Daniel D. Teoli Jr.

Look at these party dresses... and bodices Wild hairstyles! All from 1900. FIT in NYC has some of my fashion films and material in their Special Collections. Hair stylists also like my Archive. I have lots of crazy vintage hair in it for inspiration on historical work.

Who has the most impressive collection you ran across Robert?

Listen up...and I'm only going to tell you this once. You need example / comparison photos on this type of thread. OK, maybe I've said it twice or ten times. Whatever...you need GD example photos! Selection from: Dye Transfer Printing from the 1950's by Daniel D. Teoli Jr. 10 years ago, I was working on a project called the Encyclopedia of Photographic and Fine Art Ink Jet Printing Media. It turned out to be a massive project encompassing 12 volumes. (The reason I didn't spell ink jet as inkjet was my word processor was so old it didn't have inkjet in the dictionary and kept rejecting it!) In volume 12 I did a comparison of inkjet printing versus an Eastman Kodal dye transfer print. For the tests I took 2 dye transfer prints, I scanned them on an Epson flatbed scanner and made 2nd gen inkjet prints from the scanned images to compare to the original prints. This tested 2 things. It compared how well a scan can reproduce an original as well as the color gamut or range of a pigment inkjet print compared to a dye transfer print. The notes to these tests are long gone, but I remember using invisible HDR to increase the range of the 2nd gen print. I believe I used 0, +.5, -.5 for them. But that is not important. The question at hand was whether a pigment inkjet printer could reasonably reproduce the color gamut of a dye transfer print. While that question may not be answered 100%, my tests show that scanning can recover 85% - 90% of an original and pigment inkjet printing can reasonably reproduce the color gamut of a dye transfer print. The photo on the top is the original dye transfer print, the print on the bottom is the 2nd gen print made from a scan of the dye transfer print. The photo on the right is the original dye transfer print, the print on the left is the 2nd gen print made from a scan of the dye transfer print. Selections from: Encyclopedia of Photographic and Fine Art Ink Jet Printing Media by Daniel D. Teoli Jr.

Ladies Home Journal c. 1900 Daniel D. Teoli Jr. Advertising Archive Back in the day you could buy guns mail order with no questions asked. Even in the 60's I could buy a rifle at 13 and just lie on the mail order form that I was 18. The rifle that supposedly shot JFK cost $13 at a war surplus store on Pico BLVD in West L.A.

Meet Nicholas Coyle | Film scanning technician, filmmaker, and preservationist – SHOUTOUT COLORADO Internet photos - Fair Use Beautiful scan studio! But he should probably move up from the Bolex though. What do you film devotees think? Can the old Bolex still compete?

Over at r/DataHoarder they had a discussion about what will happen to their data hoards after they kick off. It is mainly kids at Reddit and most of the replies said they want it to die with them, along with the dead man switches and crap they use to destroy their archive when they kick off. They sound like a bunch of perverts trying to hide their porn stash! If you like your work to live on, shoot some time capsule material. It is routinely the highest price realized 16mm auctions on eBay for home movies. Here is a recent example. You can also work it into your films if you are not a historian. I bid on it but was nowhere in the ballpark. Some GD stock footage company with a Lasergraphics bought it or maybe a museum in NYC or maybe even a rich film nut. I would have loved to get some footage of gasholders. They were all around L.A., NYC and the entire USA. I collect gasholders in my Archive.

No, sorry, too confusing for me. I would need practical application applied to the words aka I need actual comparison tests illustrating all this. On another topic, with all the crazy filters and colored lights you use...how does fading affect them? Do they have to be replaced regularly? Do you have tests to show when they need replacing or just do it by schedule? BTW...I looked at Rober's Vimeo channel...he's got some weird stuff. One suggestion Robert - separate your personal material from your biz. Don't confuse the 2. It is more professional that way.

That's nice. Engine turning and all! You don't usually see such finishing nowadays. I will buy one as soon as the lotto hits! Are you happy with it Robert? Although I think someone mentioned it is complex to run, so it may not be up my alley.

