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2010817 — 3 Answers 3 ... You might be interested in a pure Java open source computer vision library I have developing, BoofCV. BoofCV supports many common ...

What a super helpfull article! I have a minolta dimagescsn elite 5400. Not working anymore. So I,m very happy to read you use the lens from the scanner. Can you show how you use the lens on a bellow? Or on an other way. I was sad about the scanner failure but now with your article i,m happy again. Also your photo's look gorgeous! Thank you very much!

Scanner

So I opted also for a Durst L-1200 Femoneg enlarger film holder with upper and lower ANR lenses, allowing me to scan films up to 4x5. Durst Femoneg L-1200 enlarger film carrier closed.Durst Femoneg L-1200 enlarger film carrier opened with the 2 ANR glasses. Digital camera I started with a Canon EOS 5D (12.8 megapixels), then a Canon EOS 50D (15.1 megapixels), then now a Canon EOS 5DS R (50.6 megapixels) dedicated to this job. The liveview mode is a plus to appreciate the sharpness of the grain by magnifying and focusing on it via this feature. The control of the DSLR and the viewfinder via the screen of a computer is also a comfort allowing to obtain better results (visibility, handling, precision, fight against vibrations). I also advise you to get a power supply AC adapter for your camera. Batteries will run down quite quickly if you leave it on permanently during scanning sessions. Lens Not having a Canon macro lens, I tested various lenses with extension rings or bellows in M42 mount (via an EOS EF adapter ring), including various 50 to 55 mm such as the Pancolar Electric 50 mm 1:8 from Carl Zeiss Jena DDR. Currently, I use a M42 enlarger lens Nikon EL-Nikkor 50mm 1:4 on extension tubes to assemble multiple views, beyond the 1:1 ratio. For the 1:1, especially the 24x36, I sometimes opt for the excellent Nikon Scanner Nikkor ED 100mm f/2.8 from a Nikon Super Coolscan LS-8000 ED film scanner. The biggest difficulty with this lens is its alignment. With an aperture of f/2.8, the margin of error is small over 100mm. The best is to use the "focus stack" technique, but this requires to take several shots per negative and lengthens the time of realization considerably, since it is necessary to re-focus at different places for each shot. The scratches you see on the lens barrel are calibration marks made during its construction for quality verification. Being hidden in the scanner, the exterior finish is not critical at this stage. I now most often use the lens from a Minolta DiMAGE Scan Elite 5400 scanner. Although it is very small, its performance between 1:1 and 2:1 is absolutely fabulous. Size differences of the lenses I use to scan films with a DSLR. If you want to assemble your negative from several views, you will need to use a very good lens or "macro" system, especially regarding sharpness and vignetting in the angles. Common lenses are optimized for their own magnification limit, so pushing this factor away will give poor results, especially with blurred areas and vignetting. DSLR support A reproduction bench column would probably be simpler, but I was using a 3021BPRO tripod and a 3D 029 head from Manfrotto that I already had, with the central column reversed. I finally switched to a more accurate head to align the sensor and film with the Manfrotto MHXPRO-3WG, XPRO Geared 3 Way Pan/Tilt, allowing frame and shoot precisely by adjusting with the "micrometric" knobs. Any head and tripod will do if they hold the unit in the starting position without flinching. Methodology Size of scanned images The things that affect the size of your scan are the resolution of your camera, and the ability of your optical system (lens) to magnify the film. If you scan 24x36 format (135 film), using a 24x36 sensor and a macro lens with 1:1 magnification, your digital reproduction will have approximately the same megapixel resolution as your digital camera. If you scan a medium format movie on a 24x36 DSLR, there will be cropping due to the different aspect ratio, and your files will be smaller in megapixels than your camera, unless you take multiple different views of the cliché that you will assemble later. It pushes the boundaries! If your sensor has a high resolution it will be an advantage if you plan to scan for exposure prints, but for web printing and general printing any modern DSLR will do wonders. Without going into too complex calculations, for a 6x6 image in 6 shots, with the Canon 5DS R and the appropriate lens, the result is around 16000x16000 pixels, or a file of at least 250 million pixels. If necessary, it is possible to shoot as many takes as desired, but this often no longer makes sense, the grain becoming larger than the pixel of the sensor. Environment Go in the dark in order to avoid any interference of light, the complexity of the chromatic entanglements cannot indeed tolerate the interferences emanating from various light sources. The dust I advise you to handle your films with cotton gloves dedicated to this use. Beforehand, clean the space where you are going to operate, as well as the lens, the light panel, the film holder and any ANR glasses. To pass the material with an antistatic cloth, and to equip yourself with a system allowing you to regularly blow air on the area holding the film. Vibrations On this scale, you will see for yourself that the slightest vibration completely distorts the result. Some recommend using mirrorless cameras to avoid any vibration effect when triggering, which is a good idea. On Canon it is possible to request the permanent raising of the mirror with the Liveview, which amounts to the same thing. If you can't shoot remotely with a computer, get a remote trigger, or use the self-timer with 2 or 3 seconds of waiting. In any case, pay close attention to vibrations, it would be a shame to ruin everything at this stage. Sensor alignment The plane of the sensor and that of the film must be perfectly parallel. The spirit level is not used much at this level, except to position parallel or perpendicular to gravity, or you need a spirit level for the lighpad and for the film plane, but this is not very accurate. The best way is still to position a mirror on the film plane, or the light shelf and perfectly align the return of the lens image with the latter in the viewfinder. If you want to go further, various tools like Zig-align promise to perfectly align the whole, but not having tested them I do not comment. You can also use a negative test pattern, which will allow you to line up and possibly test different lenses for sharpness, especially at corners. Vlad S., who is based in New York, produced a quality 1951 USAF 135 or 120 negative using the high-resolution, high contrast Adox CMS II film (see uncut film image below). This film model is for the sole purpose of testing and fine-tuning cameras and lenses used to scan, film scanners, and to test the setup, focus and sharpness of darkroom enlargers. You can learn more and order these targets from Vlad's site. You can also use the "live view" with a mirror placed on the light source and based on the lines of the screen grid by magnifying more or less. The lens image must be perfectly centered vertically and horizontally. Find or add a very small element (dust, powder, etc ...) and place it perfectly centered on the live view grid. Change the focus very slightly and you should get a second halo of reflection around the element. As long as everything is not perfectly aligned in the centre, as well as the perspective projection, this is not good. The alignment is not good, the reflection halo is not centered with the element in the live view return.The alignment is good, the reflection halo is centered with the element in the live view return. All of these methods will allow you to check that everything is properly aligned to obtain perfectly homogeneous scans. Film side The film must be positioned emulsion towards the lens. The emulsion is located on the matt side of the film, or the hollow part when it bends. Film flatness I use ANR glass to ensure perfect film flatness. Scan done with a medium format scanner dedicated to 120 film. The negative was slightly curved, the edges are sharp, not the center.Scan of the same curled 120 film with a digital camera between 2 ANR glasses. Everything is perfectly clean.Without ANR glass the film is curved. A Emulsion, B Shiny film side, C Film holder, D Light source.With an ANR glass on top the film is flat.A ANR Glass, B Emulsion, C Shiny film side, D Film holder, E Light source. Focusing By using the Liveview it is possible to increase the magnification time to perfect the focus on the grain of the film. Some people advocate autofocus with autofocus lenses, I have not tested it but I suggest doing it manually for all to ensure the final consistency. Different Canon Liveview magnification factors up to the film grain.Different Canon Liveview magnification factors up to the film grain. Parameters The shots are all taken in RAW mode, the JPEG format being destructive (grain) and making stitching more difficult. If your light panel delivers a daylight temperature, also set your DSLR's white balance to daylight. The lens is open somewhere between f/5.6 and f/8 to have a little depth of field on the grain, and especially a maximum of sharpness and a minimum of distortion. Lowest sensitivity possible to avoid digital noise. From there you have to find the shutter speed that will best capture your view of the film. Once all these parameters are set, write them down, especially if you are taking several views of the same negative, otherwise you will not get a homogeneous result. Personally, I switch everything to manual mode to avoid any unpleasant surprises. Shooting I am using Canon's EOS Utility directly connected to the PC as well. With the Liveview mode and the remote control of the box this reduces the complexity of handling on the small screen of the device, as well as the vibrations. In 24x36 I take a single shot. With 6x6 film, I usually do 6 takes which are assembled later. Stitching software I tried different software such as Photoshop with Photomerge, Microsoft ICE, Hugin stitching software but without satisfactory results, until I found PTGui. I finally bought the latter which is incredibly efficient, the negative always comes out well assembled the first time, very quickly, really impressive. Conversion For black and white, a simple inversion, desaturation, and some adjustment in brightness and contrast will give you an immediate result. Positive films obviously don't need to be inverted, so try the automatic adjustment as a starting point and adapt your method. On the other hand, reversing color negative films is a complex subject that I do not practice, but you will find many articles and tools relating to this subject on the web. Example of realization A sample of scanning to obtain 19296x19132 pixels image (369M pixels) from a 120 negative (Kodak TRI-X 400 black and white film shots with an Holga 120 GCFN camera). You'll probably notice on the image the reference spots added manually with a permanent marker pen on the ANR glass (negative side) to first, quickly align each shot to the next one, and second, to help automatic stitching later. Here it's not useful because the negative subject already have a lot of control points, but when I do long exposure with large blank areas, I'm really happy to have them for both cases, believe me! I'll later add a more specific sample with more details from scanning to printing. The image stitched from 24 views (4x6 files).Final image with reference spots removed, edited for my taste. More sample images scanned with DSLR ANR GLASS - HELP REQUESTED! I'm searching for someone who can provide me specific ANR Glass cut with a grid of small numbers (around 0.5mm) printed or engraved on it. If you have any idea or solution, please contact me. References Film Toaster support and special bench for scanning with a digital camera Scanning 120 negatives example, assembly, material, method Scanning a film with a digital camera method with color film, tripod, Nikon D90, 645 negative Comparison: cheap digital camera scanner vs pro scanners Noritsu HS-1800, Epson V850, Canon 350D DSLR Film Scanning The secret to perfect color negatives, Epson V600, Fuji X-T2 Cultural Heritage The "rolls" of reproduction, surreal prices How to scan film with a digital camera Epson V700, Canon 5D Mark II B&H article, scan without a scanner Nikon D800, Micro-NIKKOR 105mm, Imacon Flextight 646, Epson Perfection 4870 Did you like this article?If this article has helped you progress or enlightened you on certain points, that's the goal, mission accomplished! Others might be interested too, so don't hesitate to share it : on social networks, photography forums, your acquaintances having the same passion or job as you, to other members of the photography club you belong to, with a link on your website, on other publishing platforms. You can also make a small financial contribution. Finally, if you feel like it, leave a message below, it's always nice to have a feedback. Thank you very much and good continuation to you.

