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Canon slide copying set-up


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Perhaps this is a point in favour of the 'Tran as spill has been designed out.

16 hours ago, Cal said:

 

 I tried manual method in LR, I have two words, the second is "that".

I've done resonably well with LR on colour negs but I haven't done many- a curve as an import preset, then an eyedropper off a white midtone. But it's a little hit-and-miss and any hint of underexposure and you get a tint in the shadows that's hard to shift. As seen in my first licence from colour neg- a new 1983 Ford Fiesta.

 

Archive image of a White Ford Fiesta hatchback saloon car at Boston Trades Fair, Boston, Lincolnshire, England, Stock Photo

Edited by spacecadet
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9 minutes ago, spacecadet said:

Perhaps this is a point in favour of the 'Tran as spill has been designed out.

Yes, it is a very good design and I doubt many were used for negatives anyway, let alone colour negatives. I don't recall seeing one on ebay that doesn't actually work as it should 40 odd years after they were made, so good quality components as well. It also provides a very rigid support for the camera (if it fits on).

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38 minutes ago, Harry Harrison said:

(if it fits on).

Yes, slimfit only, I believe the deep-based Canons and Nikons are out of luck. Anything more than a couple of centimetres from the  edge of the lens mount to the camera base may be a deal-breaker, although even with a tripod, having the film stage and flash together seems quite useful.

It's so convenient to be able to pack it away and be up and running in 15 minutes, especially if you don't have a spare DSLR to leave on it- I can't see the tripod/panel/holder layout being that handy. Next best would be Allan's enlarger job.

As you say, not meant for neg- at the MoD we sometimes made slides from our standard 645 colour negs, but not on 'Trans- it was on the upside-down- colour-enlarger type, probably Durst or Beseler, so you could dial in the filtration.

The film was the stuff used for portrait transproofs later on- it was only ever a Kodak SO, subject to rapid disappearance from the catalogue, as it did in 2003.

Edited by spacecadet
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On 24/02/2023 at 13:26, Cal said:

I am surprised when you tilt the screen upwards in such a way the display does not rotate. That camera looks newer than My ancient Sony DSLTs which thankfully do that.

That's neat, my Fuji X-T2 doesn't do that unless I've missed a menu setting, perhaps later ones do. Sony A7 mirrorless make ideal cameras for this in fact, the older ones should be fine, 36MP or 45MP should be ideal for most purposes, anything more would need a fantastic lens to see the difference, and fantastic originals to copy. The original A7 series, and particularly the A7R v1, apparently suffered from shutter shock which makes them problematic for 1:1 camera scanning.

Edited by Harry Harrison
SHUTTER shock not MIRROR
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6 hours ago, Harry Harrison said:

I can't imagine that much light gets out that way but I suppose there might be some circumstances when it could reflect off something. 

 

Got it!  Carefully applied black enamel paint to the outside edges of the perspex.

 

Allan

 

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On 25/02/2023 at 10:33, spacecadet said:

Perhaps this is a point in favour of the 'Tran as spill has been designed out.

I've done resonably well with LR on colour negs but I haven't done many- a curve as an import preset, then an eyedropper off a white midtone. But it's a little hit-and-miss and any hint of underexposure and you get a tint in the shadows that's hard to shift. As seen in my first licence from colour neg- a new 1983 Ford Fiesta.

 

Archive image of a White Ford Fiesta hatchback saloon car at Boston Trades Fair, Boston, Lincolnshire, England, Stock Photo

 

That's a nice photo. Yes, underexposure is a pain in the arse, as I've discovered. Much like the real medium.

 

If you have any more negs to scan, perhaps only in small number, give NLP for Lightroom a go. You get 15 (I think) free trial conversions before you have to pay, but the free ones you get are not watermarked or limited in any way, and it really is a very good way to convert your negs with a lot less manual processing needed.

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On 25/02/2023 at 11:46, Harry Harrison said:

That's neat, my Fuji X-T2 doesn't do that unless I've missed a menu setting, perhaps later ones do. Sony A7 mirrorless make ideal cameras for this in fact, the older ones should be fine, 36MP or 45MP should be ideal for most purposes, anything more would need a fantastic lens to see the difference, and fantastic originals to copy. The original A7 series, and particularly the A7R v1, apparently suffered from mirror shock which makes them problematic for 1:1 camera scanning.

 

I'm using an older Sony A99 which is "only" 24MP. I think in terms of 35mm film stocks, the only ones that will come close to matching this resolution are the likes of Velvia and Provia. I doubt any neg film on the market today can match it, maybe Ilford PANF at a push - I don't know of any other ISO 50 neg film. Then of course you have to consider lenses for this gear are not as sharp as modern equivalents.

 

The real fun will start if I progress to shooting 120, as I believe that is a resolution monster if you pair it with a good lens and technique. But that's a way down the line yet.

 

Ps. I'm not sure why the A7R would suffer mirror shock - it doesn't have a mirror.

Edited by Cal
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1 hour ago, Cal said:

Ps. I'm not sure why the A7R would suffer mirror shock - it doesn't have a mirror.

Sorry, I'll correct that, shutter shock, pretty well documented at the time and since. I think that you have to have very demanding needs to want to go above 24MP, very large prints perhaps when the actual texture of the grain could matter, that's what people who do it say, you'd need a very fancy lens as well. I do see a possible advantage with a higher MP camera in that you don't need to go to the edges of the frame to get 24MP so using the best central section of the lens and possibly missing out on some vignetting, I don't have one though.

 

With 120 then 6x6 obviously comes off worst if you're capturing a single frame because a lot is cropped off, still 'good enough' for Alamy even so. I like to photomerge so that the long side of the camera sensor (6000 pixels) becomes the short side of the resulting scan, or therebouts. Others photomerge in 2 directions, across and along, to give very high MP files equalling the best medium format scanners in terms of resolution.

Edited by Harry Harrison
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