Emile de Leon
Well-known
Try a Focotar-2 enlarging lens..you may be pleasantly surprised at the quality wide open or close..stopped down..its not so good..
BEOON the Leitz Copy Stand
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John inglis
Member
What lens do people use for 6x9, still a 50mm?
This process sounds like a wonderful option for some. I am now looking for a Beoon. Thanks all!
This process sounds like a wonderful option for some. I am now looking for a Beoon. Thanks all!
Godfrey
somewhat colored
Last batch I did were 6x6 with a Micro-Nikkor 55mm ... easily capture 6x9 as well at the 1:3 setup.
G
John inglis
Member
Thanks!!! Looking forward to this process!
wintoid
Back to film
All this BEOON business has got me back to shooting film after a couple of years of digital.
My current setup is a Fuji XT1 on the BEOON, with a Schneider Componon-S 50mm lens, and the HUION LED light pad to illuminate the negs. I'm struggling a little with the exposures, and wondered if others have similar problems.
Firstly, with the enlarger lens stopped down a few stops, I'm finding that the XT1 needs a shutter speed slow enough to pick up any wobble, so I have to use a self-timer to take the actual shot.
Secondly, the histogram of the captured negative is definitely showing that I'm not using the dynamic range of the XT1. Is this because my negs are too thin? Looking at the negs, they seem reasonably dense, but I'm self-taught, and only really have my own negs for comparison.
Finally, with only Lightroom, the business of inverting the scan is a bit of a pain...
Otherwise, really great results, I have to say.
My current setup is a Fuji XT1 on the BEOON, with a Schneider Componon-S 50mm lens, and the HUION LED light pad to illuminate the negs. I'm struggling a little with the exposures, and wondered if others have similar problems.
Firstly, with the enlarger lens stopped down a few stops, I'm finding that the XT1 needs a shutter speed slow enough to pick up any wobble, so I have to use a self-timer to take the actual shot.
Secondly, the histogram of the captured negative is definitely showing that I'm not using the dynamic range of the XT1. Is this because my negs are too thin? Looking at the negs, they seem reasonably dense, but I'm self-taught, and only really have my own negs for comparison.
Finally, with only Lightroom, the business of inverting the scan is a bit of a pain...
Otherwise, really great results, I have to say.
Peter Jennings
Well-known
Congratulations! I also used the self timer at first until purchasing a wired remote shutter release. This sped up the process greatly as well as alleviating any camera shake. Do they make such a thing for the Fuji?
wintoid
Back to film
Thanks, Peter.
I think I can probably control it with an app. What about the histogram, though? Do you, or anyone else, get a nice histogram that uses most of the DR of the scanning camera?
Simon
Peter Jennings
Well-known
I don't worry about it too much as long as there is no clipping. DR varies depending on a lot of things. So far I've had no trouble capturing all the data there is on the negative.
Godfrey
somewhat colored
I agree. The only thing to really work at is capturing the entire tonal scale on the film. If you get a broad tonal scale, so much the better, but you're going to invert it and then apply contrast curve corrections anyway.
I scanned a roll of Washi 120 paper film yesterday. The BEOON proved clumsy due to the necessity of figuring out how to use a glass plate to flatten the film for capture. I came up with a nice jig using a couple of pieces of card stock to create a channel on the light box under a piece of glass for the film to pass through, with the camera on my tripod's horizontal arm setup. This has inspired me: I can do the same with the BEOON setup with a little more time and development. Then the 'scanning' operation becomes a very very fast operation indeed, set up BEOON, camera, exposure, etc, and just pull film, snap, pull film, snap, etc. 🙂
G
wintoid
Back to film
OK I'm getting good scans from 35mm now, or at least I think so. Here's an example:
St Paul's cathedral, London, England by Simon Pietroni, on Flickr
That was taken with a Fuji APS digital using the B+D rings with a 50mm enlarger lens, and I get almost the whole 35mm frame in my capture. If I want to capture a medium format 6x6 image using my Fuji, do I need a longer or shorter enlarger lens?
St Paul's cathedral, London, England by Simon Pietroni, on FlickrThat was taken with a Fuji APS digital using the B+D rings with a 50mm enlarger lens, and I get almost the whole 35mm frame in my capture. If I want to capture a medium format 6x6 image using my Fuji, do I need a longer or shorter enlarger lens?
Peter Jennings
Well-known
Looks nice and sharp. With some more experimenting, you may be able to pull some more detail out of the shadows. As for 6x6, instead of using a different lens, why not try stitching? I haven't done it myself yet, but the stitched results I've seen look great.
roscoetuff
Well-known
FWIW, I'm curious about the differences betwen a BEOON and a regular copy stand or enlarger stand. Mounting the camera with a release of some sort and an ability to view the images without climbing a ladder... suggests either use of the remote or rotating rear screen.
