I sandwich the Velvia slides between polycarbonate strips (1/16th") and slide the strips horizontally through the gate between lens and condenser. I've built a track to hold the strips parallel to the lens barrel and can show four or five 6x6 or 6x7 or 6x8 slides in sequence with no darkening of the screen.
I never looked for 6x6, but 5x7" is not very easy to get.Available off the shelf in 6x6 (nominal). No idea on the price though
At least in Europe it's pretty hard to find. And expensive too.
Oh yeah. I forgot about the dimensional stability of plastic. In my experiments, I didn't see an issue with warping (but didn't look too closely) but did have an issue with them expanding under heat. I remember having to shave the polycarbonate sheets about 1/8" in my contact printing frame when doing alternative process photography, or else the sheets would expand and get stuck in the frame, and on my homemade frame, you access the paper by removing the glass. So having to wait 15 minutes in the dark after a 3 minute exposure just to get the print out for development was no fun.I've done extensive experiments on this issue, involving a considerable variety of glass as well as plastic. Polycarbonate has a crystalline cross-bonded molecular structure which resists slow moisture intake much better than acrylic, but it is yellower. Acrylic has about about 8% better light transmission with very little hue bias; but it is molecularly like a lot of spaghetti strands thrown atop one another without any tertiary bonding, so will slowly hydrate and warp unless you've purchased a special baked-out type. But you can get acrylic slightly textured on one side if you want to try that for suppressing rings. It's sold as non-glare acrylic for picture framers. Don't confuse this with inferior styrene sheets. But the main problem with all these plastics is that they tend to warp in the direction of heat and light and might not remain truly flat in a negative carrier like real glass does. They also scratch easily. I haven't tried optically coated acrylic yet; it's far more expensive than coated glass, which itself didn't do the trick of mitigating rings for me. I'm in a foggy damp coastal climate where rings are a persistent issue. If you're just dealing with negs as small as 6X7 try to locate some old Gepe anti-Newton slide mounts. Each one will very affordably give you two sheets of thin high quality AN glass.
I also don't use any AN glass anymore for anything. I struggled with it for a while trying to make it work, but in my experience, it always takes away some of the sharpness and there are better methods out there. For scanning, I wet mount. For enlarging, I use glassless negative carriers and either LED lamps or heat absorbing glass and quick exposure times. If it's a particularly curly negative, I'll tape it down with some of that 3M low tack adhesive tape. For alternative process contact printing, I ignore the Newton rings, as they don't actually show up in the prints. I wanted AN glass to work as it would have been easier to deal with. But I never could get past the lack of sharpness it gave me. It might be alright for some people. But it just didn't work for me.
Yes. I've seen newton rings in just about any configuration imaginable. Contact printing frames, contact printing under loose sheets of glass, on scanner platens - heck, even on a glass nevative carrier...with AN glass. So YMMV and count your blessingsMaybe I've been lucky?
Why stop halfway towards a solution? Picture framers also sell slightly textured glass (at least where I live). They call it anti-glare, but of course it is nothing like vacuum coated "museum" glass; Fort me it works, at least in the position between light source and lens, in a one-glass carrier.But you can get acrylic slightly textured on one side if you want to try that for suppressing rings. It's sold as non-glare acrylic for picture framers. Don't confuse this with inferior styrene sheets. But the main problem with all these plastics is that they tend to warp in the direction of heat and light and might not remain truly flat in a negative carrier like real glass does. They also scratch easily.
Why stop halfway towards a solution? Picture framers also sell slightly textured glass (at least where I live). They call it anti-glare, but of course it is nothing like vacuum coated "museum" glass; Fort me it works, at least in the position between light source and lens, in a one-glass carrier.
You must be! You live in Dallas, which isn't that far from me (OKC) and the weather is pretty similar. In the winter, I usually don't have to worry about it too much. But in the spring, summer, and fall the humidity from the gulf is high enough to cause great pain. Then again, if you're AC does a good job of removing the moisture from the air, then that might help explain why. All I know is Newton rings were my archenemy for a few years when I first got into photography. For me, one solution didn't fix it all. But now that I've got my processes down, I don't really have to worry about them.Glass carriers are a must for me, since I do the pin registered masking thing. But I've used 2 different plain-glass carriers (stock Beseler and a Radeka setup) and never seen a Newton ring, with Acros, HP5, Delta 100, etc. - all the normal films. Maybe I've been lucky? I'm doing 16x20 and 20x24 prints, condenser enlarger.
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