I used my OM-4T, 85mm f/2
and T32 on a tripod, positioned so that the long axis of the film was
vertical and spaced so that the frame spanned the height of the mural. We
then scrolled the mural past fixed frame marks on a wall, moving it about a
half 'frame' width per exposure. In an attempt to bias the exposure such
that the paper background came out mostly white (instead of 18 0ray), I
dialed in a +2 stop exposure offset. We went through the sequence twice,
and off I went to the local processor.
In this situation, I would have used manual exposure. Take a
highlight reading on the white paper background and use that same
exposure for every frame -- identical exposure from frame to
frame makes it much easier to merge scanned negatives without
having to adjust each one so the backgrounds match, and using a
highlight exposure on the background should keep most of the
artwork on a useful part of the curve.
If I were doing it myself I'd probably use Tech Pan for finer
detail -- that's what I usually use for copying photos and artworks.
--
Joshua Putnam | 25426 106th Ave SE #C6 | Kent, WA 98031
Home: 253/850-9514 | Fax: 253/850-9557 | Cell: 206/799-8324
http://www.phred.org/~josh/
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