Old 08-14-2016   #201
Peter Jennings
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I've used the 55mm Micro Nikkors with the BEOON and they work, but I prefer the EL Nikkor 50mm. The corners look better with the EL Nikkor. As Emile suggested, try stopping down a bit more
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Old 08-15-2016   #202
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I've been using the BEOON with both the 50mm Summicron v4 and a 50mm APO Rodagon, and each have their strengths, and give pretty good results with 35mm negatives. On the other hand, I have some 645 up to 6x7 negs I'd like to "scan." Has anybody tried something like a WA Schneider enlarging lens? 40mm Focotar? Also, what about reversing a longer focal length enlarging lens? Is there enough column length on the device?
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Old 08-15-2016   #203
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You sacrifice generally on the WA...you want longer..not shorter..
WA are best when you don't want the enlarger head too high..and the Focotar 40 WA is supposed to be ..well..disappointing..
Best to get something flat field and good in the corners..
A 60mm Nikkor is supposed to be great..
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Old 08-15-2016   #204
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Thanks, Emile. I wasn't sure about the Focotar. I've used EL-Nikkors in the past, just not in the digital era. I look at options for that lens.
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Old 08-15-2016   #205
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Focotar-2 is great as well...the 50mm...not the 40..
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Old 08-20-2016   #206
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Thanks Emile. Do you or others have any experience with the 60mm Focotar? There's one up on the big auction site at a reasonable price right now.
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Old 08-20-2016   #207
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I have no experience with the 60mm Focotar..but at that price..definitely worth a shot I would think..
Maybe you can find some reviews on the Leica forums before you buy..
But why not buy brand new..here..
https://www.bhphotovideo.com/c/produ...Rodagon_N.html
as a lot of the well used darkroom lenses..are hazy..
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Old 01-30-2017   #208
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I've been getting some inquiries about my BEOON setup via PM once in a while.

Currently I'm using BEOON with

• Flat LED lightbox (really a thin panel) powered by USB. ($40 or so on Amazon)
• Handmade film holder, oversized to capture thin borders around the frame. ($ - priceless)
• OM-D E-M5 MkII for its high-res mode and tilting screen for easy grain-checking and framing. ($ - had it for underwater rig)
• EL-Nikkor 50/2.8 ($15)

I'm getting about 25 mp worth of scan with this setup for 35mm. I'm sourcing a few thin extension tubes to bring up the magnification a tad bit. My goal is to have the entire frame plus a bit of borders filling the sensor. I'd love to know if someone had good luck with a 60mm lens.




Super-Anguloning by Suguru Nishioka, on Flickr


When you need a drink or two or three by Suguru Nishioka, on Flickr


Moto Cam by Suguru Nishioka, on Flickr
(fuzzy bits at bottom left is my DIY holder showing up as Barnack Leica film gate is larger than M's)


We the People by Suguru Nishioka, on Flickr
(2 frames scanned separately and combined on computer)
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Old 01-31-2017   #209
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Thanks coelacanth. Your setup is almost identical to mine, but I'm using a Sony A7. The EL-Nikkor 50/2.8 gives me good results.
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Old 02-07-2017   #210
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Can a Sony A7xyz actually mate a lens to this, or do the lenses have to be Leica's own? I've got a Zeiss Contax CY Makro Plannar 100mm that'd be sweet to use on these sorts of functions, but also a couple of Zeiss 50's running around. Looks kind of Leica lens specific... which seems to be the same story with Nikon's copy set up.
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Old 02-07-2017   #211
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Quote:
Originally Posted by roscoetuff View Post
Can a Sony A7xyz actually mate a lens to this, or do the lenses have to be Leica's own? I've got a Zeiss Contax CY Makro Plannar 100mm that'd be sweet to use on these sorts of functions, but also a couple of Zeiss 50's running around. Looks kind of Leica lens specific... which seems to be the same story with Nikon's copy set up.
The body side can be pretty much anything as most of mirrorless systems got some sort of M mount adapter available for cheap at this point.

The lens side must be either M (via BEOON stock adapter) or 39mm LTM mount, which is the same mount as many many enlarger lenses out there. I don't know if there are adapters that will convert different lens mounts to M or LTM. I have used Contax mount 50/2 via Amedeo adapter when I didn't have other suitable 50mm taking lens.
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Old 02-07-2017   #212
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Look Up by Suguru Nishioka, on Flickr

Shot and scanned with Zeiss Opton Sonnar 50/2 via BEOON.
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Old 02-07-2017   #213
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Some initial scans with my BEOON, a Fuji x-e2s and an APO Rodagon enlarging lens. Used the A+D tube. Anything at the link below with DSCF in the file name is with this trio. Kodachrome 64 slides. Rented the Fuji and will be experimenting with a Sony a7 later this week. Click on any of the images to see them larger.

