Hi, John,

Thanks for the kind words about my approach. I spent a fair amount of 
time picking Sue Bigelow's brain. She is the digital conservator for the 
CIty of Vancouver (BC) Archives and attended one of my tape restoration 
seminars. We've talked to each other many times about a wide variety of 
preservation/digitization issues.

Perhaps the best advice Sue gave me was to study some of Tim Vitale's 
papers as they provide insight into the capabilities of film-lens 
combinations. My decisions were based on a compromise of the original 
film quality, the subject/technique of broad categories of originals, 
the potential use of some of the images, and the pure math behind it. At 
one point, I shot a bunch of Ektachrome 400 intermixed with a heap of 
Kodachrome 25. Obviously, those were separated out and we had different 
scanner presets for each.

http://vitaleartconservation.com/PDFgallery.htm

In particular

http://vitaleartconservation.com/PDF/estimating_historic_image_resolution_v9.pdf
http://vitaleartconservation.com/PDF/film_grain_resolution_and_perception_v24.pdf
and possibly
http://vitaleartconservation.com/PDF/digital_image_file_formats_n_storage_v20a.pdf
and there are some others

Cheers,

Richard

On 2012-09-18 2:30 PM, John Schroth wrote:
>
> One last bit of advice for people looking to get into scanning images. 
> First, come up with a plan and do a lot of testing before you actually 
> begin any scanning project. Richard's post noted a lot of details 
> about file format type, resolutions and bit depths. Obviously he took 
> careful consideration of what type of file formats and settings he was 
> using for his project. You don't want to get half way into the project 
> to find out you should have been scanning to some other option or 
> different setting.

-- 
Richard L. Hess                   email: [log in to unmask]
Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
http://www.richardhess.com/tape/contact.htm
Quality tape transfers -- even from hard-to-play tapes.