Bike Tourist
Well-known
I just ordered the 50 macro. It seems to be a versatile lens. I have many thousands of old slides I could digitize with this lens plus the ES-2 copier. I haven't found much (anything) on line about this combination. Probably too new for anyone to have the experience. Does anyone have thoughts about how effective this rig would be for digitizing slides with good results?
peterm1
Veteran
I recently digitized several hundred slides using a bellows outfit with a slide copier attachment on the end of it (essentially a slide holder and a diffuser - not unlike those on the ES-2). OK it's not actually a Nikon ES-2 but it is an earlier and entirely similar concept. I found the system worked very well indeed and in particular once set up (finding focus, working the bugs out of your workflow etc) it enabled really very rapid copying of slides as once you were happy with the set up all that was necessary was to remove one slide and put the next one in, then repeat that as many times as needed, slide after slide. All settings on the camera remained the same for each shot unless I sensed that a slide was dark and needed a bit of additional exposure for example, in which case I just moved the exposure comp dial for that shot then back again afterwards. As the slide holder, lens and camera are all locked together and the resulting system was also on a tripod, exposure time was not critical in the sense that there was a risk of movement so I was able to stop down the lens to f8 or even f11 for maximum depth of field (just in case the slide / negative was not entirely flat) and shot using exposures like 1/8th of a second where necessary. Also as everything is locked together there was no need to use a cable release or anything of that sort as camera shake was not an issue in this set up.
As to lighting I just used a cheap ($20) LED battery-operated work light bought from a big box hardware store, set about 30cm behind the slide holder. I wondered if the light would be even enough but it was because the slide holder I used, like the one on the ES-2, has its own built in light diffuser. The work lamp had switchable light colors - pure white or daylight color but this is not critical as the camera white balance will handle this OK.
I have some more still to do and the only refinements I plan make for the next batch are two: First, I plan to shoot tethered this time. It is a convenience to be able to immediately view the resulting image on my PC. With some tethering systems a live-view can also be seen before the shot is taken. I am not yet sure if mine can do this but if it can I will use that feature also. The second refinement is that because I can view the resulting image in larger format and at higher resolution on the PC screen it will allow me better to assess its exposure as well as if there are any other problems. If needed I will reshoot with bracketed exposure setting on the camera engaged so I can merge the resulting shots afterwards in post. This should help deal with contrasty situations.
That's about it. If you are like me you will no doubt find that it's much more of an effort to deal with the images afterwards in post. Most analogue slides were not as sharp as we are now used to, so tweaking that required considerable effort with at least some slides (though of course it can never be fully dealt some adjustments can be made to improve apparent sharpness.) The main problem though as always when dealing with old slides is cleaning up scratches, dirt and dust on the image with a cloning stamp or similar tool. That takes time but even that, I found to be not too annoying and over all I enjoyed the process mainly because I got some results that pleased me.
BTW shoot in RAW at maximum quality. It gives you best chance to work out any problems in post. And while you are about it, also shoot at your base ISO setting to minimize any digital noise in the image. Noise is seldom much of an issue with most modern mirrorless cameras but its better to avoid the problem given you will almost certainly have to deal with some problems with sharpness anyway due to the inherent nature of analogue film and slides so the more you can do to avoid anything that will soften the image further the better off you will be.
I put up just a few of the shots on Flickr (most of which were converted to black and white in post). Examples here.
https://www.flickr.com/photos/life_in_shadows/albums/72157719320330456
As to lighting I just used a cheap ($20) LED battery-operated work light bought from a big box hardware store, set about 30cm behind the slide holder. I wondered if the light would be even enough but it was because the slide holder I used, like the one on the ES-2, has its own built in light diffuser. The work lamp had switchable light colors - pure white or daylight color but this is not critical as the camera white balance will handle this OK.
I have some more still to do and the only refinements I plan make for the next batch are two: First, I plan to shoot tethered this time. It is a convenience to be able to immediately view the resulting image on my PC. With some tethering systems a live-view can also be seen before the shot is taken. I am not yet sure if mine can do this but if it can I will use that feature also. The second refinement is that because I can view the resulting image in larger format and at higher resolution on the PC screen it will allow me better to assess its exposure as well as if there are any other problems. If needed I will reshoot with bracketed exposure setting on the camera engaged so I can merge the resulting shots afterwards in post. This should help deal with contrasty situations.
