Negative Xp Archive
Rita Seliba
Sure, you can keep your negatives in the envelope and throw them in a shoebox and you could probably find something if you dig through it for a while, but once again: your work matters, so treat it that way.
For storage, I use Ars-Imago ring box binders, which keep away dust and look great on my shelves. My pals at Retro Camera sell them and they fit 100 rolls of film. There are many other options that are fine too. All you really need is any three-ring binder.
Sure, you can keep your negatives in the envelope and throw them in a shoebox and you could probably find something if you dig through it for a while, but once again: your work matters, treat it as such.
Archival film storage has been a long time concern for photographers who want to ensure the permanence of their irreplaceable negatives. Print File Archival Preservers are made from high-clarity, archival quality polyethylene - NO PVC - safe for long-term storage. With a 3 mil top sheet and 1.8 mil bottom sheet, the thin backing coupled with high clarity provides excellent resolution when proofing without the need to remove the negatives from the preserver. No other manufactured preserver has this feature! Also, continuous seams eliminate the problem of negatives hanging up in the sleeve itself, making loading and unloading Print File preservers easier and faster.
2. Sample the rebate color to remove the orange cast (MF0226_rebate) and create a fill layer filled with the rebate color. Then change the fill layer blend mode to divide which yields MF0226 Neg and Rebate below. The rebate has been neutralized leaving only a negative without the cast.
Far from ideal, but I had a play with HSL, Curves, Shadow & Highlight and Lens Filter adjustments etc. I'm sure it's possible to get better results, but at least it shows that you can get rid of most of the blue cast.
Wow Paul. That's a whole lot closer to what is really in the picture than what I had! I really appreciate your effort! Would you agree with my workflow use? I figured that if I could cancel the rebate cast, I would be very close when I inverted. Obviously not; but thanks for pointing the way with the tools you used. Now I can play some more in hopes of better results.
By The Way: I did do a google search on the topic; and many people have had the bluish/cyan cast on their converted negs from CineStill chemistry. I'm not a chemist so I can only do research on a layman's level.
Thanks Nathan! It is close though. Paul also gave it a go as well. Results do show the pic a bit washed out; but the negative looks OK under the loupe on the light table by itself. I/we have so many variables going on here with scanning to inversion that I can't tell which step(s) contribute the most in the washed out result.
I must dig in pretty deep here and try different approaches so I can post some actual intellectual reasons for this. Reasons that may help everyone get better final results from their color negs. That; and if CineStill chemistry is just a bit off in temp and/or times. Oh well, I'm now retired; and have the time to play and research. Maybe I can find some answers that everyone can use.
It's been twenty odd years since I developed any colour film, but, as I remember, even small variations in temperature/time could make a big difference to the final result. Of course, in the "old days", you could just correct any colour casts when printing the photos! ?
Yeah, I too, have been away from film for a long time; but recently decided to get back in a play around with it. As you can see, it's proving to be quite a challenge! More than I expected for sure. But I love a good challenge; and I always look to a challenge as a learning opportunity.
Here is another shot. Please don't look upon focus since I didn't have a negative carrier on my light table and the film had some curl ?. Colors are still not punchy, but better as far as true. Still working on it.....
Ok, first off I'm 99% new to AD, secondly I have not used digital art software for about 10 years. So please forgive me if this is confusing. I've been having a hard time finding an answer to my query.
Id like to select a negative area in a shape to fill preferably using only vector tools.
Imagine this:
circle tool with fill and no stroke, a smaller circle inside subtracted with geometry tools.
I'm trying to select the negative space that would create for color fill.
The fill tool will only fill my "outline"
Same with insert inside selection aa well as masking.
Can anyone point me in the right direction?
Note: Log Bot's neck was made with vector brush and filled
Id like to select a negative area in a shape to fill preferably using only vector tools.
Imagine this:
circle tool with fill and no stroke, a smaller circle inside subtracted with geometry tools.
I'm trying to select the negative space that would create for color fill.