For my part, I tried the latter for $30 off "evil bay". Biggest issues seem to lie in fine alignment and dust. These were sufficient to suggest that the whole was worthwhile, but needed more thought than I'd given it. I bought a Plustek as an interim. Not really satisfied, but the scans are decent... just take a zillion years. So I'm still researching. The Luminous Landscapers (linked above) suggest the use of Silverfast software for the negative conversions... and I find some merit in this - if you already have it on hand. Don't know whether Vuescan has the same capability built in for addressing conversion of negatives not scanned by the software but simply "found" on the drive (as in the image files from the camera). Still much to ponder. Thanks for these posts.
For my part, I tried the latter for $30 off "evil bay". Biggest issues seem to lie in fine alignment and dust. These were sufficient to suggest that the whole was worthwhile, but needed more thought than I'd given it. I bought a Plustek as an interim. Not really satisfied, but the scans are decent... just take a zillion years. So I'm still researching. The Luminous Landscapers (linked above) suggest the use of Silverfast software for the negative conversions... and I find some merit in this - if you already have it on hand. Don't know whether Vuescan has the same capability built in for addressing conversion of negatives not scanned by the software but simply "found" on the drive (as in the image files from the camera). Still much to ponder. Thanks for these posts.
Shac
Well-known
For me the more challenging aspect of digitizing negatives with a digital camera is in processing colour negatives - having only poor to moderate success in getting the colour balance corrected.
Anyone managed to overcome this issue?
TIA
David
Anyone managed to overcome this issue?
TIA
David
Godfrey
somewhat colored
It's fun to work with film again, I agree. I always go to digital now for more 'serious' work simply because it's much more predictable and I can reshoot immediately if I made a lighting, exposure, or focusing error, but film has its unique qualities that I like. I'm currently testing the Washi 120 paper film as well as my RealitySoSubtle 6x6 pinhole camera... 🙂
Leica enabled a full-time electronic shutter option in the SL with firmware v3, with shutter speed range from 1 to 1/16000 sec. I haven't tested yet with my flat panel light box, but used with the iOS Leica SL app, this could net absolutely zero vibration. I just need to test to be sure that the light panel's illumination doesn't create banding or other effects.
For my exposures, I set up the focus and lock it, set white balance to a fixed value, and set metering pattern to CW averaging on a blank piece of developed film. I usually use f/8 or f/11 with the Elmarit-R 60mm or Micro-Nikkor 55mm. Manual exposure .... I set the capture watching the histogram. Since the SL sensor shows virtually no difference in noise level between ISO 50 and 400, I set ISO 400 to keep the shutter times up. As long as you capture a blank, processed part of the developed film just below the saturation point, you're getting as much data as can fit into the sensor dynamic range.
The best way to do the reversal in Lightroom is to first make a customized camera calibration profile for the camera you are using. Do the inversion there ... you'll get more adjustment range that way and finer control of your curves. It's best to do this with two exposures: first is a standard Tri-tone exposure chart (white, black, 18% gray), the other should be an Xrite Color Checker. This goes a long way to simplifying the reversal processing. For color negative, you can do the orange crossover mask compensation directly in the camera calibration profile and eliminate a lot of fussing around.
Negatives rarely express the full range of values across the board on the Lightroom histogram display. This is because negative density curves are designed for reversal in printing and the positive would go too contrasty due to the contrast gain of duplication. If you've obtained the maximum amount of data out of the negatives with the capture, you adjust the white point up to the limit by using the Tone Curve's point curve option in Lightroom. It gets tricky because with any settings or calibration profile that does the reversal, the normal operation of the controls is inverted too ... I look to make a good if somewhat flat positive that expresses the entire range of values and output that to a 16bit TIFF in the positive domain for finish rendering.
Fun stuff. 😀
G
Leica enabled a full-time electronic shutter option in the SL with firmware v3, with shutter speed range from 1 to 1/16000 sec. I haven't tested yet with my flat panel light box, but used with the iOS Leica SL app, this could net absolutely zero vibration. I just need to test to be sure that the light panel's illumination doesn't create banding or other effects.
For my exposures, I set up the focus and lock it, set white balance to a fixed value, and set metering pattern to CW averaging on a blank piece of developed film. I usually use f/8 or f/11 with the Elmarit-R 60mm or Micro-Nikkor 55mm. Manual exposure .... I set the capture watching the histogram. Since the SL sensor shows virtually no difference in noise level between ISO 50 and 400, I set ISO 400 to keep the shutter times up. As long as you capture a blank, processed part of the developed film just below the saturation point, you're getting as much data as can fit into the sensor dynamic range.
The best way to do the reversal in Lightroom is to first make a customized camera calibration profile for the camera you are using. Do the inversion there ... you'll get more adjustment range that way and finer control of your curves. It's best to do this with two exposures: first is a standard Tri-tone exposure chart (white, black, 18% gray), the other should be an Xrite Color Checker. This goes a long way to simplifying the reversal processing. For color negative, you can do the orange crossover mask compensation directly in the camera calibration profile and eliminate a lot of fussing around.