You can also use the "live view" with a mirror placed on the light source and based on the lines of the screen grid by magnifying more or less. The lens image must be perfectly centered vertically and horizontally. Find or add a very small element (dust, powder, etc ...) and place it perfectly centered on the live view grid. Change the focus very slightly and you should get a second halo of reflection around the element. As long as everything is not perfectly aligned in the centre, as well as the perspective projection, this is not good. The alignment is not good, the reflection halo is not centered with the element in the live view return.The alignment is good, the reflection halo is centered with the element in the live view return. All of these methods will allow you to check that everything is properly aligned to obtain perfectly homogeneous scans. Film side The film must be positioned emulsion towards the lens. The emulsion is located on the matt side of the film, or the hollow part when it bends. Film flatness I use ANR glass to ensure perfect film flatness. Scan done with a medium format scanner dedicated to 120 film. The negative was slightly curved, the edges are sharp, not the center.Scan of the same curled 120 film with a digital camera between 2 ANR glasses. Everything is perfectly clean.Without ANR glass the film is curved. A Emulsion, B Shiny film side, C Film holder, D Light source.With an ANR glass on top the film is flat.A ANR Glass, B Emulsion, C Shiny film side, D Film holder, E Light source. Focusing By using the Liveview it is possible to increase the magnification time to perfect the focus on the grain of the film. Some people advocate autofocus with autofocus lenses, I have not tested it but I suggest doing it manually for all to ensure the final consistency. Different Canon Liveview magnification factors up to the film grain.Different Canon Liveview magnification factors up to the film grain. Parameters The shots are all taken in RAW mode, the JPEG format being destructive (grain) and making stitching more difficult. If your light panel delivers a daylight temperature, also set your DSLR's white balance to daylight. The lens is open somewhere between f/5.6 and f/8 to have a little depth of field on the grain, and especially a maximum of sharpness and a minimum of distortion. Lowest sensitivity possible to avoid digital noise. From there you have to find the shutter speed that will best capture your view of the film. Once all these parameters are set, write them down, especially if you are taking several views of the same negative, otherwise you will not get a homogeneous result. Personally, I switch everything to manual mode to avoid any unpleasant surprises. Shooting I am using Canon's EOS Utility directly connected to the PC as well. With the Liveview mode and the remote control of the box this reduces the complexity of handling on the small screen of the device, as well as the vibrations. In 24x36 I take a single shot. With 6x6 film, I usually do 6 takes which are assembled later. Stitching software I tried different software such as Photoshop with Photomerge, Microsoft ICE, Hugin stitching software but without satisfactory results, until I found PTGui. I finally bought the latter which is incredibly efficient, the negative always comes out well assembled the first time, very quickly, really impressive. Conversion For black and white, a simple inversion, desaturation, and some adjustment in brightness and contrast will give you an immediate result. Positive films obviously don't need to be inverted, so try the automatic adjustment as a starting point and adapt your method. On the other hand, reversing color negative films is a complex subject that I do not practice, but you will find many articles and tools relating to this subject on the web. Example of realization A sample of scanning to obtain 19296x19132 pixels image (369M pixels) from a 120 negative (Kodak TRI-X 400 black and white film shots with an Holga 120 GCFN camera). You'll probably notice on the image the reference spots added manually with a permanent marker pen on the ANR glass (negative side) to first, quickly align each shot to the next one, and second, to help automatic stitching later. Here it's not useful because the negative subject already have a lot of control points, but when I do long exposure with large blank areas, I'm really happy to have them for both cases, believe me! I'll later add a more specific sample with more details from scanning to printing. The image stitched from 24 views (4x6 files).Final image with reference spots removed, edited for my taste. More sample images scanned with DSLR ANR GLASS - HELP REQUESTED! I'm searching for someone who can provide me specific ANR Glass cut with a grid of small numbers (around 0.5mm) printed or engraved on it. If you have any idea or solution, please contact me. References Film Toaster support and special bench for scanning with a digital camera Scanning 120 negatives example, assembly, material, method Scanning a film with a digital camera method with color film, tripod, Nikon D90, 645 negative Comparison: cheap digital camera scanner vs pro scanners Noritsu HS-1800, Epson V850, Canon 350D DSLR Film Scanning The secret to perfect color negatives, Epson V600, Fuji X-T2 Cultural Heritage The "rolls" of reproduction, surreal prices How to scan film with a digital camera Epson V700, Canon 5D Mark II B&H article, scan without a scanner Nikon D800, Micro-NIKKOR 105mm, Imacon Flextight 646, Epson Perfection 4870 Did you like this article?If this article has helped you progress or enlightened you on certain points, that's the goal, mission accomplished! Others might be interested too, so don't hesitate to share it : on social networks, photography forums, your acquaintances having the same passion or job as you, to other members of the photography club you belong to, with a link on your website, on other publishing platforms. You can also make a small financial contribution. Finally, if you feel like it, leave a message below, it's always nice to have a feedback. Thank you very much and good continuation to you.