Kodachromes scanned with a Leica BEOON, Fuji x-e2s and APO Rodagon
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Old 02-07-2017   #214
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Good work Jim!
Glad to hear the setup works.
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Old 02-09-2017   #215
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Another little update. I wanted to control and fine tune the magnification so I can fill the sensor (in my case, OM-D in high-res mode in 3:2 ratio) with the frame plus tiny bit of film borders. With My EL-Nikkor 50/2.8 and stock BEOON tubes, I was getting either too high or low magnification to achieve this.

I just received a bunch of M39 extension tubes from Ukraine and played with it.

Beyond the actual focal length of the taking lens you use (they aren't exactly 50mm), you need to factor in the film gate size of the camera you took the picture with, as well the lens used. For example, modern M with 50mm will give you relatively small image while a Barnack Leica with Super-Angulon 21/4 will give you quite a bit larger image (can we call that medium format now?? j/k).

Samples below were scanned with BEOON, OM-D E-M5 MkII, EL-Nikkor 50/2.8, and a stack of extension tubes. Photos were inverted then auto tone applied in Lightroom.



This photo was shot with IIIf and Super-Angulon 21/4. Wider film gate and more light going around the film gate due to SA's optical design. You can see the neighboring frames are right up there. For most regular lenses, my IIIf has quite decent frame spacing.




Now, here is a photo I took with modern MP and Elmar-M 50/2.8 in 2010. It's got narrower modern film gate opening and normal lens image projection. I used the exact same combination of extension tubes as the 1st SA shot. You can see how much of extra space you'd get.




And finally, I added a very thin extension ring (came with EL-Nikkor) to the previous setup to get a tiny bit of magnification boost. This is probably what I'd like for my M cameras. With a bit of practice, I'm sure framing will be very quick and relatively accurate as you'll be seeing bright thin frame all around the image when you scan. Notice auto toning in LR adjusted the image differently from the example above due to not having extra black borders.

I think I'll be adding the final small ring for M camera, and removing it for Barnack to get similar amount of borders.

BTW, with this setup, I'm getting 7296 px x 4864 px scan, which is roughly 35.5 mp.
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Old 02-13-2017   #216
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As a test, this particular scan was done with my usual exposure setup on the scanning camera (OM-D) and basically no editing in LR other than removing a couple of dust spots. Resized to 5000 px wide from the original 7296 px.


Wonder Plate by Suguru Nishioka, on Flickr

100% crop





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Old 03-14-2017   #217
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Here's a look at my setup. From bottom to top: light table bought on eBay, acrylic negative holder I cobbled together, BEOON, EL-Nikkor 50/2.8, M-E/F adapter, Sony A7

[IMG]Leitz BEOON scanning by Peter Jennings, on Flickr[/IMG]

Here's what I get using C and D rings.

[IMG]Leitz BEOON scanning by Peter Jennings, on Flickr[/IMG]

All the other stuff I do in Aperture.

[IMG]Leitz BEOON scanning by Peter Jennings, on Flickr[/IMG]

I'm immensely pleased with results and the time/effort it takes to get them. I really wouldn't consider a different system at this point.

Thanks!
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Old 03-14-2017   #218
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BEEON is great for doing med format negs too up to 6x9..made my life easier doing a bunch of my dads old negs..
And if you have a Valoy 2 lying around..and you can find the copystand adapter for it..you ca do LF as well..
Easy peasy..
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Old 03-15-2017   #219
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I did quite of experimentation setting up my system for duping negs, and here's some of what I learned:
-straight enlarging lenses, being designed for 1:10 or greater, are not the best for the job; camera lenses designed for normal work were generally relatively terrible.
-among those, quality can vary considerably with no relationship to price
-it is absolutely essential that first the optimum aperture for that lens in that use be determined, by thirds of a stop, and second that all lenses be tested at their optimum aperture. Thanks to immediate feedback via digital cameras' back screen, these are easy tests to do.

In general, I found that most of the lenses I tested were sharpest, and best at the corners, at around f8 or wider. Smaller than that and grain quicklybegan to blur. Up to there the center could be good, but the edges softer.

Tested comparing apples to apples in this way my three micro-Nikkors, early, middle, and af-D versions, all beat out a 50/2.8 el-Nikkor, as did an el-Omicron. An old f/4 Componon was inferior to all. A quirky 50mm/5.6 (I think it was) Rodagon that I'd gotten in a trade and which is very obscure, apparently, didn't measure up to the others. I expected the Nikkor to do better, but its failing was slightly lower overall sharpness that wouldn't have really mattered much, but worse, lower contrast. The example I used was clean and clear. I didn't test my two Summicrons, but seriously doubt that they could have performed anywhere near the others at their optimum. A 50/2 af-D Nikkor was terrible at the edges, as I would expect in a critical, flat, close macro environment. No surprise there at all. In every case, my results may have been skewed by by the particular lens example I tested!