That's about it. If you are like me you will no doubt find that it's much more of an effort to deal with the images afterwards in post. Most analogue slides were not as sharp as we are now used to, so tweaking that required considerable effort with at least some slides (though of course it can never be fully dealt some adjustments can be made to improve apparent sharpness.) The main problem though as always when dealing with old slides is cleaning up scratches, dirt and dust on the image with a cloning stamp or similar tool. That takes time but even that, I found to be not too annoying and over all I enjoyed the process mainly because I got some results that pleased me.
BTW shoot in RAW at maximum quality. It gives you best chance to work out any problems in post. And while you are about it, also shoot at your base ISO setting to minimize any digital noise in the image. Noise is seldom much of an issue with most modern mirrorless cameras but its better to avoid the problem given you will almost certainly have to deal with some problems with sharpness anyway due to the inherent nature of analogue film and slides so the more you can do to avoid anything that will soften the image further the better off you will be.
I put up just a few of the shots on Flickr (most of which were converted to black and white in post). Examples here.
https://www.flickr.com/photos/life_in_shadows/albums/72157719320330456
kangaroo2012
Established
I have the ES 1 and a 60 mm Micro Nikkor auto focus is easy. The camera is supported on a stand.
I use a light box, home made from a styrene fruit box, with a hole in the top the size of a slide mount and a hole in the side where I place my Nikon Electronic flash. I also have a small LED light in the box for framing and focusing. The Nikon cable triggers the flash and it is as quick as you can change the slides.
I shoot RAW so I can correct exposure later in Lightroom.
Good luck
Philip
I use a light box, home made from a styrene fruit box, with a hole in the top the size of a slide mount and a hole in the side where I place my Nikon Electronic flash. I also have a small LED light in the box for framing and focusing. The Nikon cable triggers the flash and it is as quick as you can change the slides.
I shoot RAW so I can correct exposure later in Lightroom.
Good luck
Philip
peterm1
Veteran
I just noticed one thing. The video below says you have to use a 60mm macro (40mm if a DX camera is used) as no other lens focuses closely enough for the ES-2 to work with them. I am not sufficiently familiar with this specific system to know if it is correct but your post says you have ordered a 50mm f2.8 lens. Are you sure this is the correct lens that will work with this set up? (Just trying to be helpful).
https://www.youtube.com/watch?v=NbAvdpXoFec
https://www.youtube.com/watch?v=NbAvdpXoFec
keytarjunkie
no longer addicted
I just noticed one thing. The video below says you have to use a 60mm macro (40mm if a DX camera is used) as no other lens focuses closely enough for the ES-2 to work with them. I am not sufficiently familiar with this specific system to know if it is correct but your post says you have ordered a 50mm f2.8 lens. Are you sure this is the correct lens that will work with this set up? (Just trying to be helpful).
https://www.youtube.com/watch?v=NbAvdpXoFec
Yes, Nikon says you can use the ES-2 with the new 50/2.8 macro.
ellisson
Well-known
I'm considering the ES-2 for a system to digitize slides and my film negatives. I'm considering one of the Nikon DSLRs, both for shooting and scanning with the ES-2. The D850 boasts an in-camera program to convert the images from negatives to positives, but the output is in jpeg files, not RAW. I'm thinking that the in-camera processing is not so essential because it can be done in Lightroom, Photoshop and other programs with resulting RAW file for further tweaking.
Does anyone have experience with the D850 camera and film scanning? The resolution with this camera and other 40+ megapixel sensor cameras may be a plus, but I suspect not so advantageous if the resulting scanned files will only be printed to at most 12x16.
Does anyone have experience with the D850 camera and film scanning? The resolution with this camera and other 40+ megapixel sensor cameras may be a plus, but I suspect not so advantageous if the resulting scanned files will only be printed to at most 12x16.
ellisson
Well-known
BTW, there is a large RFF thread on camera scanning initiated by Huss that gos deep into film and slide scanning with a large variety of user experience and set-ups including some using the ES-2 holder.
Bike Tourist
Well-known
Thank you all for your insightful comments.
madNbad
Well-known
I'm considering the ES-2 for a system to digitize slides and my film negatives. I'm considering one of the Nikon DSLRs, both for shooting and scanning with the ES-2. The D850 boasts an in-camera program to convert the images from negatives to positives, but the output is in jpeg files, not RAW. I'm thinking that the in-camera processing is not so essential because it can be done in Lightroom, Photoshop and other programs with resulting RAW file for further tweaking.