Camera scanningapp

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The scanning of a film is quite simple, you just have to convert a tiny area of ​​the film into a series of pixels, and like under an enlarger, this requires a light source, a film holder, a lens and not paper but a digital sensor. All scanners (Epson, Braun, Plustek, Imacon, Reflecta, Heidelberg, Canon, Optronics the missing Hasselblad Flextight and Nikon, etc.), whether flatbed, dedicated, drum, or other work somehow the same way with each their particularity and technical quality.

Camera scanningsetup

Great article! Very informative, thanks for writing it. I'm curious about the guide dots you show on the stitched 6x6 negative. Do you remove them after the fact in Photoshop? I have tried to stitch large negatives similarly, but sometimes get "lost" if the image has a large area without details. So this method could be very useful to me, but I don't quite understand your process.

For the 1:1, especially the 24x36, I sometimes opt for the excellent Nikon Scanner Nikkor ED 100mm f/2.8 from a Nikon Super Coolscan LS-8000 ED film scanner. The biggest difficulty with this lens is its alignment. With an aperture of f/2.8, the margin of error is small over 100mm. The best is to use the "focus stack" technique, but this requires to take several shots per negative and lengthens the time of realization considerably, since it is necessary to re-focus at different places for each shot. The scratches you see on the lens barrel are calibration marks made during its construction for quality verification. Being hidden in the scanner, the exterior finish is not critical at this stage. I now most often use the lens from a Minolta DiMAGE Scan Elite 5400 scanner. Although it is very small, its performance between 1:1 and 2:1 is absolutely fabulous. Size differences of the lenses I use to scan films with a DSLR. If you want to assemble your negative from several views, you will need to use a very good lens or "macro" system, especially regarding sharpness and vignetting in the angles. Common lenses are optimized for their own magnification limit, so pushing this factor away will give poor results, especially with blurred areas and vignetting. DSLR support A reproduction bench column would probably be simpler, but I was using a 3021BPRO tripod and a 3D 029 head from Manfrotto that I already had, with the central column reversed. I finally switched to a more accurate head to align the sensor and film with the Manfrotto MHXPRO-3WG, XPRO Geared 3 Way Pan/Tilt, allowing frame and shoot precisely by adjusting with the "micrometric" knobs. Any head and tripod will do if they hold the unit in the starting position without flinching. Methodology Size of scanned images The things that affect the size of your scan are the resolution of your camera, and the ability of your optical system (lens) to magnify the film. If you scan 24x36 format (135 film), using a 24x36 sensor and a macro lens with 1:1 magnification, your digital reproduction will have approximately the same megapixel resolution as your digital camera. If you scan a medium format movie on a 24x36 DSLR, there will be cropping due to the different aspect ratio, and your files will be smaller in megapixels than your camera, unless you take multiple different views of the cliché that you will assemble later. It pushes the boundaries! If your sensor has a high resolution it will be an advantage if you plan to scan for exposure prints, but for web printing and general printing any modern DSLR will do wonders. Without going into too complex calculations, for a 6x6 image in 6 shots, with the Canon 5DS R and the appropriate lens, the result is around 16000x16000 pixels, or a file of at least 250 million pixels. If necessary, it is possible to shoot as many takes as desired, but this often no longer makes sense, the grain becoming larger than the pixel of the sensor. Environment Go in the dark in order to avoid any interference of light, the complexity of the chromatic entanglements cannot indeed tolerate the interferences emanating from various light sources. The dust I advise you to handle your films with cotton gloves dedicated to this use. Beforehand, clean the space where you are going to operate, as well as the lens, the light panel, the film holder and any ANR glasses. To pass the material with an antistatic cloth, and to equip yourself with a system allowing you to regularly blow air on the area holding the film. Vibrations On this scale, you will see for yourself that the slightest vibration completely distorts the result. Some recommend using mirrorless cameras to avoid any vibration effect when triggering, which is a good idea. On Canon it is possible to request the permanent raising of the mirror with the Liveview, which amounts to the same thing. If you can't shoot remotely with a computer, get a remote trigger, or use the self-timer with 2 or 3 seconds of waiting. In any case, pay close attention to vibrations, it would be a shame to ruin everything at this stage. Sensor alignment The plane of the sensor and that of the film must be perfectly parallel. The spirit level is not used much at this level, except to position parallel or perpendicular to gravity, or you need a spirit level for the lighpad and for the film plane, but this is not very accurate. The best way is still to position a mirror on the film plane, or the light shelf and perfectly align the return of the lens image with the latter in the viewfinder. If you want to go further, various tools like Zig-align promise to perfectly align the whole, but not having tested them I do not comment. You can also use a negative test pattern, which will allow you to line up and possibly test different lenses for sharpness, especially at corners. Vlad S., who is based in New York, produced a quality 1951 USAF 135 or 120 negative using the high-resolution, high contrast Adox CMS II film (see uncut film image below). This film model is for the sole purpose of testing and fine-tuning cameras and lenses used to scan, film scanners, and to test the setup, focus and sharpness of darkroom enlargers. You can learn more and order these targets from Vlad's site. You can also use the "live view" with a mirror placed on the light source and based on the lines of the screen grid by magnifying more or less. The lens image must be perfectly centered vertically and horizontally. Find or add a very small element (dust, powder, etc ...) and place it perfectly centered on the live view grid. Change the focus very slightly and you should get a second halo of reflection around the element. As long as everything is not perfectly aligned in the centre, as well as the perspective projection, this is not good. The alignment is not good, the reflection halo is not centered with the element in the live view return.The alignment is good, the reflection halo is centered with the element in the live view return. All of these methods will allow you to check that everything is properly aligned to obtain perfectly homogeneous scans. Film side The film must be positioned emulsion towards the lens. The emulsion is located on the matt side of the film, or the hollow part when it bends. Film flatness I use ANR glass to ensure perfect film flatness. Scan done with a medium format scanner dedicated to 120 film. The negative was slightly curved, the edges are sharp, not the center.Scan of the same curled 120 film with a digital camera between 2 ANR glasses. Everything is perfectly clean.Without ANR glass the film is curved. A Emulsion, B Shiny film side, C Film holder, D Light source.With an ANR glass on top the film is flat.A ANR Glass, B Emulsion, C Shiny film side, D Film holder, E Light source. Focusing By using the Liveview it is possible to increase the magnification time to perfect the focus on the grain of the film. Some people advocate autofocus with autofocus lenses, I have not tested it but I suggest doing it manually for all to ensure the final consistency. Different Canon Liveview magnification factors up to the film grain.Different Canon Liveview magnification factors up to the film grain. Parameters The shots are all taken in RAW mode, the JPEG format being destructive (grain) and making stitching more difficult. If your light panel delivers a daylight temperature, also set your DSLR's white balance to daylight. The lens is open somewhere between f/5.6 and f/8 to have a little depth of field on the grain, and especially a maximum of sharpness and a minimum of distortion. Lowest sensitivity possible to avoid digital noise. From there you have to find the shutter speed that will best capture your view of the film. Once all these parameters are set, write them down, especially if you are taking several views of the same negative, otherwise you will not get a homogeneous result. Personally, I switch everything to manual mode to avoid any unpleasant surprises. Shooting I am using Canon's EOS Utility directly connected to the PC as well. With the Liveview mode and the remote control of the box this reduces the complexity of handling on the small screen of the device, as well as the vibrations. In 24x36 I take a single shot. With 6x6 film, I usually do 6 takes which are assembled later. Stitching software I tried different software such as Photoshop with Photomerge, Microsoft ICE, Hugin stitching software but without satisfactory results, until I found PTGui. I finally bought the latter which is incredibly efficient, the negative always comes out well assembled the first time, very quickly, really impressive. Conversion For black and white, a simple inversion, desaturation, and some adjustment in brightness and contrast will give you an immediate result. Positive films obviously don't need to be inverted, so try the automatic adjustment as a starting point and adapt your method. On the other hand, reversing color negative films is a complex subject that I do not practice, but you will find many articles and tools relating to this subject on the web. Example of realization A sample of scanning to obtain 19296x19132 pixels image (369M pixels) from a 120 negative (Kodak TRI-X 400 black and white film shots with an Holga 120 GCFN camera). You'll probably notice on the image the reference spots added manually with a permanent marker pen on the ANR glass (negative side) to first, quickly align each shot to the next one, and second, to help automatic stitching later. Here it's not useful because the negative subject already have a lot of control points, but when I do long exposure with large blank areas, I'm really happy to have them for both cases, believe me! I'll later add a more specific sample with more details from scanning to printing. The image stitched from 24 views (4x6 files).Final image with reference spots removed, edited for my taste. More sample images scanned with DSLR ANR GLASS - HELP REQUESTED! I'm searching for someone who can provide me specific ANR Glass cut with a grid of small numbers (around 0.5mm) printed or engraved on it. If you have any idea or solution, please contact me. References Film Toaster support and special bench for scanning with a digital camera Scanning 120 negatives example, assembly, material, method Scanning a film with a digital camera method with color film, tripod, Nikon D90, 645 negative Comparison: cheap digital camera scanner vs pro scanners Noritsu HS-1800, Epson V850, Canon 350D DSLR Film Scanning The secret to perfect color negatives, Epson V600, Fuji X-T2 Cultural Heritage The "rolls" of reproduction, surreal prices How to scan film with a digital camera Epson V700, Canon 5D Mark II B&H article, scan without a scanner Nikon D800, Micro-NIKKOR 105mm, Imacon Flextight 646, Epson Perfection 4870 Did you like this article?If this article has helped you progress or enlightened you on certain points, that's the goal, mission accomplished! Others might be interested too, so don't hesitate to share it : on social networks, photography forums, your acquaintances having the same passion or job as you, to other members of the photography club you belong to, with a link on your website, on other publishing platforms. You can also make a small financial contribution. Finally, if you feel like it, leave a message below, it's always nice to have a feedback. Thank you very much and good continuation to you.