You had better hope the companies still makes these crazy light sources when they need replacing.

Have they done any tests with RGB light for scanners versus white light scanners?

Well, this isn't BH, this is the cine' forum where few members contribute photos. So, you must be grateful for any photo sent in. If and when I get a 4K+ scanner I will send you in gobs of photos and scans. I got close to 3,000 films and I like love visuals. Pretty interesting about the filters. Can you bring back faded red film as good as the Lasergraphics color correction Robert by filter adjusting? You should start a blog on such things Robert showing various color corrections and showcasing your various scanner's abilities. Start with these Robert and illustrate them...don't you have lacky interns to do such things Robert? You are an unusual character Robert, in that you talk about your willingness to experiment for clients. Maybe that is standard for the cine' industry, but it is not in other areas where people won't cater at all to change and tests. Illustrating your tests should be right up your alley Robert. CINELAB FILM SCHOOL AND FAQ: What’s the difference between a one-light workprint and a timed workprint? When you get a One-Light Print, we determine the best average exposure at which to print the entire roll. For a timed print each scene is checked for density and is color corrected. What is a PUSH or PULL process? Push processing compensates for underexposed film by overdeveloping it. Pull processing compensates for overexposed film by underdeveloping it. How many stops can film be pushed/pulled? Two stops is the maximum this lab will push or pull film. We can only push or pull BW Reversal one stop. What is the difference between best-light and scene-to-scene color corrected ? A best-light telecine transfer is when the colorist in the transfer suite looks through the whole film and sets the times it to the best overall look. Scene to scene color correction is when the colorist times each individual cut for optimum color and sharpness. Can I shoot old film and what might the results be? In general dated film has lower contrast and increased grain - this is called base fog. You should always shoot a test roll to determine the state of the stock before you begin shooting your film. We advise that you do not use dated film if the footage is critical. Older forms of ektachrome or kodachrome may require an antiquated developing process and you should call the lab to ask if it is possible for us to work with it. If not we may be able to recommend a lab who can. Can film shot without an 85 filter or exposed in fluorescent light be corrected in the printing? Yes, the film is color corrected in the printing process. The lab needs to know of this condition ahead of time to be able to correct it. What is the B&W reversal process? Black and white reversal film is processed as a positive for projection. This is achieved by the exposed silver halides being developed up to a negative in the first developer tank. Then bleach attacks these exposed silvers as black silver, washes them away and leaves the unexposed silver halides alone. The emulsion is then neutralized in a salt bath before it inters the light. At this time it gets re-exposed and the leftover silver halides get subjected to another developer which turns all the silver remaining to black silver. Then the film enters the fixer tank to stabilize and clean the clears. It is now a positive and ready to project. In what order are the color layers on film? For color negative the color layers going from the base to the surface are cyan, then magenta, then yellow. For print film the color layers from the base to the surface are red, then blue, then green. How to Identify a Scratch if you are shooting Negative: 1) A white colored scratch is a scratch in the base. 2) A colored scratch is a scratch in the emulsion 3) A steady scratch going from the left to the right is caused by the camera 4) A wobbly scratch is caused by the lprocessor or the film magazine. How to Identify a Scratch If You Are Shooting Reversal: 1) A white scratch indicates the emulsion has been scratched off 2) a black scratch indicates a scratch in the base. What is Gamma? Gamma is the slope of a plotted graph of gray scale from minimum density to maximum density. Higher gamma values result in more contrast in the film. What is Sensitometry? Sensitometry exposes a stock through a gray scale to determine gamma and proper color balance, a sensiometric control strip is run before each day’s processing to assure quality.. What is a densitometer? The densitometer is a device which measures the density of grey in a color (red, green, blue). What is Orange Base? This is the color of the Color Negative base carrier. It is engineered by Kodak to control color layers for optimal printing. What is Rem-Jet Backing? This is the black layer on the base side of the color negative before processing. It’s purpose is for static control and anti-halation (light back scatter), and transport protection. Rem-Jet is removed from the base as the first step in ECN-2 processing. What is Cross Processing? This is when your Ektachrome color reversal film is developed as a negative using the ECN II process. After developing, the image comes out as a negative rather than a positive. The developed film must then be printed or transferred to video. With cross processed ektachrome, a very different image appears. The red/green/blue gamma lines will show some crossover causing different color relationships from shadows to highlights. Black and White Reversal can be cross processed as negative too, but the look of the film is not altereed other than the fact that it comes out as a negative instead of a positive. What is an answer print? An answer print is the first printed version of the film that has been color corrected and the sound synched. What is a release print? A release print is the final version after all necessary adjustments have been made. Should I push/pull the film OR process normal and time the print? In general, film should be pushed or pulled and then printed normal. If the film is underexposed definitely push. If the film is underexposed more than 2 stops you should re-shoot. If film is overexposed one stop, process normal and time the print. If film is overexposed more than 2 stops pull the processing and time the print. What is wet-gated or liquid gate? A process to print the film that helps to minimize and hide scratches on the base of the film. What is a Keycode? Film manufacturers embed numbers on the edge of the film. These unique to the film numbers are not visible until the film is processed. When the film is processed, the numbers are then visible and used to identify and count frames.

