copy Stand Lighting?

I just got a camera adapter for my LPL670 enlarger, and will be using it as a copy stand. I will shoot a fair bit of flat graphics (up to maybe 11x14, but mostly smaller 8x10 and smaller), but I'd also like to do some macro shooting of smaller objects.

Anyway, looking for ideas on continuous lights, probably LED for cooler operation. Any recommendations welcome.

Thanks for your thoughts.

- Dan

Jan 26, 2017 at 02:23 PM
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p.1 #2 · p.1 #2 · Copy Stand Lighting?

I have had good results using 2 identical softboxes at 45 degrees to the copy stand. Studio strobes with modeling lights will help with focusing. I used Speedotrons, but any brand will do. The biggest problem I have had when copying artwork was accurate color reproduction. I have used grey cards, expoDisc and x-rite passport, nothing makes it foolproof and easy. I am guessing that some pigments in artwork are just difficult and require special PS work. I think the softboxes will work well for macro work, just establish a lighting ratio that pleases you.

Apr 17, 2017 at 12:59 PM
Roland W
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p.1 #3 · p.1 #3 · Copy Stand Lighting?

For flat graphic art, it depends on if the subject is a painting that has texture, like oil or other. For textured items, it gets very tricky, and uniform balanced light at accurate angles is important for a start. As mentioned above, a pair of soft boxes is likely the best approach, and using a continuous LED might work out. Be very sure you get the best color properties for any LED, which means look for a very high CRI, ideally above 90. For flat subjects you want very even light, and usually balanced very well from side to side.

For 3D subjects, you need a lot of light in order to get good depth of field. Studio strobes with modeling lights, and mounted in good soft boxes, would be ideal. Studio strobes also have good color properties, and so they could serve all uses. But of course they are fairly expensive for just this use. If you have them or want to use them for other things too, then go that way. For 3D subjects, you may want to be able to adjust the lighting power to have one side stronger. And it may well be much easier to shoot 3D stuff on a flat surface, to get "side" views of things, so do not limit your self to your copy stand approach.

For some subjects, it is very difficult to eliminate glare off of various parts of the subject. Oil paintings with their irregular surface, and with the paint usually pretty glossy, are one of those difficult subjects. The classic approach to help with that is to polarize your light sources, and then use a polarizer on the lens. With the right adjusting of those polarizers, you can probably eliminate all glare type issues. You can use gel polarizers in front of studio strobes, as long as you do not overheat it with too many strobe shots too often, and keep the modeling lights low or only on briefly. The coolness of LED light may be the best approach if you want to use polarizing gels on the light sources, but then you have color quality issues to work with.

Apr 18, 2017 at 12:24 AM

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