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All of these methods will allow you to check that everything is properly aligned to obtain perfectly homogeneous scans. Film side The film must be positioned emulsion towards the lens. The emulsion is located on the matt side of the film, or the hollow part when it bends. Film flatness I use ANR glass to ensure perfect film flatness. Scan done with a medium format scanner dedicated to 120 film. The negative was slightly curved, the edges are sharp, not the center.Scan of the same curled 120 film with a digital camera between 2 ANR glasses. Everything is perfectly clean.Without ANR glass the film is curved. A Emulsion, B Shiny film side, C Film holder, D Light source.With an ANR glass on top the film is flat.A ANR Glass, B Emulsion, C Shiny film side, D Film holder, E Light source. Focusing By using the Liveview it is possible to increase the magnification time to perfect the focus on the grain of the film. Some people advocate autofocus with autofocus lenses, I have not tested it but I suggest doing it manually for all to ensure the final consistency. Different Canon Liveview magnification factors up to the film grain.Different Canon Liveview magnification factors up to the film grain. Parameters The shots are all taken in RAW mode, the JPEG format being destructive (grain) and making stitching more difficult. If your light panel delivers a daylight temperature, also set your DSLR's white balance to daylight. The lens is open somewhere between f/5.6 and f/8 to have a little depth of field on the grain, and especially a maximum of sharpness and a minimum of distortion. Lowest sensitivity possible to avoid digital noise. From there you have to find the shutter speed that will best capture your view of the film. Once all these parameters are set, write them down, especially if you are taking several views of the same negative, otherwise you will not get a homogeneous result. Personally, I switch everything to manual mode to avoid any unpleasant surprises. Shooting I am using Canon's EOS Utility directly connected to the PC as well. With the Liveview mode and the remote control of the box this reduces the complexity of handling on the small screen of the device, as well as the vibrations. In 24x36 I take a single shot. With 6x6 film, I usually do 6 takes which are assembled later. Stitching software I tried different software such as Photoshop with Photomerge, Microsoft ICE, Hugin stitching software but without satisfactory results, until I found PTGui. I finally bought the latter which is incredibly efficient, the negative always comes out well assembled the first time, very quickly, really impressive. Conversion For black and white, a simple inversion, desaturation, and some adjustment in brightness and contrast will give you an immediate result. Positive films obviously don't need to be inverted, so try the automatic adjustment as a starting point and adapt your method. On the other hand, reversing color negative films is a complex subject that I do not practice, but you will find many articles and tools relating to this subject on the web. Example of realization A sample of scanning to obtain 19296x19132 pixels image (369M pixels) from a 120 negative (Kodak TRI-X 400 black and white film shots with an Holga 120 GCFN camera). You'll probably notice on the image the reference spots added manually with a permanent marker pen on the ANR glass (negative side) to first, quickly align each shot to the next one, and second, to help automatic stitching later. Here it's not useful because the negative subject already have a lot of control points, but when I do long exposure with large blank areas, I'm really happy to have them for both cases, believe me! I'll later add a more specific sample with more details from scanning to printing. The image stitched from 24 views (4x6 files).Final image with reference spots removed, edited for my taste. More sample images scanned with DSLR ANR GLASS - HELP REQUESTED! I'm searching for someone who can provide me specific ANR Glass cut with a grid of small numbers (around 0.5mm) printed or engraved on it. If you have any idea or solution, please contact me. References Film Toaster support and special bench for scanning with a digital camera Scanning 120 negatives example, assembly, material, method Scanning a film with a digital camera method with color film, tripod, Nikon D90, 645 negative Comparison: cheap digital camera scanner vs pro scanners Noritsu HS-1800, Epson V850, Canon 350D DSLR Film Scanning The secret to perfect color negatives, Epson V600, Fuji X-T2 Cultural Heritage The "rolls" of reproduction, surreal prices How to scan film with a digital camera Epson V700, Canon 5D Mark II B&H article, scan without a scanner Nikon D800, Micro-NIKKOR 105mm, Imacon Flextight 646, Epson Perfection 4870 Did you like this article?If this article has helped you progress or enlightened you on certain points, that's the goal, mission accomplished! Others might be interested too, so don't hesitate to share it : on social networks, photography forums, your acquaintances having the same passion or job as you, to other members of the photography club you belong to, with a link on your website, on other publishing platforms. You can also make a small financial contribution. Finally, if you feel like it, leave a message below, it's always nice to have a feedback. Thank you very much and good continuation to you.

If you want to assemble your negative from several views, you will need to use a very good lens or "macro" system, especially regarding sharpness and vignetting in the angles. Common lenses are optimized for their own magnification limit, so pushing this factor away will give poor results, especially with blurred areas and vignetting.