Negatives rarely express the full range of values across the board on the Lightroom histogram display. This is because negative density curves are designed for reversal in printing and the positive would go too contrasty due to the contrast gain of duplication. If you've obtained the maximum amount of data out of the negatives with the capture, you adjust the white point up to the limit by using the Tone Curve's point curve option in Lightroom. It gets tricky because with any settings or calibration profile that does the reversal, the normal operation of the controls is inverted too ... I look to make a good if somewhat flat positive that expresses the entire range of values and output that to a 16bit TIFF in the positive domain for finish rendering.
Fun stuff. 😀
G
Godfrey
somewhat colored
The advantage of using the BEOON is that it is a small, rigid copystand with a range suitable for film capture that's easy to store when not in use and is always going to be in perfect alignment. With a standard copystand or tripod, you need to use a bubble level to be sure that the camera is aligned properly, parallel to the film. The BEOON also has excellent micro-adjustment of the distance for precise framing and focusing; this usually requires an add-on focusing rail for tripod, enlarger, or copystand base.
G
atatexan
Atatexan
New to Beoon
New to Beoon
I just bought a BEOON to use copying slides and negatives. My camera is a Leica M8. I've read a lot of views in this thread about the lens to use doing this work. Obviously neither my 28mm nor 90mm Leica lenses will work. It seems you guys like the 50mm lens.
Because the M8 is digital, does this mean I need a roughly 40mm lens to achieve 50mm? Or do the ring help adjust? The Focotar-2 as well as Rodenstock APO mentioned as well as various Elmar-M 50mm lenses. I bought a Voigtlander 50mm F3.5 but not sure if this will actually do the job.
BEOON has not arrived but I am anxious to get a lens that does the job well. What advice do you all have, please?
New to Beoon
I just bought a BEOON to use copying slides and negatives. My camera is a Leica M8. I've read a lot of views in this thread about the lens to use doing this work. Obviously neither my 28mm nor 90mm Leica lenses will work. It seems you guys like the 50mm lens.
Because the M8 is digital, does this mean I need a roughly 40mm lens to achieve 50mm? Or do the ring help adjust? The Focotar-2 as well as Rodenstock APO mentioned as well as various Elmar-M 50mm lenses. I bought a Voigtlander 50mm F3.5 but not sure if this will actually do the job.
BEOON has not arrived but I am anxious to get a lens that does the job well. What advice do you all have, please?
atatexan
Atatexan
BEOON - Which lens?
BEOON - Which lens?
I am receiving the BEOON shortly. Have a Leica M8 with 28 and 90MM lenses. Seems I need a 50MM. Going to try to digitalize my slides and negatives. What lens do people recommend and why? Focotar-2, Rodenstock APO, Leica Elmar-M 50MM???
Thank you in advance!
BEOON - Which lens?
I am receiving the BEOON shortly. Have a Leica M8 with 28 and 90MM lenses. Seems I need a 50MM. Going to try to digitalize my slides and negatives. What lens do people recommend and why? Focotar-2, Rodenstock APO, Leica Elmar-M 50MM???
Thank you in advance!
a.noctilux
Well-known
Atatexan, BEOON + M8 , that's usable but there are better set-up.
While I use M8 + BEOON, I use some 50mm lenses or 55mm Micro-Nikkor.
BEOON was designed with 50mm lens to use it with ease: engraving as 1:1 means that it's for 24x36 field and combination of set as "A+D".
So without liveview, framing and focussing with the magnifier (without body) may be difficult whichever lens mounted.
And with the not 24x36 of M8 sensor the magnification must be more than 1:1 or use a macro lens with focussing unit to apply that magnification of about x1.3.
While I use M8 + BEOON, I use some 50mm lenses or 55mm Micro-Nikkor.
BEOON was designed with 50mm lens to use it with ease: engraving as 1:1 means that it's for 24x36 field and combination of set as "A+D".
So without liveview, framing and focussing with the magnifier (without body) may be difficult whichever lens mounted.
And with the not 24x36 of M8 sensor the magnification must be more than 1:1 or use a macro lens with focussing unit to apply that magnification of about x1.3.
atatexan
Atatexan
Thank you!
Thank you!
Not sure what you mean about a macro lens. Are you talking about 1.3X v. 1x1? I bought a Voigtlander F3.5 50mm lens just for digital copying. I can return the lens if something else works better.
Thank you!
Not sure what you mean about a macro lens. Are you talking about 1.3X v. 1x1? I bought a Voigtlander F3.5 50mm lens just for digital copying. I can return the lens if something else works better.
a.noctilux
Well-known
You may find my answer at LUF.
As side note for your signature : Elmarit-M are always f/2.8 lenses (not F1.2 ...) 😉.
As side note for your signature : Elmarit-M are always f/2.8 lenses (not F1.2 ...) 😉.
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