Wow, you must have one of the biggest scanner collections around Robert!

I had read some pricing from a scanner company where they were using a Lasergraphics 5K scanner. If they turned down the res they charged less. Why? A photog shooting a job does not use a 50mp camera and quote a price, then turn his camera's res down to 10 mp and charge less for the same job. Why don't scanning companies use the full res their scanner provides and just charge one price? Is there a good reason for this? Or is the reason $$?

Makes sense and well penned answer Mark. I know good editing makes or breaks a film. And just because a filmmaker can run a camera or edit does not make them good at it. There are so many components that makes or breaks a film...sound, story, casting, acting, editing and cine' work to name a few. Maybe this thread should have been entitled...What drives the editor to go into editing? I thought about this after cutting up DVD on the Coronation of Queen Eliziabeth II. Very stressful trying to do a modicum of justice to that project. I came away from that project thinking editing can be stressful work. And it was all digital...film editing would be even more stressful. I guess I'm used to / spoiled by archival editing, which is usually very minimal.

I guess the filmmaker is the person that gets top billing.

Sure, I guess you could say it. I was just wondering if editors like editing better than filmmaking or they do editing because they can't do as well money wise with filmmaking. Personally I fine editing kinda tedious and somewhat stressful. Maybe someone else doesn't find it tedious. Maybe they find filmmaking stressful and editing relaxing.

The Retroscan Universal Mark 1 spits out AVI, jpeg and tiffs for scans. It does not do DPX or Prores. It has an Quicktime MOV option, but I don't have QuickTime, so never tried it. It also has some other oddball still options that I never use. As far as adjusting speed? You set the fps rate when you export the scan. If it looks bad I increase or decresse the speed in post. But I guess as a scanning company, you gotta get the speed half ass right with your raw scan and very right if it is sound. The reason I don't usually fool with the export fps is; it takes a long time to export a film in my slow computer. So it makes fps experimentation time prohibitive with most scans unless they are very short films.

That is some interesting history!

Mark, I tried your website: www.londonsteenbeck.eu5.org For some reason it won't show up. Facebook had banned me twice, so can't do it.