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I also advise you to get a power supply AC adapter for your camera. Batteries will run down quite quickly if you leave it on permanently during scanning sessions. Lens Not having a Canon macro lens, I tested various lenses with extension rings or bellows in M42 mount (via an EOS EF adapter ring), including various 50 to 55 mm such as the Pancolar Electric 50 mm 1:8 from Carl Zeiss Jena DDR. Currently, I use a M42 enlarger lens Nikon EL-Nikkor 50mm 1:4 on extension tubes to assemble multiple views, beyond the 1:1 ratio. For the 1:1, especially the 24x36, I sometimes opt for the excellent Nikon Scanner Nikkor ED 100mm f/2.8 from a Nikon Super Coolscan LS-8000 ED film scanner. The biggest difficulty with this lens is its alignment. With an aperture of f/2.8, the margin of error is small over 100mm. The best is to use the "focus stack" technique, but this requires to take several shots per negative and lengthens the time of realization considerably, since it is necessary to re-focus at different places for each shot. The scratches you see on the lens barrel are calibration marks made during its construction for quality verification. Being hidden in the scanner, the exterior finish is not critical at this stage. I now most often use the lens from a Minolta DiMAGE Scan Elite 5400 scanner. Although it is very small, its performance between 1:1 and 2:1 is absolutely fabulous. Size differences of the lenses I use to scan films with a DSLR. If you want to assemble your negative from several views, you will need to use a very good lens or "macro" system, especially regarding sharpness and vignetting in the angles. Common lenses are optimized for their own magnification limit, so pushing this factor away will give poor results, especially with blurred areas and vignetting. DSLR support A reproduction bench column would probably be simpler, but I was using a 3021BPRO tripod and a 3D 029 head from Manfrotto that I already had, with the central column reversed. I finally switched to a more accurate head to align the sensor and film with the Manfrotto MHXPRO-3WG, XPRO Geared 3 Way Pan/Tilt, allowing frame and shoot precisely by adjusting with the "micrometric" knobs. Any head and tripod will do if they hold the unit in the starting position without flinching. Methodology Size of scanned images The things that affect the size of your scan are the resolution of your camera, and the ability of your optical system (lens) to magnify the film. If you scan 24x36 format (135 film), using a 24x36 sensor and a macro lens with 1:1 magnification, your digital reproduction will have approximately the same megapixel resolution as your digital camera. If you scan a medium format movie on a 24x36 DSLR, there will be cropping due to the different aspect ratio, and your files will be smaller in megapixels than your camera, unless you take multiple different views of the cliché that you will assemble later. It pushes the boundaries! If your sensor has a high resolution it will be an advantage if you plan to scan for exposure prints, but for web printing and general printing any modern DSLR will do wonders. Without going into too complex calculations, for a 6x6 image in 6 shots, with the Canon 5DS R and the appropriate lens, the result is around 16000x16000 pixels, or a file of at least 250 million pixels. If necessary, it is possible to shoot as many takes as desired, but this often no longer makes sense, the grain becoming larger than the pixel of the sensor. Environment Go in the dark in order to avoid any interference of light, the complexity of the chromatic entanglements cannot indeed tolerate the interferences emanating from various light sources. The dust I advise you to handle your films with cotton gloves dedicated to this use. Beforehand, clean the space where you are going to operate, as well as the lens, the light panel, the film holder and any ANR glasses. To pass the material with an antistatic cloth, and to equip yourself with a system allowing you to regularly blow air on the area holding the film. Vibrations On this scale, you will see for yourself that the slightest vibration completely distorts the result. Some recommend using mirrorless cameras to avoid any vibration effect when triggering, which is a good idea. On Canon it is possible to request the permanent raising of the mirror with the Liveview, which amounts to the same thing. If you can't shoot remotely with a computer, get a remote trigger, or use the self-timer with 2 or 3 seconds of waiting. In any case, pay close attention to vibrations, it would be a shame to ruin everything at this stage. Sensor alignment The plane of the sensor and that of the film must be perfectly parallel. The spirit level is not used much at this level, except to position parallel or perpendicular to gravity, or you need a spirit level for the lighpad and for the film plane, but this is not very accurate. The best way is still to position a mirror on the film plane, or the light shelf and perfectly align the return of the lens image with the latter in the viewfinder. If you want to go further, various tools like Zig-align promise to perfectly align the whole, but not having tested them I do not comment. You can also use a negative test pattern, which will allow you to line up and possibly test different lenses for sharpness, especially at corners. Vlad S., who is based in New York, produced a quality 1951 USAF 135 or 120 negative using the high-resolution, high contrast Adox CMS II film (see uncut film image below). This film model is for the sole purpose of testing and fine-tuning cameras and lenses used to scan, film scanners, and to test the setup, focus and sharpness of darkroom enlargers. You can learn more and order these targets from Vlad's site. You can also use the "live view" with a mirror placed on the light source and based on the lines of the screen grid by magnifying more or less. The lens image must be perfectly centered vertically and horizontally. Find or add a very small element (dust, powder, etc ...) and place it perfectly centered on the live view grid. Change the focus very slightly and you should get a second halo of reflection around the element. As long as everything is not perfectly aligned in the centre, as well as the perspective projection, this is not good. The alignment is not good, the reflection halo is not centered with the element in the live view return.The alignment is good, the reflection halo is centered with the element in the live view return. All of these methods will allow you to check that everything is properly aligned to obtain perfectly homogeneous scans. Film side The film must be positioned emulsion towards the lens. The emulsion is located on the matt side of the film, or the hollow part when it bends. Film flatness I use ANR glass to ensure perfect film flatness. Scan done with a medium format scanner dedicated to 120 film. The negative was slightly curved, the edges are sharp, not the center.Scan of the same curled 120 film with a digital camera between 2 ANR glasses. Everything is perfectly clean.Without ANR glass the film is curved. A Emulsion, B Shiny film side, C Film holder, D Light source.With an ANR glass on top the film is flat.A ANR Glass, B Emulsion, C Shiny film side, D Film holder, E Light source. Focusing By using the Liveview it is possible to increase the magnification time to perfect the focus on the grain of the film. Some people advocate autofocus with autofocus lenses, I have not tested it but I suggest doing it manually for all to ensure the final consistency. Different Canon Liveview magnification factors up to the film grain.Different Canon Liveview magnification factors up to the film grain. Parameters The shots are all taken in RAW mode, the JPEG format being destructive (grain) and making stitching more difficult. If your light panel delivers a daylight temperature, also set your DSLR's white balance to daylight. The lens is open somewhere between f/5.6 and f/8 to have a little depth of field on the grain, and especially a maximum of sharpness and a minimum of distortion. Lowest sensitivity possible to avoid digital noise. From there you have to find the shutter speed that will best capture your view of the film. Once all these parameters are set, write them down, especially if you are taking several views of the same negative, otherwise you will not get a homogeneous result. Personally, I switch everything to manual mode to avoid any unpleasant surprises. Shooting I am using Canon's EOS Utility directly connected to the PC as well. With the Liveview mode and the remote control of the box this reduces the complexity of handling on the small screen of the device, as well as the vibrations. In 24x36 I take a single shot. With 6x6 film, I usually do 6 takes which are assembled later. Stitching software I tried different software such as Photoshop with Photomerge, Microsoft ICE, Hugin stitching software but without satisfactory results, until I found PTGui. I finally bought the latter which is incredibly efficient, the negative always comes out well assembled the first time, very quickly, really impressive. Conversion For black and white, a simple inversion, desaturation, and some adjustment in brightness and contrast will give you an immediate result. Positive films obviously don't need to be inverted, so try the automatic adjustment as a starting point and adapt your method. On the other hand, reversing color negative films is a complex subject that I do not practice, but you will find many articles and tools relating to this subject on the web. Example of realization A sample of scanning to obtain 19296x19132 pixels image (369M pixels) from a 120 negative (Kodak TRI-X 400 black and white film shots with an Holga 120 GCFN camera). You'll probably notice on the image the reference spots added manually with a permanent marker pen on the ANR glass (negative side) to first, quickly align each shot to the next one, and second, to help automatic stitching later. Here it's not useful because the negative subject already have a lot of control points, but when I do long exposure with large blank areas, I'm really happy to have them for both cases, believe me! I'll later add a more specific sample with more details from scanning to printing. The image stitched from 24 views (4x6 files).Final image with reference spots removed, edited for my taste. More sample images scanned with DSLR ANR GLASS - HELP REQUESTED! I'm searching for someone who can provide me specific ANR Glass cut with a grid of small numbers (around 0.5mm) printed or engraved on it. If you have any idea or solution, please contact me. References Film Toaster support and special bench for scanning with a digital camera Scanning 120 negatives example, assembly, material, method Scanning a film with a digital camera method with color film, tripod, Nikon D90, 645 negative Comparison: cheap digital camera scanner vs pro scanners Noritsu HS-1800, Epson V850, Canon 350D DSLR Film Scanning The secret to perfect color negatives, Epson V600, Fuji X-T2 Cultural Heritage The "rolls" of reproduction, surreal prices How to scan film with a digital camera Epson V700, Canon 5D Mark II B&H article, scan without a scanner Nikon D800, Micro-NIKKOR 105mm, Imacon Flextight 646, Epson Perfection 4870 Did you like this article?If this article has helped you progress or enlightened you on certain points, that's the goal, mission accomplished! Others might be interested too, so don't hesitate to share it : on social networks, photography forums, your acquaintances having the same passion or job as you, to other members of the photography club you belong to, with a link on your website, on other publishing platforms. You can also make a small financial contribution. Finally, if you feel like it, leave a message below, it's always nice to have a feedback. Thank you very much and good continuation to you.

