A Superslide, projected in a run of 35 mm transparencies, could make a 1950s or 1960s audience gasp. Square at 40 x 40 mm, rather than 24 x 36, a good superslide showed better gradation, sharpness and vibrancy than its counterpart from a 35 mm film camera. Compared with a 6 x 6 transparency from what is now called a medium format camera using 120 film (then along with 35 mm classified as ‘miniature’) the superslide offered one great advantage: it could be shown in the same projectors as 35 mm 24 x 36 mm transparencies rather than the extremely expensive machines made for the larger film size.
|My 4 x 4 transparencies were in glass sealed mounts (left), plastic unglazed|
mounts (right) or plastic mounts with glass (see below)
The glassless mounts were easy to scan. However, a number of transparencies in them had wrinkled especially round the edges so they were no longer flat and straight walls, for example, were no longer straight.
|Plastic slide mount without glass (as received from the processor)|
showing the wrinkling
When trying to scan some equally old Minox transparencies I had damaged two by removing them from their mounts. The emulsion had stuck to the glass and remained there. Therefore, I was very reluctant to risk the superslides and scanned them in the V500 through the anti-newton rings glass. The results were good but not so good as with slides scanned without glass.
|The transparencies from the edge-bound glass mounts are now in GEPE|
glazed mounts (left). Others were returned to their 1960s F&P colour
glazed mounts (right)
Before going on to how I scanned these slides, I should say that they were either Agfacolor CT18 (not Agfachrome — Agfa did not then use chrome to denote a reversal film) or Ektachrome X.