Does anyone have experience with the D850 camera and film scanning? The resolution with this camera and other 40+ megapixel sensor cameras may be a plus, but I suspect not so advantageous if the resulting scanned files will only be printed to at most 12x16.
The ES-2 was released along with the D850 and was intended to be an easy way for 850 users to take advantage of the built in scanning software. With its backlit sensor, a 60 af macro and the ES-2 the 850 was promoted as ready to go for film scanning.
Ronald M
Veteran
My 60 works well. 50 may be a problem.
keytarjunkie
no longer addicted
I'm considering the ES-2 for a system to digitize slides and my film negatives. I'm considering one of the Nikon DSLRs, both for shooting and scanning with the ES-2. The D850 boasts an in-camera program to convert the images from negatives to positives, but the output is in jpeg files, not RAW. I'm thinking that the in-camera processing is not so essential because it can be done in Lightroom, Photoshop and other programs with resulting RAW file for further tweaking.
Does anyone have experience with the D850 camera and film scanning? The resolution with this camera and other 40+ megapixel sensor cameras may be a plus, but I suspect not so advantageous if the resulting scanned files will only be printed to at most 12x16.
There is a lot of discussion about this subject here on RFF (aforementioned camera scanning thread by Huss) and elsewhere. First of all, I suggest using Negative Lab Pro, a $100 Lightroom plugin that automatically converts raw scans into color positives. They also have a forum with tons of helpful technical discussion.
I use a 42MP camera to scan my negatives. It is really nice to have the higher resolution for scanning medium format film. When it comes to 35mm, 24MP is enough pixels to get a great scan. 42MP is a hair better to my eye, but maybe not worth the extra storage space because there is virtually no increase in image detail (at least with the films I use).
oldwino
Well-known
I used to use my Nikon Z6 with the 60mm macro and the ES-2. Works great. Especially for black & white. I also bought a film holder from ebay that works with the 60mm and takes 120 film.
I've since sold my Z6, but I still have my 60 macro and the ES-2. I am waiting on an adaptor so I can use the lens on my Panny S5.
I've since sold my Z6, but I still have my 60 macro and the ES-2. I am waiting on an adaptor so I can use the lens on my Panny S5.
Godfrey
somewhat colored
I just ordered the 50 macro. It seems to be a versatile lens. I have many thousands of old slides I could digitize with this lens plus the ES-2 copier. I haven't found much (anything) on line about this combination. Probably too new for anyone to have the experience. Does anyone have thoughts about how effective this rig would be for digitizing slides with good results?
I've been using an ancient Nikkor 55mm f/3.5 with M-tube and the ES-1 for this purpose for years, even back into the film era. It works very well ... although scanning "thousands" of slides that way will be a lot of work no matter what.
The biggest issues in doing that kind of job is a good fixture to hold the camera and imaging system, and using a good illuminator. A flat panel, LED light box is a godsend ...
Not hard, and with a digital capture system you can just make exposures until you get a tweaky slide right. RAW capture give you a lot more flexibility in editing, as always.
G
bluesun267
Well-known
I use an old "mini-enlarger" with the light source removed and the EOS-M in its place. The Schneider 80mm f4 enlarger lens is not physically mounted to the camera, but instead under the bellows where it would normally go when using the enlarger as an enlarger. This allows both bellows focusing and overall up/down movements via the rail. I use my Macbook on a blank white page at full brightness for the light source (I found this was the most even light source). The film carrier is from a Beseler enlarger, elevated about 30mm above the light source but no closer otherwise you will 'see' the Macbook pixels in the image. Of course it depends on what f-stop your lens is set at. I tend to stick with f8 as the best compromise between sharpness and shallow enough depth of field. This setup covers everything from 35mm to 6X6 no problem. It's all very non-permanent but I've gotten to where I can set up and scan a roll of 36 (including reversing the image in Preview) within about 20-25 minutes. I'd like to build something a little more rigid in terms of where the negative carrier rests but so far the results have been more than adequate for internet uploading (vastly superior to the Epson flatbed scanner I was using previously).