After reading others' experience, it seemed that the 1:1 version of the Apo-Rodagon D was going to be the best lens of all for this, having been designed for this type of work, but I found it too expensive, so I looked around some more until I found people saying that the 63/2.8 el-Nikkor was a lens of similar design and ability. I bought one of those, and it bumped things up considerably; the best aperture approached f/11, and the difference between apertures was much less. On all of the other lenses I tested 1/3 of a stop made a big difference, but not so much for the 63mm. One can find them for around $125 if you look hard enough.

The only lens I wouldn't have used at all was the old Componon, but I didn't have a new version to test.

My take-away from this was that it's essential to do careful tests, and essential to first determine each lens' best aperture.

Another thing I discovered was that for 35mm the results were as good as anything, including some dedicated 35mm scanners I'd used. For 6x6 it was a draw with a modern flatbed, and that for larger sizes my G4050 flatbed (supposedly topping out around 1500dpi, real resolution) crushes camera scanning. It's easy to do a good 8000x10000 flatbed scan with even a cheap flatbed (despite their fantasy specs, flatbeds such as the G4050 and the whole Epson line top out at around 2300dpi in real tests by virtually anyone you will read who's done careful testing, which is less than most digitals for 35mm, but works fine for much larger film).

I am currently using a Nikon D7200 (24Mp) and 63/2.8 el-Nikkor for 35mm scanning, the HP flatbed for larger.
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Old 03-15-2017   #220
Emile de Leon
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Try a Focotar-2 enlarging lens..you may be pleasantly surprised at the quality wide open or close..stopped down..its not so good..
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Old 04-06-2017   #221
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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!
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Old 04-06-2017   #222
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Quote:
Originally Posted by John inglis View Post
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!
Last batch I did were 6x6 with a Micro-Nikkor 55mm ... easily capture 6x9 as well at the 1:3 setup.

G
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Old 04-06-2017   #223
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Thanks!!! Looking forward to this process!
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Old 05-22-2017   #224
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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.
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Old 05-22-2017   #225
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Quote:
Originally Posted by wintoid View Post
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.
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?
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Old 05-22-2017   #226
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Quote:
Originally Posted by Peter Jennings View Post
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?
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
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Old 05-23-2017   #227
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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.
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Old 05-23-2017   #228
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Quote:
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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.
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
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Old 05-26-2017   #229
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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?
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Old 05-26-2017   #230
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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.
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Old 06-06-2017   #231
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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.
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Old 06-06-2017   #232
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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
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Old 06-06-2017   #233
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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

Quote:
Originally Posted by wintoid View Post
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.
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Old 06-06-2017   #234
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Quote:
Originally Posted by roscoetuff View Post
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. ...
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
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Old 07-04-2017   #235
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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?
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BEOON - Which lens?
Old 07-04-2017   #236
atatexan
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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!
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Leica user since age 12. Leica M8 plus Elmarit-M F1.2 28MM and Summicron-M F2 90MM lenses. Leica BEOON.
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Old 07-04-2017   #237
a.noctilux
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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.
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Thank you!
Old 07-05-2017   #238
atatexan
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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.
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Leica user since age 12. Leica M8 plus Elmarit-M F1.2 28MM and Summicron-M F2 90MM lenses. Leica BEOON.
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Old 07-07-2017   #239
a.noctilux
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You may find my answer at LUF.


As side note for your signature : Elmarit-M are always f/2.8 lenses (not F1.2 ...) .
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Old 09-10-2017   #240
Ricoh
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Quote:
Originally Posted by zerobuttons View Post
Finally, I have acquired all I needed to get started in using the BEOON. It seems I have that same problem with distance and focusing, others have mentioned earlier in this thread.

I am scanning 35mm negatives with a Leica M-P and a Rodenstock APO-Rodagon-N 50/2.8 lens. Since the lens screws directly into the BEOON rings, I cannot use ring A+D as prescribed in the BEOON manual when scanning 1:1, since ring A is for M mount lenses. Using ring D alone makes the negative fill out only part of the picture frame. I have to use rings B+C+D to make the negative fill the whole picture frame. Regardless which ring combination I use, I cannot focus perfectly, since the BEOON focusing spindle reaches bottom before I reach perfect focus.

Has anyone overcome problems like these, and how?
Having the same problem using an El-Nikkor 50mm f/2.8 enlarger lens, tubes B+C+D with an M240. With this combination the BEOON is approximately 1cm too tall at its shortest column setting. I'd like to know if there's a solution to this, ie sourcing different tube lengths or am I wasting my time.

Reading about others having success with the Focotar-2 50mm (I'm envious ) someone mentioned the problem with the El-Nikkor 50 f/2.8 maybe something to do with the different physical length compared to the Focotar-2 even though both share the same FL. Anyone know how the physical length can have a bearing on FL?
Thanks.
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