Thanks Mark! Didn't know that. It is interesting to know. I never did any studio work with view cameras. I would have to lug it around in the field. Just too time consuming to use and heavy for me. Plus, dangerous. Going in the alleys in L.A. under the dark cloth and all. 'The Fashion Statement' Los Angeles 1972 Photo: D.D.Teoli Jr. - Toyo View 4x5 with 65mm Super Angulon (Or was it a 75mm??) I always loved wide angles! He used to work in fashion in NYC before becoming homeless. Said he had made his pants from old drape material. I bought a pop-up hood for the 4x5 to get around the dark cloth, but not any good...too glary. Internet Photo: Fair Use You should go over to the Large Format Forum if you are not already on it Mark. Besides cine' work, you'd fit in well there. I gave up on large format photography back in the 70's. I sold it all off and bought a beat-up Hasselblad SWC from a student at Art Center that was quitting school. I eventually got an old Pentax 6x7. Medium format fit me much better than a view camera. We had to buy all out gear from the L.A. Recycler or stalking bulletin boards at the art school. They didn't have Sammy's Camera back then. Pan Pacific Camera on La Brea and Melrose was the big dog. It was run by Libby, an old, fat Jewish gal. I think her son took it over and it eventually went bust. But if you were on a budget you tried to avoid the camera shops and deal second hand direct to save money. Premixed Nacco D-76 or Microdol-X was maybe $2 a gallon...those were the days! 'Crazy' Los Angeles 1975 Photo: D.D.Teoli Jr. - Hasselblad SWC Now, I still work with lots of large format film and glass plates in the Archive. But the Large Format Forum had banned me numerous times, so can't do anything there. Well, I still read it once in a while to keep up a little. Man, I'd be sunk if I was still into large format and had to buy 8 x 10 sheet film! It is $14 to $26 a shot! Mark, put up some of your photos in the Off Topic session. Photos are no good unless they are seen...same with films. Or add a photo at the end of your posts. I learned that from Les Krims. He would send out photos at the end of his emails.

Probably similar to Universal Mark-1. Ask the maker. The light pin does not seem to do good with warped film, at least with the Universal Mark -1. But I don't have much experience with it. Maybe someone that has lots of experience with the Light Pin can chime in. I think these Retroscan machines are great for the budget film scanning business trying to scan people's films on the cheap for them.

You know what, now that you mention it, I think I heard something about those flashguns and Star Wars, but had forgot about it. I recently scanned some silent films and 17fps was right. I guess it just depends, no telling. Do you think some silent films were shot at sound speed of 24fps? Getting back to the press photog. He is blocking his lens with the slide. I wonder what that is about?

NSFW Casting Couch 1924 Condition Sample D. D. Teoli Jr. A. C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Condition sample scan of 16mm 1924 film The Casting Couch aka The Casting Director. A best light scan was made of a film section to show you the condition that some films come into the Daniel D. Teoli Jr. Small Gauge Film Archive. In this example, the title and some footage were missing, the film was ripped in a few spots, dirt, emulsion loss and sections were spliced in reverse. Due to exposure problems from making many generations of dupe prints, many of these films will need timed scans to extract as much highlight and shadow detail as possible. <><><><> Japanese Hand-Tinted Collotype from the late Meiji Period DDTJRAC

Retroscan Registration Example Scan 1939 NY World's Fair D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive I was wrong about Retroscan's ability to scan clear edge film - at least somewhat wrong. The Retroscan does do better with black edge film, but it can still do a doable job scanning clear edge films. You just have to fine tune the settings and have decent film stock. What contributed to my misjudging the clear edge scanning abilities is; much of my film Archive has sprocket damage and is warped. And this is what was messing up the scans with the Retroscan, as it registers from the sprockets. I also have an 8mm overscan at the Internet Archive you can look at for an example for clear edge registration with the Retroscan. I don't want to put the link here due to content. If interested, search for: El Perro Masajista The 16mm sample scan is not necessary indicative of the sharpness you get with the Retroscan. I used a different lens that I was testing for the overscan sample and not the standard Ricoh lens that comes with the scanner. <><><><> Amsterdam 2014 Selection from 180: The circular fisheye at large! artists’ book by Daniel D. Teoli Jr.

I've cut back on film acquisitions drastically. I have enough films in the Archive that I can't scan as it is. But, I was interested in seeing how a previous royal coronation looked, so I picked up a 16mm 400-footer of the CORONATION OF KING GEORGE VI. May 12th, 1937, for $11. I could have bought the same title for $8, but it was missing the title and end cards. Film acquisitions are generally not an issue...the cost of digitization is the issue.