One thing I've noticed with slides (but not negatives) is I'm having a rough time properly capturing the extreme dynamic range in certain slides, notably those with abrupt transitions between bright/ dark areas, I get a little bit of 'glow' or bleed-over that isn't there in the original. I think I need to experiment further with my light source and also shooting in raw instead of jpeg
One thing I've noticed with slides (but not negatives) is I'm having a rough time properly capturing the extreme dynamic range in certain slides, notably those with abrupt transitions between bright/ dark areas, I get a little bit of 'glow' or bleed-over that isn't there in the original. I think I need to experiment further with my light source and also shooting in raw instead of jpeg
Godfrey
somewhat colored
There is a lot of discussion about this subject here on RFF (aforementioned camera scanning thread by Huss) and elsewhere. First of all, I suggest using Negative Lab Pro, a $100 Lightroom plugin that automatically converts raw scans into color positives. They also have a forum with tons of helpful technical discussion.
I use a 42MP camera to scan my negatives. It is really nice to have the higher resolution for scanning medium format film. When it comes to 35mm, 24MP is enough pixels to get a great scan. 42MP is a hair better to my eye, but maybe not worth the extra storage space because there is virtually no increase in image detail (at least with the films I use).
If you're scanning slides, you don't have to deal with the negative->positive conversion. You can do as well with any good image processing app.
I do my negative conversions myself, in LR, using custom made camera profiles that invert the image to my requirements. Cost me nothing to develop other than a lazy afternoon playing with the adjustments...
I do my digital capture of negs,transparencies, and instant film prints with either a Leica CL (24Mpixel) or the Hasselblad 907x (50Mpixel). The advantage of the latter is that its capture dynamic range is one of the best I've ever seen, so super contrasty originals become easy to capture. The advantage of the CL is that it's APS-C format means less magnification needed, so less propensity to have images degraded by vibration and focus error.
I also use a flatbed scanner to capture the instant film prints sometimes, and a Nikon LS-50 film scanner to handle 35mm. Each scanning workflow has its strengths and weaknesses, and produces slightly different results. With enough options, you can tune the system to get exactly what you're after ... There is no "one perfect scanning system."
G
Dogman
Veteran
The new 50/2.8 is a Z-mount lens. The 60mm micro is FX F-mount and the 40mm is DX F-mount. Things used to be a lot simpler when there was only one Nikon lens mount for one format.
I use the ES-2, 60/2.8 on a D810 and get good results copying B&W negatives and color slides. Nothing fancy in my set up. I take the whole shebang outside on an overcast day and point the lens to the sky. Auto WB, Auto ISO and aperture priority at ƒ/4 or ƒ/5.6. Final adjustment in Lightroom. Simple, quick.
I use the ES-2, 60/2.8 on a D810 and get good results copying B&W negatives and color slides. Nothing fancy in my set up. I take the whole shebang outside on an overcast day and point the lens to the sky. Auto WB, Auto ISO and aperture priority at ƒ/4 or ƒ/5.6. Final adjustment in Lightroom. Simple, quick.
Bike Tourist
Well-known
I just noticed one thing. The video below says you have to use a 60mm macro (40mm if a DX camera is used) as no other lens focuses closely enough for the ES-2 to work with them. I am not sufficiently familiar with this specific system to know if it is correct but your post says you have ordered a 50mm f2.8 lens. Are you sure this is the correct lens that will work with this set up? (Just trying to be helpful).
https://www.youtube.com/watch?v=NbAvdpXoFec
Thanks, Peter, but the 50mm macro Z lens didn't exist at the time of these old videos.
pixelated
Established
Does anyone use this method with a 105 macro?
I'm thinking of the 105 because it provides a bit more working area for other kinds of macro work.
Also, are the Z mount macros substantially sharper than the F mount equivalents?
I'm thinking of the 105 because it provides a bit more working area for other kinds of macro work.
Also, are the Z mount macros substantially sharper than the F mount equivalents?
Godfrey
somewhat colored
Does anyone use this method with a 105 macro?
I'm thinking of the 105 because it provides a bit more working area for other kinds of macro work.
...
No experience with Z mount lenses so can't answer anything about them.
The ES-1/ES-2 are probably not compatible with the 105mm lens because of the subject distance needed for 1:2 to 1:1 focusing. You probably need an extender tube (that has male/female filter threads) to move the slide stage further away. I ran into this problem with some other combination a while back and found that such things are made, but often are a little difficult to find.
G
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