If you scan a medium format movie on a 24x36 DSLR, there will be cropping due to the different aspect ratio, and your files will be smaller in megapixels than your camera, unless you take multiple different views of the cliché that you will assemble later. It pushes the boundaries! If your sensor has a high resolution it will be an advantage if you plan to scan for exposure prints, but for web printing and general printing any modern DSLR will do wonders. Without going into too complex calculations, for a 6x6 image in 6 shots, with the Canon 5DS R and the appropriate lens, the result is around 16000x16000 pixels, or a file of at least 250 million pixels. If necessary, it is possible to shoot as many takes as desired, but this often no longer makes sense, the grain becoming larger than the pixel of the sensor. Environment Go in the dark in order to avoid any interference of light, the complexity of the chromatic entanglements cannot indeed tolerate the interferences emanating from various light sources. The dust I advise you to handle your films with cotton gloves dedicated to this use. Beforehand, clean the space where you are going to operate, as well as the lens, the light panel, the film holder and any ANR glasses. To pass the material with an antistatic cloth, and to equip yourself with a system allowing you to regularly blow air on the area holding the film. Vibrations On this scale, you will see for yourself that the slightest vibration completely distorts the result. Some recommend using mirrorless cameras to avoid any vibration effect when triggering, which is a good idea. On Canon it is possible to request the permanent raising of the mirror with the Liveview, which amounts to the same thing. If you can't shoot remotely with a computer, get a remote trigger, or use the self-timer with 2 or 3 seconds of waiting. In any case, pay close attention to vibrations, it would be a shame to ruin everything at this stage. Sensor alignment The plane of the sensor and that of the film must be perfectly parallel. The spirit level is not used much at this level, except to position parallel or perpendicular to gravity, or you need a spirit level for the lighpad and for the film plane, but this is not very accurate. The best way is still to position a mirror on the film plane, or the light shelf and perfectly align the return of the lens image with the latter in the viewfinder. If you want to go further, various tools like Zig-align promise to perfectly align the whole, but not having tested them I do not comment. You can also use a negative test pattern, which will allow you to line up and possibly test different lenses for sharpness, especially at corners. Vlad S., who is based in New York, produced a quality 1951 USAF 135 or 120 negative using the high-resolution, high contrast Adox CMS II film (see uncut film image below). This film model is for the sole purpose of testing and fine-tuning cameras and lenses used to scan, film scanners, and to test the setup, focus and sharpness of darkroom enlargers. You can learn more and order these targets from Vlad's site. You can also use the "live view" with a mirror placed on the light source and based on the lines of the screen grid by magnifying more or less. The lens image must be perfectly centered vertically and horizontally. Find or add a very small element (dust, powder, etc ...) and place it perfectly centered on the live view grid. Change the focus very slightly and you should get a second halo of reflection around the element. As long as everything is not perfectly aligned in the centre, as well as the perspective projection, this is not good. The alignment is not good, the reflection halo is not centered with the element in the live view return.The alignment is good, the reflection halo is centered with the element in the live view return. All of these methods will allow you to check that everything is properly aligned to obtain perfectly homogeneous scans. Film side The film must be positioned emulsion towards the lens. The emulsion is located on the matt side of the film, or the hollow part when it bends. Film flatness I use ANR glass to ensure perfect film flatness. Scan done with a medium format scanner dedicated to 120 film. The negative was slightly curved, the edges are sharp, not the center.Scan of the same curled 120 film with a digital camera between 2 ANR glasses. Everything is perfectly clean.Without ANR glass the film is curved. A Emulsion, B Shiny film side, C Film holder, D Light source.With an ANR glass on top the film is flat.A ANR Glass, B Emulsion, C Shiny film side, D Film holder, E Light source. Focusing By using the Liveview it is possible to increase the magnification time to perfect the focus on the grain of the film. Some people advocate autofocus with autofocus lenses, I have not tested it but I suggest doing it manually for all to ensure the final consistency. Different Canon Liveview magnification factors up to the film grain.Different Canon Liveview magnification factors up to the film grain. Parameters The shots are all taken in RAW mode, the JPEG format being destructive (grain) and making stitching more difficult. If your light panel delivers a daylight temperature, also set your DSLR's white balance to daylight. The lens is open somewhere between f/5.6 and f/8 to have a little depth of field on the grain, and especially a maximum of sharpness and a minimum of distortion. Lowest sensitivity possible to avoid digital noise. From there you have to find the shutter speed that will best capture your view of the film. Once all these parameters are set, write them down, especially if you are taking several views of the same negative, otherwise you will not get a homogeneous result. Personally, I switch everything to manual mode to avoid any unpleasant surprises. Shooting I am using Canon's EOS Utility directly connected to the PC as well. With the Liveview mode and the remote control of the box this reduces the complexity of handling on the small screen of the device, as well as the vibrations. In 24x36 I take a single shot. With 6x6 film, I usually do 6 takes which are assembled later. Stitching software I tried different software such as Photoshop with Photomerge, Microsoft ICE, Hugin stitching software but without satisfactory results, until I found PTGui. I finally bought the latter which is incredibly efficient, the negative always comes out well assembled the first time, very quickly, really impressive. Conversion For black and white, a simple inversion, desaturation, and some adjustment in brightness and contrast will give you an immediate result. Positive films obviously don't need to be inverted, so try the automatic adjustment as a starting point and adapt your method. On the other hand, reversing color negative films is a complex subject that I do not practice, but you will find many articles and tools relating to this subject on the web. Example of realization A sample of scanning to obtain 19296x19132 pixels image (369M pixels) from a 120 negative (Kodak TRI-X 400 black and white film shots with an Holga 120 GCFN camera). You'll probably notice on the image the reference spots added manually with a permanent marker pen on the ANR glass (negative side) to first, quickly align each shot to the next one, and second, to help automatic stitching later. Here it's not useful because the negative subject already have a lot of control points, but when I do long exposure with large blank areas, I'm really happy to have them for both cases, believe me! I'll later add a more specific sample with more details from scanning to printing. The image stitched from 24 views (4x6 files).Final image with reference spots removed, edited for my taste. More sample images scanned with DSLR ANR GLASS - HELP REQUESTED! I'm searching for someone who can provide me specific ANR Glass cut with a grid of small numbers (around 0.5mm) printed or engraved on it. If you have any idea or solution, please contact me. References Film Toaster support and special bench for scanning with a digital camera Scanning 120 negatives example, assembly, material, method Scanning a film with a digital camera method with color film, tripod, Nikon D90, 645 negative Comparison: cheap digital camera scanner vs pro scanners Noritsu HS-1800, Epson V850, Canon 350D DSLR Film Scanning The secret to perfect color negatives, Epson V600, Fuji X-T2 Cultural Heritage The "rolls" of reproduction, surreal prices How to scan film with a digital camera Epson V700, Canon 5D Mark II B&H article, scan without a scanner Nikon D800, Micro-NIKKOR 105mm, Imacon Flextight 646, Epson Perfection 4870 Did you like this article?If this article has helped you progress or enlightened you on certain points, that's the goal, mission accomplished! Others might be interested too, so don't hesitate to share it : on social networks, photography forums, your acquaintances having the same passion or job as you, to other members of the photography club you belong to, with a link on your website, on other publishing platforms. You can also make a small financial contribution. Finally, if you feel like it, leave a message below, it's always nice to have a feedback. Thank you very much and good continuation to you.

