AlwaysOnAuto
Well-known
Huss - I really have to thank you for getting me going again with this digitizing.
I've invested in a slide copy and bellows attachment and am using my Sony A7ii w/Nikon Micro Nikkor 55 f2.8 lens.
Here is that same guy (my brother) shown in post #57 of this thread a couple years later when he was at college in Texas. I 'scanned' this with the above setup.
I've invested in a slide copy and bellows attachment and am using my Sony A7ii w/Nikon Micro Nikkor 55 f2.8 lens.
Here is that same guy (my brother) shown in post #57 of this thread a couple years later when he was at college in Texas. I 'scanned' this with the above setup.
Huss
Veteran
That looks great! The 'scan' and the memory!
Peter Jennings
Well-known
Great shot!
Chubberino
Well-known
Like all my other 'scans', it took 1/125 sec to 'scan' this image thanks to using a dslr
Leica M7 + Summaron 35 w/goggles, Kodak BW400CN
Scanned with D750
Great stuff. I guess DSLR scanning is viable, lol.
Huss
Veteran
Minolta XK, Rokkor 35-70 3.5, Portra 400
D750 scan in 1/125 sec.
D750 scan in 1/125 sec.
Huss
Veteran
Rolleiflex 2.8E, Rolleinar 1, Fuji NPS 160 exp July 2000
Nikon D750 scan
As I used a lightpad to illuminate the 120 film, this 'scan' took 1/15 sec.
Still significantly quicker than using a traditional scanner.
Crop of eye to show detail/resolution of DSLR scan:
Nikon D750 scan
As I used a lightpad to illuminate the 120 film, this 'scan' took 1/15 sec.
Still significantly quicker than using a traditional scanner.
Crop of eye to show detail/resolution of DSLR scan:
Huss
Veteran
Nikkormat FT2, 35mm 2.8 non AI, Portra 400, D750 scan
ColSebastianMoran
( IRL Richard Karash )
Following the method and using the Action set in the above tutorial, I want to see if I can get reasonable color from color neg film.
But, I have a slightly different strategy:
- Use flash, not incandescent light for the exposure, help offset the orange mask
- Using a Beseler Dual-Mode Duplicator with a Di-Chro head, adding cyan/magenta trying to completely offset the orange mask (so R, G, B are all balanced when I photograph the negative). With "white" light, the red channel clips first, leaving blue and green with narrow histograms.
- Ignore the image, resolution, and quality below, this is just a test for reasonable color
Here are my specifics:
- Set the di-chro for Magenta +15, Cyan +50 to offset the orange mask
- Set camera ISO 100, lens at f/4, gives good exposure, good histogram
- Trigger the (high-voltage) flash through a Wein Safe-Sync
Result is a RAW file I can convert at 4500K with very little tint, whites are white. Add a bit of clarity, and give it a full histogram, just like any scan.
Then use the Action set in the tutorial. Further adjustments: In Levels, move center slider to right. In Curves, some adjustment. Result is "close enough" and I think a good base for fine tuning. The bricks really do have a purple cast. I have white, red, and green that are close enough. This method might really work.
Last edited:
Godfrey
somewhat colored
I shot my second roll of Washi 120 rice paper film the other day ... for details, see:
http://rangefinderforum.com/forums/showpost.php?p=2731541&postcount=13
They were scanned with the Leica SL using a BEOON and Macro-Elmarit-R 60mm lens. Here's the capture setup:
Here are a couple of the scans, rendered with a customized Camera Calibration Profile in Lightroom that automates the inversion and gamma correction processing.
(There are six more on the page linked above.)
Because the Washi 120 film is paper and tends to be wavy/curly after processing and drying, I made a channel under a glass plate to pull the film through. I used Art Tape to secure everything in position for the capture, which takes a few minutes but allows me to make the captures themselves in about 1/10 the time: just pull the film through the channel and snap a photo of each frame. All exposures were made with Daylight white balance, ISO 50 @ f/8 @ 1/8 second, using the SL's electronic shutter and the Leica SL app on an iPad to eliminate any camera movement.
