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John B Corns mentioned ..."By using polarizing filters over the lens AND
the lights you really remove the reflections.""
This is the way I was taught many years ago. We did a lot of copy work at
the photo studio where I was an apprentice. It carried over to my
railroad interests. I had begun collecting trains on postage stamps
("ferroequinology"?) and wanted to make slides and prints of the stamps.
Setup was a copy stand with two 500-watt blue bulbs, polarizing sheets
over the lights, and a polarizer on the lens. Camera was a Minolta XK
Motor; lens was a 100mm macro.
The 100mm macro gives you more working room between the camera and your
subject than a 50mm. With a 50mm, the camera and lens can sometimes put a
shadow on the subject when you move in very close. This might not be the
case for those of you copying prints, but with a small postage stamp you
have to get in close.
A motorized camera (with cable release) is helpful because you can make
multiple exposures without touching the camera. At macro settings, even
the slightest movement will change your framing of the subject. The
Minolta XK could be fitted with a waist-level finder which was great for
focusing on copy work. Exposure is determined by meter or plain old
experience. It is always wise to take extra shots with + or - exposure.
I see that the polarizing screens for lights are quite expensive these
days. When I bought mine at the famous (and long gone) NY camera store
Spiratone, in the early 1970's, they were only a few dollars each for a
six-inch square.
Sometimes when I present my "trains on stamps" slides at a railroad
meeting, there are a few morons who hiss and complain and actually leave
the room because my slides aren't "real trains". However, it is quite
rewarding when many people in the audience, including stamp collectors,
come over and tell me how much they enjoyed seeing the railroad stamps
enlarged on the big screen.
Bernie Ente, Maspeth NY <[EMAIL PROTECTED]>
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