Negative Lab Pro

QR codescanning camera

I keep them flat with at least 1 ANR (Anti Newton Ring) glass underneath, specifically designed to avoid these famous Newton's rings.

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What equipment and method to digitize a negative or positive film in very high resolution using a digital camera in order to obtain an exceptional quality rendering? Unlike a dedicated scanner, you will be able to constantly adapt your equipment to your expectations, whether visual, temporal or budgetary.

DSLRscanningtips

Thank you all for your messages. Yes also you can mount the Minolta 5400 Elite lens on almost anything with the RAF "18mm clamp to RMS male thread adapter". Yes, the guide dots are removed later with an image editor.

If your sensor has a high resolution it will be an advantage if you plan to scan for exposure prints, but for web printing and general printing any modern DSLR will do wonders. Without going into too complex calculations, for a 6x6 image in 6 shots, with the Canon 5DS R and the appropriate lens, the result is around 16000x16000 pixels, or a file of at least 250 million pixels. If necessary, it is possible to shoot as many takes as desired, but this often no longer makes sense, the grain becoming larger than the pixel of the sensor. Environment Go in the dark in order to avoid any interference of light, the complexity of the chromatic entanglements cannot indeed tolerate the interferences emanating from various light sources. The dust I advise you to handle your films with cotton gloves dedicated to this use. Beforehand, clean the space where you are going to operate, as well as the lens, the light panel, the film holder and any ANR glasses. To pass the material with an antistatic cloth, and to equip yourself with a system allowing you to regularly blow air on the area holding the film. Vibrations On this scale, you will see for yourself that the slightest vibration completely distorts the result. Some recommend using mirrorless cameras to avoid any vibration effect when triggering, which is a good idea. On Canon it is possible to request the permanent raising of the mirror with the Liveview, which amounts to the same thing. If you can't shoot remotely with a computer, get a remote trigger, or use the self-timer with 2 or 3 seconds of waiting. In any case, pay close attention to vibrations, it would be a shame to ruin everything at this stage. Sensor alignment The plane of the sensor and that of the film must be perfectly parallel. The spirit level is not used much at this level, except to position parallel or perpendicular to gravity, or you need a spirit level for the lighpad and for the film plane, but this is not very accurate. The best way is still to position a mirror on the film plane, or the light shelf and perfectly align the return of the lens image with the latter in the viewfinder. If you want to go further, various tools like Zig-align promise to perfectly align the whole, but not having tested them I do not comment. You can also use a negative test pattern, which will allow you to line up and possibly test different lenses for sharpness, especially at corners. Vlad S., who is based in New York, produced a quality 1951 USAF 135 or 120 negative using the high-resolution, high contrast Adox CMS II film (see uncut film image below). This film model is for the sole purpose of testing and fine-tuning cameras and lenses used to scan, film scanners, and to test the setup, focus and sharpness of darkroom enlargers. You can learn more and order these targets from Vlad's site. You can also use the "live view" with a mirror placed on the light source and based on the lines of the screen grid by magnifying more or less. The lens image must be perfectly centered vertically and horizontally. Find or add a very small element (dust, powder, etc ...) and place it perfectly centered on the live view grid. Change the focus very slightly and you should get a second halo of reflection around the element. As long as everything is not perfectly aligned in the centre, as well as the perspective projection, this is not good. The alignment is not good, the reflection halo is not centered with the element in the live view return.The alignment is good, the reflection halo is centered with the element in the live view return. All of these methods will allow you to check that everything is properly aligned to obtain perfectly homogeneous scans. Film side The film must be positioned emulsion towards the lens. The emulsion is located on the matt side of the film, or the hollow part when it bends. Film flatness I use ANR glass to ensure perfect film flatness. Scan done with a medium format scanner dedicated to 120 film. The negative was slightly curved, the edges are sharp, not the center.Scan of the same curled 120 film with a digital camera between 2 ANR glasses. Everything is perfectly clean.Without ANR glass the film is curved. A Emulsion, B Shiny film side, C Film holder, D Light source.With an ANR glass on top the film is flat.A ANR Glass, B Emulsion, C Shiny film side, D Film holder, E Light source. Focusing By using the Liveview it is possible to increase the magnification time to perfect the focus on the grain of the film. Some people advocate autofocus with autofocus lenses, I have not tested it but I suggest doing it manually for all to ensure the final consistency. Different Canon Liveview magnification factors up to the film grain.Different Canon Liveview magnification factors up to the film grain. Parameters The shots are all taken in RAW mode, the JPEG format being destructive (grain) and making stitching more difficult. If your light panel delivers a daylight temperature, also set your DSLR's white balance to daylight. The lens is open somewhere between f/5.6 and f/8 to have a little depth of field on the grain, and especially a maximum of sharpness and a minimum of distortion. Lowest sensitivity possible to avoid digital noise. From there you have to find the shutter speed that will best capture your view of the film. Once all these parameters are set, write them down, especially if you are taking several views of the same negative, otherwise you will not get a homogeneous result. Personally, I switch everything to manual mode to avoid any unpleasant surprises. Shooting I am using Canon's EOS Utility directly connected to the PC as well. With the Liveview mode and the remote control of the box this reduces the complexity of handling on the small screen of the device, as well as the vibrations. In 24x36 I take a single shot. With 6x6 film, I usually do 6 takes which are assembled later. Stitching software I tried different software such as Photoshop with Photomerge, Microsoft ICE, Hugin stitching software but without satisfactory results, until I found PTGui. I finally bought the latter which is incredibly efficient, the negative always comes out well assembled the first time, very quickly, really impressive. Conversion For black and white, a simple inversion, desaturation, and some adjustment in brightness and contrast will give you an immediate result. Positive films obviously don't need to be inverted, so try the automatic adjustment as a starting point and adapt your method. On the other hand, reversing color negative films is a complex subject that I do not practice, but you will find many articles and tools relating to this subject on the web. Example of realization A sample of scanning to obtain 19296x19132 pixels image (369M pixels) from a 120 negative (Kodak TRI-X 400 black and white film shots with an Holga 120 GCFN camera). You'll probably notice on the image the reference spots added manually with a permanent marker pen on the ANR glass (negative side) to first, quickly align each shot to the next one, and second, to help automatic stitching later. Here it's not useful because the negative subject already have a lot of control points, but when I do long exposure with large blank areas, I'm really happy to have them for both cases, believe me! I'll later add a more specific sample with more details from scanning to printing. The image stitched from 24 views (4x6 files).Final image with reference spots removed, edited for my taste. More sample images scanned with DSLR ANR GLASS - HELP REQUESTED! I'm searching for someone who can provide me specific ANR Glass cut with a grid of small numbers (around 0.5mm) printed or engraved on it. If you have any idea or solution, please contact me. References Film Toaster support and special bench for scanning with a digital camera Scanning 120 negatives example, assembly, material, method Scanning a film with a digital camera method with color film, tripod, Nikon D90, 645 negative Comparison: cheap digital camera scanner vs pro scanners Noritsu HS-1800, Epson V850, Canon 350D DSLR Film Scanning The secret to perfect color negatives, Epson V600, Fuji X-T2 Cultural Heritage The "rolls" of reproduction, surreal prices How to scan film with a digital camera Epson V700, Canon 5D Mark II B&H article, scan without a scanner Nikon D800, Micro-NIKKOR 105mm, Imacon Flextight 646, Epson Perfection 4870 Did you like this article?If this article has helped you progress or enlightened you on certain points, that's the goal, mission accomplished! Others might be interested too, so don't hesitate to share it : on social networks, photography forums, your acquaintances having the same passion or job as you, to other members of the photography club you belong to, with a link on your website, on other publishing platforms. You can also make a small financial contribution. Finally, if you feel like it, leave a message below, it's always nice to have a feedback. Thank you very much and good continuation to you.