Yes, any keywords you no longer want to use as negative should be archived. Then, those terms will again be available in your automatic campaigns and you can use them in your manual campaigns as well.
Our Gaylord Archival Tan Barrier Board Glass Negative Storage System helps prevent damage to fragile glass negatives while in storage. Volara foam inserts along the bottom and sides of the box cushion negatives, while heavy-weight 19 pt.folder stock separators prevent negatives from touching and add more support. Metal edges on the box and lid add stability.
Glasseine isn't used that much anymore for longterm negative storage, although the acid-free glasseine products are often used as packing material for objects and/or interleaving sheets sometimes. The three plastics used most for film sleeving are polyester, polypropylene and polyethylene. The "safe" versions of these are all *uncoated*. This means Mylar D or melinex 516 or Dupont Archival Polyester for the polyester. Or Uncoated Polypropylene or Uncoated polyethylene. Most notebook type sleeves are either polypropylene or low-density polyethylene, and most of these types of pages can have additives like slip-agents in them as well. The HD Polychron page--which I have never used-- is made of High-Density Polyethylene which supposedly can be manufactured without slip agents in that form. It's opaque & frosted almost.
Having a sleeve that is oversize to accomodate sleeved negs serves two purposes. You can use individual, uncoated, top-loading/locking sleeves (like what they call a "fold-lock" in some catalogs) to protect the neg from any slip-agents or additives in the notebook page, and you can protect the film from scratches & mishandling by loading it in from the top and closing the sleeve around the film. The presence of slip-agents and other additives in the material can cause problems like the negs/slides/prints etc sticking to the page, even if it is a "safe" material--i.e. doesn't cause chemical damage. It's a physical type of damage sometimes called blocking.
We use these types of Mylar D and uncoated polypropylene fold-lock sleeves at the museum where I work for our longterm files, but we place them in good archival paper envelopes and file them in cabinets and bypass the notebook pages altogether. If you need help deciphering products, drop me a line, otherwise hope this helps. Opinions expressed in this message may not represent the policy of my agency. E-Mail to and from me, in connection with the transaction of public business may be disclosed to third parties.
I've never used the HD Polychron page from LI, but from the looks of it in the catalog, I don't think you can contact through it like a clear page because HDPE isn't clear to begin with. My gut feeling is that the storage environment is more important than the materials used on a basic level. You have to get that straightened out first, then choose the materials because there's no point in spending the money on high quality enclosures if the temp & rh's are going to be too high--aim for cool & dry--under 70 and 50% rh if possible, no more than 65% RH because then you run into possible mold problems which is beyond the sleeves anyways. High temps & relative humidity will cause even the best plastic sleeve to stick at a certain point.....
Adhesives in the sleeves aren't really desirable either...most archival quality sleeves use a fold-lock type closure or a heat seal etc. for the seam. The paper enclosures use safe neutral adhesives & usually the design has the seam down near a bottom or side edge. If no plastic sleeve is used in the envelope, you place the emuslion side of the negative away from the seam to avoid any potential harm. This is a pretty simple way to store negs & is good for certain types of film and conditions with higher humidity. Plastic sleeves sorta create their own environment in a way & trap contaminants & humidity--paper buffers temp & humidity changes.
Polyester comes in alot of different forms, but the one used most for longterm neg storage is the uncoated & non-frosted Mylar D or mellinex 516--now called Dupont Archival polyester I believe. You probably will still have a static problem though with Mylar D and the material can be sharp on the edges. Plus Mylar D costs about 3 times as much as polypropylene, with polyethylene as the cheapest. All the plastics have good & bad qualities in the end, so only you can really decide what to use--just stay from PVC and those types of products.
One other thing about the HDPE page is that you don't have to use individual sleeves with it, my understanding is that the material is smooth by nature & doesn't have a scratch problem really. I recall reading a criticism of it of it though about the fact that since it was opaque meant the user may be removing the negs more often to view than a clear sleeve--so this might raise the risk of damage from handling in the long run... but like I said, I have never used it, only read about it. Good luck, hope this helps, and as always--
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