Jack Reznicki brings legacy files back to life with Epson Perfection V750-M Pro scanner
Like most photographers, Jack Reznicki has seen his work evolve, but lately he’s been on close terms with some of his earlier photographs. That doesn’t mean he’s reverting to what he calls his Norman Rockwell days. He’s just found a more lucrative way to breathe new life into his original body of commercial and editorial work.
“I’ve always wanted to revive my legacy files, but I couldn’t cost-effectively bring those boxes of chromes into the digital age and still get the image quality I wanted,” said Reznicki. He found the answer when he started scanning his 35mm and medium-format transparencies with the Epson Perfection V750-M Pro flatbed scanner in his own studio.
Reznicki discovered that he could achieve scans that rivaled the results of commercial lab scanners that cost tens of thousands of dollars, on a scanner priced at $799. “Am I seeing what I’m seeing?” Reznicki remembers asking himself. “Getting drum quality at that low price motivated me to keep reaching into the B-roll box, repurposing old images and printing them out myself.”
“I’m now opening up old boxes of chromes, finding wonderful images, and remembering all the fun I had taking those photographs,” said Reznicki. He has recently been turning his analog assets into digital assets by displaying some of his early images in his portfolio and using them in lectures. Reznicki is also repurposing old images. With an old photograph he took for the in-flight magazine American Way, he altered the image of a crowded Quebec City diner by sharpening his focus on a single customer. “Once I scan the images in, I can fix or enhance them, transforming certain gems in my old files,” he said. “B photos are now turning into A photos.”
A once-forgotten commercial favorite is his photograph of a man and woman on a bicycle-built-for-two. The woman is letting the man do all the pedaling as she lazily lounges on the back seat. “I’m getting the quality of the original, that indescribable touch and feel of that image that was so wonderful on film,” he said. “With the scanner, I find I can do everything in the setup. The image doesn’t fall apart on me when I zoom in.”
Reznicki also uses the scanner for his tearsheets, which he then files digitally rather than stockpiling magazines. He selects the resolution, and the lens carriage moves the correct lens in place. “It’s plug-and-play for me,” he said. “I find the scanner so easy to use, but the overriding benefit, above all else, has been getting high-quality images of my newly redeemed legacy files at such a low cost.”
Reznicki sees the V750-M Pro as a major step forward in flatbed scanning because it offers photographers and creative professionals an amazing amount of functionality for an unbelievable price. He uses the scanner’s fluid-mount accessory to reduce scratches, grain and other imperfections on black-and-white film scans. “That translates into a lot less work that I would have to do after scanning,” he said.
Another big plus for Reznicki is the highly intuitive LaserSoft Imaging SilverFast Ai 6 high-end scanning and image optimization software (included). “The software’s batch scanning allows me to put on a number of 35mm slides, correct them all, hit a button, walk away and scan each one the way I want to,” said Reznicki.
“Sending out large quantities of my legacy files to be scanned by an outside lab is just too costly,” said Reznicki. “Using a low-end scanner with less functionality might create a jpeg or other format for display, but there is no way of getting the kind of image quality that I get from the Epson scanner, especially to create large-format prints. Any photographer who has legacy transparencies and negatives, or just about any other photo-studio scanning application, would benefit from the Epson Perfection V750-M Pro.”
Jack Reznicki is currently president-elect of Professional Photographers of America. He has also served as president of the New York Chapter of the Advertising Photographers of America and board member of the New York Chapter of the American Society of Media Photographers. A graduate of the Rochester Institute of Technology, the photographer has done commercial and editorial work for Tylenol, The Wall Street Journal, Hyatt, Toys “R” Us, American Airlines, Reader’s Digest, Crest, AT&T, Playtex, and has several Time magazine covers to his credit.