Holy Crap, Wet Scanning!

Look I'm sorry but if you come in here and say, these are "terrible" or "awful", I'm going to be defensive.

OTOH, if you come in and say,"Great film flatness and color, but I notice that there is still some banding present..." I'm going to have a different answer for you. Now lets imagine that Huss brought some basic tact with him...

Yes, there was some banding. Also loss of contrast at the edges because I'm still perfecting my mounting technique, but I'm getting better with every scan.

Now, onto the banding. Here is a fix that works quite well: http://filmadvance.com/2011/10/how-to-eliminate-banding-from-your-scans/ Banding happens with every kind of scanner, it just does. Some more often than others. I admit that maybe it happens more with the PF120, but there are fixes and the results are frankly worth it for the price. A Coolscan 9000 still has banding occasionally and the cost now is outrageous. When it's at it best the PF120 Pro is 95% of a CS9k. That's amazing.

However, I believe in the product I bought. I actually opened her up tonight, theoretically voiding my warranty, and noticed that there was indeed a hair from my dog on the slot where the scanner lens sits! I used a rocket blower and gave it a good run through. I'm making a scan now and oddly, my scanner actually sounds quieter than usual post-cleaning.

As for Ko.Fe, yes, there is certainly some glow-y-ness to my images. This is typical of my Rollei, and I like it for that reason. The old Planar is a little low contrast and tends to glow a bit wide-open. I find this quite charming. It's much sharper from 4.0 and down. The expired chrome didn't help, you really lose contrast and sensitivity fast.

Now, here are some images to show the benefits of a real scanner.

Provia 100F by Mark Sperry, on Flickr

Kodak E100G by Mark Sperry, on Flickr

Screen Shot 2017-05-08 at 1.21.43 AM by Mark Sperry, on Flickr
100% crop from the corner.

Now this is what Portra 400 is supposed to look like. Not only is this P400, but it's pushed 1 stop. This is also a wet scan. Wet scanning HUGELY reduces the noise from negative scanning.

Kodak Portra 400 +1 by Mark Sperry, on Flickr

Screen Shot 2017-05-08 at 1.24.55 AM by Mark Sperry, on Flickr
100% crop.

These are 50mp scans. They would print to 23x23. I'm actually glad Huss drove me nuts with his rude post, because it prompted me to clean my scanner lens. That stuff does matter and now my scans are even better. I will say that I still get banding with very dense film, but I'll use the method outline above to deal with that. Copy work with a DSLR is an attractive route to go, but it has a fatal flaw, and I still believe that even my "cheap" 120 deskop scanner is ultimately the way to go.
 
I think I actually kind of failed with my 100% crops. I just screen captured my images at 100% in fullscreen LR, and uploaded the PNGs. These are not really representative of the detail present. Let me try again.
 
^^^^

Notice how fine-grained the P400 is, though a little softer in detail than the E100G chrome film. The current Vision 3 based color negative film is extremely good, and well suited to large prints. That slight glow comes from my Rollei lens, which I love. Imagine it as a 23x23, how far away you'd stand from it to view the print. From these crops I think it's easy to imagine how well they would stand up to enlargement. I look forward to getting better at wet scanning and getting many more years out of the PF120 Pro. Especially now that I know how to clean the interior!
 
People never say they're getting better scans scanning C41 with their dslr. I'd be curious to know if it ever happens. Imo, I don't think this lens wide open, whatever it is, is the best thing to use to show scanner resolution.
 
People never say they're getting better scans scanning C41 with their dslr. I'd be curious to know if it ever happens. Imo, I don't think this lens wide open, whatever it is, is the best thing to use to show scanner resolution.

Well the prints would be 23x23, so just shy of 2 feet by 2 feet. So, with that in mind you'd be standing back a bit to evaluate the image on the wall. With that in mind, this 1950s design holds up quite well I think. It's even sharper without the web compression. I'm not saying it's the sharpest lens you can get, but there are many reasons why people enjoy Rolleiflex Planars beyond sharpness. A Mamiya 6 frame would be technically better, but lack the charm I enjoy from older glass.
 
Got me totally confused with these scans. Is this considered a good result, in comparison to "traditional" scanning? Would be interesting, then, to see the same negative scanned both ways. Otherwise it's kind of pointless.

