Copy Stand Lighting

[Danner]

Looking to use my enlarger (LPL 670 XL) as a copy stand to photograph B&W prints. I have the LPL camera mount adapter for it, so that's easy. Now, I'm looking for some kind of even illumination over an 8x10 or 11x14 print, without reflections, so a clean photo of the print can be made. Hopefully sometime 'affordable'.

Thanks for any ideas you might have.

 

[foc]

Can I ask why without reflectors?
Traditionally a copy stand had 2 lights in a reflector on each side, at a 45-degree angle to the copy area/base.
With the new LED type lighting this can be now one light each side.


Since you say you are copying B&W prints then you don't need to be too accurate about colour temperature of your lights.
I would suggest two short led tubes, like a small fluorescent light tube.
If I was going that way then I would select daylight/cool white (5000K approx) so that in the future you can copy colour prints.

 

[Danner]

Thanks for your reply, I'll do some searching on those kinds of lights. I meant avoiding reflections of the copy lights off the print and into the copy camera lens.

 

[Pieter12]

Polarizing gels over the lights and a polarizing filter on the lens cuts most reflections.

 

[foc]

You shouldn't need any polarizing filters when copying. If your setup is correct then you won't get reflections.

Here is the standard setup for copying. (this setup shown is for horizontal copy, but the principle is the same for copy stand)
The black card would only be used if there was light overspill from one of the lights.
The black cloth would only be used if the subject being copied was highly reflective, like a glass framed print.

 

[Danner]

You shouldn't need any polarizing filters when copying. If your setup is correct then you won't get reflections.

Here is the standard setup for copying. (this setup shown is for horizontal copy, but the principle is the same for copy stand)
The black card would only be used if there was light overspill from one of the lights.
The black cloth would only be used if the subject being copied was highly reflective, like a glass framed print.

View attachment 266397

Good info, thank you [beerclink]

 

[foc]

You are more than welcome.

 

[Nokton48]

Norma #4 Copy Stand Finally Together by Nokton48, on Flickr

Last year I built a copy stand to leave permanently set up in my studio. The lights are Broncolor Impact 21 monolights with 3M polarizing gels. Camera is Sinar all original Norma parts which I had in storage. Sinar Norma 103mm polarizer on lens completes the outfit.

Shades 45 degree High Contrast Pol Test 1 by Nokton48, on Flickr

Maximally polarized 45 degree copy light test. This will do for my uses.

 

[voceumana]

Simple reflectors at 45 degree angles on either side of the subject is usually sufficient to eliminate any glare reflections and provide even illumination. Photofloods are inexpensive but have short lives; modern light sources (LED, etc.) are cooler and more expensive. Smith Victor makes a variety of lamps of various types and is a good place to start to look at the options.

 

[ic-racer]

Make sure to turn off the room lights...ask me how I know...

 

[DREW WILEY]

There's quite a bit to doing it right. Sometimes cross-polarized light is needed if the copy material is reflective or shiny, with polarizing sheets over the lights, and a polarizing filter on the camera lens. Getting good color is tricky without a color temp meter on hand and a set of corrective filters - either gels over the lights or CC and LB correction filters on the lens. Modern LED lighting is cooler and safer than old fashioned hot lights, but be aware that you get what you pay for. Most of the specifications on cheaper LED units is marketing BS; and two units of the same model and manufacturer might not even match, or provide even illumination without a projected pattern. I use mid-priced (about $700 for the pair) rim-style LED oval discs free of any pattern; but even these had to be individually adjusted to match, and didn't reach the upper end of their advertised color temperature (so still need some supplemental filtration).

So there are all kinds of way of doing it, with very simple old Smith Victor lights and photoflood bulbs - or even hardware store clamp-lamps - clear up to museum grade copy systems costing $75,000 or more. And while 45 degree angles are the common advice, you really need to have something adjustable per height and angle, and experiment for what works best.

You also want some black heat-resistant studio flocking fabric on hand, available from the lighting selection of most big camera stores or studio outlet, to prevent reflections form anything metallic or bright in the vicinity. And I emphasize heat-resistance if you are using traditional hot lights - they are hot and can cause fire if you're careless.

 

[Danner]

Thanks for all the great replies. I went cheap, and picked up a coupe folding-arm desk lamps from the big-box store this morning. Like the intro to PIXAR movie type lights. This evening I'll try the 45º angle set-up @foc posted, and see how they come out.

 

[Danner]

First try, with some practice, I'll get this working. This is an 8x10 glossy print.

 

[foc]

First try, with some practice, I'll get this working. This is an 8x10 glossy print.

View attachment 266536

Well done. Great start.

 

[Pieter12]

First try, with some practice, I'll get this working. This is an 8x10 glossy print.

View attachment 266536

I'm not familiar with the original, but it looks good here. A couple of tips for to check the evenness of your lighting set-up: 1. Hold a pencil vertically, tip touching the copy board surface, and look at the shadows on either side. They should be the same length and same shade. 2. If you have a large grey card, about the size of the materials you intend to copy, shoot a frame of that and make sure there are no hot spots.

 

[DREW WILEY]

To check for evenness I have a big sheet of medium light gray matboard (my own copystand has a large surface), I read it with with spotmeter from above, standing on a stepstool. But to set the camera for correct exposure, I use a high quality 18% gray card or gray disc instead, and meter that, potentially with in-camera TTL metering.

 

[Danner]

Good ideas on even lighting. I've got a 16x20 printing easel that is dull yellow, that will make a good target, and I can use my camera to spot meter around it, which I will do.

 

[bripriuk]

Some years ago I had to copy magazine covers with a 5x4 camera, and I found that the way to get the most even lighting across the baseboard was to point the lights at the opposite edge of the baseboard, rather than the centre. The lighting was measured with an incident light meter, and it did make a noticeable improvement.
Brian P