G
http://rangefinderforum.com/forums/showpost.php?p=2731541&postcount=13
They were scanned with the Leica SL using a BEOON and Macro-Elmarit-R 60mm lens. Here's the capture setup:
Here are a couple of the scans, rendered with a customized Camera Calibration Profile in Lightroom that automates the inversion and gamma correction processing.
(There are six more on the page linked above.)
Because the Washi 120 film is paper and tends to be wavy/curly after processing and drying, I made a channel under a glass plate to pull the film through. I used Art Tape to secure everything in position for the capture, which takes a few minutes but allows me to make the captures themselves in about 1/10 the time: just pull the film through the channel and snap a photo of each frame. All exposures were made with Daylight white balance, ISO 50 @ f/8 @ 1/8 second, using the SL's electronic shutter and the Leica SL app on an iPad to eliminate any camera movement.
G
Huss
Veteran
Love it Godfrey and thanks for sharing your set up.
stompyq
Well-known
Got to thank you, Huss, for recommending the 60mm 2.8 AFS. It's made the entire process ridiculously easy since the AF locks on perfectly. I got one and since then its taken the guesswork out of focusing. The lens is also insanely sharp.
Huss
Veteran
You're welcome Stompy! Yeah the Nikon 60 2.8 AFS is perfect for this work.
Nikon F6, 50 1.2 AIS, Portra 400, D750 'scan' w/ 60 2.8 AFS
Nikon F6, 50 1.2 AIS, Portra 400, D750 'scan' w/ 60 2.8 AFS
ColSebastianMoran
( IRL Richard Karash )
From a rainy day in Tokyo, 2010, with new-to-me Yashica GX. Fuji 200 color neg film.
Huss
Veteran
From a rainy day in Tokyo, 2010, with new-to-me Yashica GX:
What's not to like? Those are great.
Huss
Veteran
Nikon D750 scan of Portra 400
Huss
Veteran
Fuji TX-1, 45mm, Fuji Velvia 100
D750 scan (2 shots of the film merged in LR)
D750 scan (2 shots of the film merged in LR)
ColSebastianMoran
( IRL Richard Karash )
Here's one more from same Fuji 200 roll in Tokyo. Crummy light, overcast, down in the gorgeous Happo-En Garden.
Camera-scan with Sony A7. Invert, then Curves Option-Auto "Find Dark and Light Colors," and "Snap Neutral Midtones" (Thanks, Huss, for this!) Adjust exposure/contrast gives a reasonable image, as good as the mini-lab. Then more fiddling.
Camera-scan with Sony A7. Invert, then Curves Option-Auto "Find Dark and Light Colors," and "Snap Neutral Midtones" (Thanks, Huss, for this!) Adjust exposure/contrast gives a reasonable image, as good as the mini-lab. Then more fiddling.
Huss
Veteran
Minolta SR1s, Rokkor 55 1.7, Kodak BW 400CN
D750 scan
D750 scan
css9450
Veteran
I am finding there is a learning curve to the post processing.
This is on Ilford Delta 100, developed normally in Rodinal at 1:50. Shot with my Nikon S2, "scanned" with my D7000.
I'm not sure which is best. Of course, one of my "issues" is I think whatever looks good on one monitor looks different on a different one.
First is converted to a positive, then minor tweak of the curve to increase contrast:
This is with a greater increase of contrast:
For this one, I fooled around with the contrast slider. Note the grain in the sky:
This is on Ilford Delta 100, developed normally in Rodinal at 1:50. Shot with my Nikon S2, "scanned" with my D7000.
I'm not sure which is best. Of course, one of my "issues" is I think whatever looks good on one monitor looks different on a different one.
First is converted to a positive, then minor tweak of the curve to increase contrast:
This is with a greater increase of contrast:
For this one, I fooled around with the contrast slider. Note the grain in the sky:
css9450
Veteran
Another one. Nikon S2, Jupiter-12, Ilford Delta 100:
