Old 05-09-2017   #81
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Same deal, Arista 400, slide copier, D750 (the gear that I showed in the pics earlier) No warping, no banding, edge to edge sharpness as everyone can see.

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Old 05-09-2017   #82
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Originally Posted by charjohncarter View Post
My problem with normal prime lenses was/is the film plane focus is curved so even with f11 or f16 there was still fall off (when shooting macro). Maybe the Leica Summicron-R 50mm f/2 is different; none of my 50mm primes worked well. So bought a macro 50mm.
Oh, the Macro-Elmarit-R 60mm has a flatter field and works better as a copy setup at 1:1 and lower magnifications. But at 2:1 or 3:1, the Summicron-R 50 just did a bit better. It surprised me too!

G
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Old 05-09-2017   #83
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Any tips to get everything lined up straight and square? This step of the process always seemed like it left the most to luck - sometimes I thought I had everything square then I would scan some slides and find I had something just slightly crooked - and one side or the other was soft.
A couple of bubble levels go a long way. One for the stage, one for the camera...

G
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Old 05-09-2017   #84
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I didn't find any need for bubble levels when using the grid pattern in Live View. I just made sure everything was lined up compared to the grid. Very quick and easy.
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Old 05-09-2017   #85
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Assuming that your negative stage or carrier is flat and parallel with the neg, the easy way to line things up is put a small mirror there, then adjust the camera so that the image of the reflected lens is in the center. Perfect, quick, and foolproof. As careful as I am, this trick improved my corner resolution and consistency over levels or lining up parallel lines by eye. If you're saying the corners of your lens are bad, that could simply be an alignment problem.
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Old 05-09-2017   #86
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Originally Posted by Huss View Post


Using a proper copy stand really helps but the key is to look at the image in Live View. On my Nikon there is a grid option so you can immediately see if things are not lined up correctly.
I invested in a Nikon PF stand so I'm hoping that works well.
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Old 05-09-2017   #87
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The get up with the slide copier only works with 35mm film. But as you can see, it is a breeze to use. Using a copy stand instead of a tripod makes things super easy when using a light pad and 120 film. As that is what it is designed for! When I first tried this with a tripod I could never get it as sharp as a lab scan. I'm thinking it must have been alignment issues.

I use this copy stand for 120 film:

http://www.ebay.com/itm/120907732706...%3AMEBIDX%3AIT
On the verge of buying this copy stand. How stable is it with your D750? I'm planning on using a d610
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Old 05-09-2017   #88
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The Olympus OM 80/4 auto macro is one of few lenses optimized for 1:1, most macro lenses are optimized for more like 1:3 or 1:5. The net result is what you observe: better edge to edge. Not as important for shooting a flower or a bug, but makes a difference for shooting stamps, coins, other flat objects and for this application.

Another is the APO-Rodigon D 1:1 lens.
Thanks for your comments - I knew it was optimised for 1:1 as you point out, but was still surprised how much better the corners were.
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Old 05-09-2017   #89
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Originally Posted by Huss View Post
I didn't find any need for bubble levels when using the grid pattern in Live View. I just made sure everything was lined up compared to the grid. Very quick and easy.
I've used the grid but find the bubble level more consistent for leveling. I use the grid for placement, not for leveling.
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Old 05-09-2017   #90
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Bowens

http://members.bitstream.net/tlmartin/copiers.html
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Old 05-09-2017   #91
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On the verge of buying this copy stand. How stable is it with your D750? I'm planning on using a d610
Perfectly stable. I use the camera with the mirror up, and the shutter triggered by one of these remote releases. In the camera's menu you can select it so the first push of the remote raises the mirror, then wait a few seconds, second push to take the shot.
https://www.bhphotovideo.com/bnh/con...D&Q=&A=details
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Old 05-09-2017   #92
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Any tips to get everything lined up straight and square? This step of the process always seemed like it left the most to luck - sometimes I thought I had everything square then I would scan some slides and find I had something just slightly crooked - and one side or the other was soft.
We used a mirror to align the camera. Put a mirror in the plane of the negative, adjust the camera until you can see the center of the lens in the cross-hairs of the viewfinder. Now everything is perfectly perpendicular and straight. Works just as well for reproductions of larger flat objects.

cheers

ps. whoops : mdarnton was ahead of me. Proves I'm not the only one who knows this trick
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Old 05-10-2017   #93
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Originally Posted by Godfrey View Post
A couple of bubble levels go a long way. One for the stage, one for the camera...

G
Yup. I missed the question earlier in the thread but bubble levels are your friend here.

I prefer to not use live view on my 1ds3 because the live view is pretty much useless (no auto focus, a low res screen and I'm not sure if it has a grid overlay)
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Old 05-10-2017   #94
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I am wondering if using a cold light source like the GePe light table I own would help produce accurate colors?

Basically I can't see how it would hurt because it is bright and uniform and I think D5000.

Cal
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Old 05-10-2017   #95
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Originally Posted by KarmaToBurn View Post
...
I prefer to not use live view on my 1ds3 because the live view is pretty much useless (no auto focus, a low res screen and I'm not sure if it has a grid overlay)
I use the Leica SL. I usually set it up so that I am controlling the camera with an iPad Pro ... that way I can make the exposures with no risk of jiggling the setup at high resolution. I an also use the camera's grids and focus assist modes to help nail the focus and aperture for best focus zone.

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I am wondering if using a cold light source like the GePe light table I own would help produce accurate colors?

Basically I can't see how it would hurt because it is bright and uniform and I think D5000.
Basically, any good, even light source works fine. You can finish tune the color temperature on the raw files. Just be sure to set your camera to a fixed white balance so that all exposures have exactly the same spec after a capture session and snap an exposure of a reference negative to make adjustments with... makes it a piece of cake to get everything close to the right point.

G
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Old 05-10-2017   #96
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I use the Leica SL. I usually set it up so that I am controlling the camera with an iPad Pro ... that way I can make the exposures with no risk of jiggling the setup at high resolution. I an also use the camera's grids and focus assist modes to help nail the focus and aperture for best focus zone.



Basically, any good, even light source works fine. You can finish tune the color temperature on the raw files. Just be sure to set your camera to a fixed white balance so that all exposures have exactly the same spec after a capture session and snap an exposure of a reference negative to make adjustments with... makes it a piece of cake to get everything close to the right point.

G
Godfrey,

Thanks for your response.

Is there an advantage to tether your SL and use Liveview?

I imagine zooming in to check the corners and focusing on grain on a large calibrated monitor to make things deadly accurate.

Cal
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Old 05-10-2017   #97
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I am wondering if using a cold light source like the GePe light table I own would help produce accurate colors?

Basically I can't see how it would hurt because it is bright and uniform and I think D5000.

Cal
??? Since when did you shoot color?? I can't remember a single instance
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Old 05-10-2017   #98
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Perfectly stable. I use the camera with the mirror up, and the shutter triggered by one of these remote releases. In the camera's menu you can select it so the first push of the remote raises the mirror, then wait a few seconds, second push to take the shot.
https://www.bhphotovideo.com/bnh/con...D&Q=&A=details
Thanks!!! I've been eyeing this copy stand as a more permanent rig to what I have right now. Good to know it works well. I think you and I have nearly identical setups.
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Old 05-10-2017   #99
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??? Since when did you shoot color?? I can't remember a single instance
Pro-Mone,

You don't remember the Velvia 50 in 220 that I used to shoot "Fashion Night Out" with a flash on the Pentax 67 II. Don't forget how everyone told me this was the most unforgiving film to shoot, especially at night and with flash. Don't you remember the perfect exposures?

I kinda remember rather strongly running into Nellie, the bar maid from Puck Fair, and four of her model friends on Fifth Avenue across the street from Berdorf's. "Is this my dream come true?" I said to myself. A true "Calzone moment." LOL. I had the best rig loaded with the best film to take advantage of that opportunity. Basically I was blinding people on Fifth Avenue with the strongest dedicated flash built for the Pentax 67.

Anyways the six segment Matrix Metering and the TTL on a Pentax 67 II with the AE prism is deadly accurate. Currently my Pentax 67II is at Nippon Camera Clinic getting repaired. The film transport is getting overhauled, and the shutter release button needs replacement.

You are correct though other than that one time I only shoot B&W film, but then again I own a SL for color digital...

Cal
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Old 05-10-2017   #100
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Pro-Mone,

You don't remember the Velvia 50 in 220 that I used to shoot "Fashion Night Out" with a flash on the Pentax 67 II. Don't forget how everyone told me this was the most unforgiving film to shoot, especially at night and with flash. Don't you remember the perfect exposures?

I kinda remember rather strongly running into Nellie, the bar maid from Puck Fair, and four of her model friends on Fifth Avenue across the street from Berdorf's. "Is this my dream come true?" I said to myself. A true "Calzone moment." LOL. I had the best rig loaded with the best film to take advantage of that opportunity. Basically I was blinding people on Fifth Avenue with the strongest dedicated flash built for the Pentax 67.

Anyways the six segment Matrix Metering and the TTL on a Pentax 67 II with the AE prism is deadly accurate. Currently my Pentax 67II is at Nippon Camera Clinic getting repaired. The film transport is getting overhauled, and the shutter release button needs replacement.

You are correct though other than that one time I only shoot B&W film, but then again I own a SL for color digital...

Cal
Ahh I forgot that one. I might have to get my pentax repaired too. The meter has gone dead
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Old 05-10-2017   #101
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Cute! I gotta ask, how old is that image?
That was taken @1957-58 or so. My younger brother when we first moved out to California I think. I believe my dad took that shot.

I also used the mirror method of alignment as the laptop screen wasn't level by any means. With the mirror method it didn't/doesn't have to be.

I really should try this again with my A7ii and 55 2.8 Nikkor lens. Should do a lot better than my old D7000 w/55 3.5.
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Old 05-10-2017   #102
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..

I kinda remember rather strongly running into Nellie, the bar maid from Puck Fair, and four of her model friends on Fifth Avenue across the street from Berdorf's. "Is this my dream come true?" I said to myself. A true "Calzone moment." LOL. ...
I'd like to experience a Calzone moment!

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That was taken @1957-58 or so. My younger brother when we first moved out to California I think. I believe my dad took that shot.
Love it. Has that vintage look that adds to the sweet memory.
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Old 05-10-2017   #103
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..
Is there an advantage to tether your SL and use Liveview?

I imagine zooming in to check the corners and focusing on grain on a large calibrated monitor to make things deadly accurate.

Cal
While that would work well, it is more time consuming than using a set up with AF. When I was focusing manually I kept on adjusting and adjusting as I wanted it perfect. Was driving me nuts as I'm kinda OCD.. Then when I switched to Live View AF, boom, perfect in a fraction of a second.
You use what you have, but if you happen to have access to an AF setup, use that. Another upside is there is less stuff to deal with.

But.. you use what you have, and if it works, it works. G's example pic he posted looks sweet.
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Old 05-10-2017   #104
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While that would work well, it is more time consuming than using a set up with AF. When I was focusing manually I kept on adjusting and adjusting as I wanted it perfect. Was driving me nuts as I'm kinda OCD.. Then when I switched to Live View AF, boom, perfect in a fraction of a second.
You use what you have, but if you happen to have access to an AF setup, use that. Another upside is there is less stuff to deal with.

But.. you use what you have, and if it works, it works. G's example pic he posted looks sweet.
IMHO a bit OCD goes with the territory and struggle to be a good photographer. LOL.

Cal
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Old 05-10-2017   #105
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...
Is there an advantage to tether your SL and use Liveview?

I imagine zooming in to check the corners and focusing on grain on a large calibrated monitor to make things deadly accurate.
The advantage as I use it is that I set up the camera and capture stage (focus, aperture, exposure time, etc) once, using the big screen and the viewfinder as needed for aids and such.

Then I just run film through the setup. Nothing moves, nothing changes other than what frame is captured. I check the framing and alignment of the film on the iPad each time so they are consistent in the capture and I don't spend hours adjusting crop and rotation on each frame.

Quote:
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While that would work well, it is more time consuming than using a set up with AF. When I was focusing manually I kept on adjusting and adjusting as I wanted it perfect. Was driving me nuts as I'm kinda OCD.. Then when I switched to Live View AF, boom, perfect in a fraction of a second.
You use what you have, but if you happen to have access to an AF setup, use that. Another upside is there is less stuff to deal with.

But.. you use what you have, and if it works, it works. G's example pic he posted looks sweet.
It's not a matter of "using what I have" ... I have plenty of gear that can do this job, both manual and auto focus capable.

Autofocus when doing macro copy work performs better when you're well off the lens' limits of magnification. For instance, when I captured 35mm film with FourThirds, it's approximately a 1:2 magnification capture, the middle of my Macro-Elmarit-DG 45mm lens focusing range, and the AF works brilliantly. Capturing 1:1 gets tricky with AF because at some point you're at the limits of the lens' abilities and you have to lock it to 1:1 and adjust the distance to get the best resolution.

I prefer using a manually focused and otherwise locked-down exposure setup. That way I get extremely consistent results, presuming my film is fairly consistent in density. Otherwise, I switch to Aperture priority AE with full averaging and let the camera compensate for variability in negative density.

G
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Old 05-10-2017   #106
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Huss and Godfrey,

Thanks for the responses.

Cal
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Old 05-10-2017   #107
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Huss and Godfrey,

Thanks for the responses.

Cal
Forgot to mention: Using the tethered control of the iPad with the SL also eliminates all potential input vibration. The SL has no mirror to cause vibration so you don't need to do a mirror lockup thing, and its shutter is superbly well damped and smooth.

This will only get better if Leica implements the SL's electronic shutter mode across a broad range of exposure times ... They already have it for 1/8000 to 1/16000 second; I hope it's just a matter of time before they extend the range down into my usual capture range for transparency and other copy work. A totally vibrationless camera for macro work: it will be ideal.

G
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Old 05-10-2017   #108
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I use the Leica SL. I usually set it up so that I am controlling the camera with an iPad Pro ... that way I can make the exposures with no risk of jiggling the setup at high resolution. I an also use the camera's grids and focus assist modes to help nail the focus and aperture for best focus zone.


G

I totally forgot about the ability for tethered shooting! I'll be playing with that next time I 'scan' a roll.

Here's a sample shot from my setup



And this is what happens if a fly decides to land on the negative as the photo is being taken

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Old 05-10-2017   #109
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Forgot to mention: Using the tethered control of the iPad with the SL also eliminates all potential input vibration. The SL has no mirror to cause vibration so you don't need to do a mirror lockup thing, and its shutter is superbly well damped and smooth.

This will only get better if Leica implements the SL's electronic shutter mode across a broad range of exposure times ... They already have it for 1/8000 to 1/16000 second; I hope it's just a matter of time before they extend the range down into my usual capture range for transparency and other copy work. A totally vibrationless camera for macro work: it will be ideal.

G
Godfrey,

Thanks again,

I will mention your suggestion about the electronic shutter mode to John K. the Leica "S" and SL Technical Specialist the next time I see him.

The SL is really amazing with the in lens image stabilization on the zoom lenses.

Cal
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Old 05-10-2017   #110
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I just got a roll back from my Mamiya 645 Pro TL. Pretty much to test an 80mm 1.9 lens that I have. I used the Hasselblad Imacon knock off holder for this (ebay purchase), and it holds the film completely flat. I notice a flaw under Pepe's left ear (our right) in the image. It shows a distortion from the light pad. The light pad I use is one of the older types that has a softish surface that when you touch, distorts. Like old laptops. The distortion did not happen with my other holders as they held the film above the lightpad surface and so any distortion is out of focus and can't be seen, while the Imacon holder touches the surface.
I can reshoot this by using the same holder, but placing it on top of a piece of anti-Newton ring glass. That height difference would render any surface distortion out of focus.
Or I could just get a new/modern light pad!

Anyway, Mamiya 645 Pro, 80mm 1.9 shot at 1.9, Fuji NPS 160 expired 2000
D750 scan w/ AF Nikkor 60 2.8 lens



1:1 on Pepe's eye:

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Old 05-10-2017   #111
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Basically, any good, even light source works fine. You can finish tune the color temperature on the raw files.
Not really. If you are using a camera with a colour sensor it is still very important to try to equalise signal in the colour channels to avoid either blown data or excessive noise. This is particularly true for colour film with an orange mask.