I have a general question though. What is the reason is this day and age to shoot film? You cannot truly seriously say- to save Kodak, can you?
No, you shoot film because you like the wonderful tonal range and smoothness of it. At least I do. So, if so, why try to get a digital results out of film? In general film will not be as sharp and detailed as digital and it does not need to be. That's not, in my opinion, is where it excels...
P.S.
Hopefully, I brought enough tact in discussion?
 
I have a general question though. What is the reason is this day and age to shoot film?

No, you shoot film because you like the wonderful tonal range and smoothness of it. At least I do. So, if so, why try to get a digital results out of film? In general film will not be as sharp and detailed as digital and it does not need to be. That's not, in my opinion, is where it excels...
P.S.
Hopefully, I brought enough tact in discussion?

I have no reason to use digital. I don't think it looks very good, and it's too limited in the DR you can take a picture of. It's just not much fun at all. Life's too short for that.

https://www.onlandscape.co.uk/2011/12/camera-test-editors-commentary/

https://www.onlandscape.co.uk/2011/12/big-camera-comparison/
 

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So, if so, why try to get a digital results out of film? In general film will not be as sharp and detailed as digital and it does not need to be. That's not, in my opinion, is where it excels...
P.S.
Hopefully, I brought enough tact in discussion?

Wet mounting doesn't make the scan more "digital".

And it doesn't make that much of a difference. If there was another way to mount the film perfectly flat and without newton rings I really doubt anyone would do it.
 
Just because it's an old tale, that doesn't mean it isn't true, but nice try.

"Dynamic Range

The IQ180 has one of the highest dynamic ranges of any production digital camera and yet it is still a long way from matching the dynamic range offered by colour negative film, especially the film that has just been released by Kodak, Portra 400 and Portra 160. The truth is that in many situations, especially if you are working at sunrise and sunset, you will still occasionally have to use graduated filters or blend multiple exposures together. It is estimated that the IQ180 has about a theoretical 13.5 stops of dynamic range but in fact has about 10 stops of usable range. Portra 400 has a theoretical 19 stops of dynamic range and a usable 15 stops (see here) and although could arguably benefit from a graduated filter occasionally, most people don't use them and don't need to. I have accidentally left a lens aperture open on a Fuji 6x17 after using the ground glass to focus and only noticed after a minute. That was 10 stops of overexposure on the film that I had just loaded into the camera. I was stunned when there was still an image scannable on the developed film (albeit a little grainy)."


https://www.onlandscape.co.uk/2011/12/camera-test-editors-commentary/
 
Just because it's an old tale, that doesn't mean it isn't true, but nice try.

"Dynamic Range

The IQ180 has one of the highest dynamic ranges of any production digital camera and yet it is still a long way from matching the dynamic range offered by colour negative film, especially the film that has just been released by Kodak, Portra 400 and Portra 160. The truth is that in many situations, especially if you are working at sunrise and sunset, you will still occasionally have to use graduated filters or blend multiple exposures together. It is estimated that the IQ180 has about a theoretical 13.5 stops of dynamic range but in fact has about 10 stops of usable range. Portra 400 has a theoretical 19 stops of dynamic range and a usable 15 stops (see here) and although could arguably benefit from a graduated filter occasionally, most people don't use them and don't need to. I have accidentally left a lens aperture open on a Fuji 6x17 after using the ground glass to focus and only noticed after a minute. That was 10 stops of overexposure on the film that I had just loaded into the camera. I was stunned when there was still an image scannable on the developed film (albeit a little grainy)."


https://www.onlandscape.co.uk/2011/12/camera-test-editors-commentary/

I guess, I did not even think of it in terms sunset/sunrise, ahm, landscapes.
Would not know much about landscapes. I am trying to take interesting pictures, my bad. Never had "dynamic range" stop me in that.

🙂
 
Sure, sure.

Still, it does prove what you called 'such an old tale I did not even think anybody uses this line any more', doesn't it?

Go ahead and try -4 stops and +6 stops on digital next time you go outside.
 
Sure, sure.

Still, it does prove what you called 'such an old tale I did not even think anybody uses this line any more', doesn't it?

Go ahead and try -4 stops and +6 stops on digital next time you go outside.

Why would I do such thing?
Why would anybody need this?
And while you at it, try it yourself on Kodak Ektar. 🙂
 
I suggested you do it so that then you know from experience, that film has a ton more dynamic range than digital.

Ektar sucks, I never even considered it.
 
Beleive it or not, I did.
🙂

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