I use a broad spectrum white lamp (not an iPad) in a large diffuser box, and add a blue filter as needed to get good raw data. I use a mirror for colimation and an E-M1.2 in hires mode for capture, which also has the advantage of using a fully electronic shutter. The film is held on plustek holders.

There are two things to be careful of in this setup. Firstly, any slight flicker from the light source can show up as banding with an e-shutter. The solution is to avoid very short exposure times or use an incandescent lamp.

The second is film and lens field flatness. With an 80mp capture you are stuck between this and diffraction. In my scans it shows up as a slight softening of the grain at the edges where the film is clamped in the holder (I do not use glass backed holders as these increase dust...). I usually ignore this, but focus stacking is always an option if it really mattered.
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Old 05-11-2017   #112
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I've not found this to be a problem with my setup. I use a 5600K balanced flat panel light box as my light source. I'm not blowing out any channel data or producing excessive noise.

With 24Mpixel FF format capture and my lenses, I have not found flatness of field, film flatness, or diffraction to be a problem. I stop down to f/8 or f/11 ... f/11 with the 50mm begins to nick the edge off with diffraction, but not with the 60mm. Perhaps it's the combination of the higher pixel resolution and the smaller format that causing your setup to be sensitive in this domain.

All I can say is that I'm getting excellent results and have few problems with the setup I'm using. Since there's no electronic shutter under 1/8000 second at present, I've not seen any issues with the light source (I'm typically around 1/100-1/250 second). I'm convinced that if I need more pixel resolution, I should go up-format to medium format digital with a good macro setup.

G


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Not really. If you are using a camera with a colour sensor it is still very important to try to equalise signal in the colour channels to avoid either blown data or excessive noise. This is particularly true for colour film with an orange mask.

I use a broad spectrum white lamp (not an iPad) in a large diffuser box, and add a blue filter as needed to get good raw data. I use a mirror for colimation and an E-M1.2 in hires mode for capture, which also has the advantage of using a fully electronic shutter. The film is held on plustek holders.

There are two things to be careful of in this setup. Firstly, any slight flicker from the light source can show up as banding with an e-shutter. The solution is to avoid very short exposure times or use an incandescent lamp.

The second is film and lens field flatness. With an 80mp capture you are stuck between this and diffraction. In my scans it shows up as a slight softening of the grain at the edges where the film is clamped in the holder (I do not use glass backed holders as these increase dust...). I usually ignore this, but focus stacking is always an option if it really mattered.
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Old 05-11-2017   #113
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we had a similar thread a short while ago: http://www.rangefinderforum.com/foru...d.php?t=154469
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Old 05-12-2017   #114
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Testing Portra 160 - who says digicams can't scan C41?



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Old 05-12-2017   #115
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I showed you my device to copy negatives and slides with a digital camera. This is from a 8 megapixel DSLR; 10 years ago:

Water Temple by John Carter, on Flickr

I was learning at this stage but on this one I got lucky, and luckily I remembered what I did.
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Old 05-13-2017   #116
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Have you see this new Kickstarter campaign to scan negatives with your phone?
https://www.youtube.com/watch?v=BNriOTIjb7g
https://www.kickstarter.com/projects...izing-analog-f
Check out the video - it's amazing.
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Old 05-13-2017   #117
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Have you see this new Kickstarter campaign to scan negatives with your phone?
https://www.youtube.com/watch?v=BNriOTIjb7g
https://www.kickstarter.com/projects...izing-analog-f
Check out the video - it's amazing.
Yes and I started a thread on it here:

http://www.rangefinderforum.com/foru...d.php?t=161070

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Old 05-16-2017   #118
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Late afternoon sun outside the gallery with our monthly featured artist (painter) Luis Sanchez

D750 scan, Leica M3, Summaron 35 3.5, Portra 400

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Old 05-16-2017   #119
SaveKodak
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Quote:
Originally Posted by Huss View Post
Testing Portra 160 - who says digicams can't scan C41?



Yeah, sidewalks are naturally blue, skin tones are meant to be cyan. That flared out shot is totally supposed to be bright orange. These are simply natural colors from a film geared toward skin tones. /sarcasm
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Old 05-16-2017   #120
Huss
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Hey dood, glad to see you're still here! We all make choices as to how we want our images to look. Editing programs let us do what we want.
Glad you took some time off from your workflow to drop on by!
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