Note:This Channel is available only in Bangladesh, Asia & Middle East RT NEWS is the first international news channel launched in 2005, RT is now a global, round-the-clock news network of eight TV channels, broadcasting news, current affairs, and documentaries, with digital platforms in six languages and RUPTLY video news agency. Round-the-clock news channels in English, Arabic, Spanish, and documentary channel RT Doc, in English and Russian, broadcast from Moscow, while RT America airs from Washington, RT UK from London, and RT France from Paris. Today, RT is available in more than 100 countries spanning five continents. RT creates news with an edge for viewers who want to Question More. RT covers stories overlooked by the mainstream media, provides alternative perspectives on current affairs, and acquaints international audiences with a Russian viewpoint on major global events.

If you want to go further, various tools like Zig-align promise to perfectly align the whole, but not having tested them I do not comment.

If you scan 24x36 format (135 film), using a 24x36 sensor and a macro lens with 1:1 magnification, your digital reproduction will have approximately the same megapixel resolution as your digital camera. If you scan a medium format movie on a 24x36 DSLR, there will be cropping due to the different aspect ratio, and your files will be smaller in megapixels than your camera, unless you take multiple different views of the cliché that you will assemble later. It pushes the boundaries! If your sensor has a high resolution it will be an advantage if you plan to scan for exposure prints, but for web printing and general printing any modern DSLR will do wonders. Without going into too complex calculations, for a 6x6 image in 6 shots, with the Canon 5DS R and the appropriate lens, the result is around 16000x16000 pixels, or a file of at least 250 million pixels. If necessary, it is possible to shoot as many takes as desired, but this often no longer makes sense, the grain becoming larger than the pixel of the sensor. Environment Go in the dark in order to avoid any interference of light, the complexity of the chromatic entanglements cannot indeed tolerate the interferences emanating from various light sources. The dust I advise you to handle your films with cotton gloves dedicated to this use. Beforehand, clean the space where you are going to operate, as well as the lens, the light panel, the film holder and any ANR glasses. To pass the material with an antistatic cloth, and to equip yourself with a system allowing you to regularly blow air on the area holding the film. Vibrations On this scale, you will see for yourself that the slightest vibration completely distorts the result. Some recommend using mirrorless cameras to avoid any vibration effect when triggering, which is a good idea. On Canon it is possible to request the permanent raising of the mirror with the Liveview, which amounts to the same thing. If you can't shoot remotely with a computer, get a remote trigger, or use the self-timer with 2 or 3 seconds of waiting. In any case, pay close attention to vibrations, it would be a shame to ruin everything at this stage. Sensor alignment The plane of the sensor and that of the film must be perfectly parallel. The spirit level is not used much at this level, except to position parallel or perpendicular to gravity, or you need a spirit level for the lighpad and for the film plane, but this is not very accurate. The best way is still to position a mirror on the film plane, or the light shelf and perfectly align the return of the lens image with the latter in the viewfinder. If you want to go further, various tools like Zig-align promise to perfectly align the whole, but not having tested them I do not comment. You can also use a negative test pattern, which will allow you to line up and possibly test different lenses for sharpness, especially at corners. Vlad S., who is based in New York, produced a quality 1951 USAF 135 or 120 negative using the high-resolution, high contrast Adox CMS II film (see uncut film image below). This film model is for the sole purpose of testing and fine-tuning cameras and lenses used to scan, film scanners, and to test the setup, focus and sharpness of darkroom enlargers. You can learn more and order these targets from Vlad's site. You can also use the "live view" with a mirror placed on the light source and based on the lines of the screen grid by magnifying more or less. The lens image must be perfectly centered vertically and horizontally. Find or add a very small element (dust, powder, etc ...) and place it perfectly centered on the live view grid. Change the focus very slightly and you should get a second halo of reflection around the element. As long as everything is not perfectly aligned in the centre, as well as the perspective projection, this is not good. The alignment is not good, the reflection halo is not centered with the element in the live view return.The alignment is good, the reflection halo is centered with the element in the live view return. All of these methods will allow you to check that everything is properly aligned to obtain perfectly homogeneous scans. Film side The film must be positioned emulsion towards the lens. The emulsion is located on the matt side of the film, or the hollow part when it bends. Film flatness I use ANR glass to ensure perfect film flatness. Scan done with a medium format scanner dedicated to 120 film. The negative was slightly curved, the edges are sharp, not the center.Scan of the same curled 120 film with a digital camera between 2 ANR glasses. Everything is perfectly clean.Without ANR glass the film is curved. A Emulsion, B Shiny film side, C Film holder, D Light source.With an ANR glass on top the film is flat.A ANR Glass, B Emulsion, C Shiny film side, D Film holder, E Light source. Focusing By using the Liveview it is possible to increase the magnification time to perfect the focus on the grain of the film. Some people advocate autofocus with autofocus lenses, I have not tested it but I suggest doing it manually for all to ensure the final consistency. Different Canon Liveview magnification factors up to the film grain.Different Canon Liveview magnification factors up to the film grain. Parameters The shots are all taken in RAW mode, the JPEG format being destructive (grain) and making stitching more difficult. If your light panel delivers a daylight temperature, also set your DSLR's white balance to daylight. The lens is open somewhere between f/5.6 and f/8 to have a little depth of field on the grain, and especially a maximum of sharpness and a minimum of distortion. Lowest sensitivity possible to avoid digital noise. From there you have to find the shutter speed that will best capture your view of the film. Once all these parameters are set, write them down, especially if you are taking several views of the same negative, otherwise you will not get a homogeneous result. Personally, I switch everything to manual mode to avoid any unpleasant surprises. Shooting I am using Canon's EOS Utility directly connected to the PC as well. With the Liveview mode and the remote control of the box this reduces the complexity of handling on the small screen of the device, as well as the vibrations. In 24x36 I take a single shot. With 6x6 film, I usually do 6 takes which are assembled later. Stitching software I tried different software such as Photoshop with Photomerge, Microsoft ICE, Hugin stitching software but without satisfactory results, until I found PTGui. I finally bought the latter which is incredibly efficient, the negative always comes out well assembled the first time, very quickly, really impressive. Conversion For black and white, a simple inversion, desaturation, and some adjustment in brightness and contrast will give you an immediate result. Positive films obviously don't need to be inverted, so try the automatic adjustment as a starting point and adapt your method. On the other hand, reversing color negative films is a complex subject that I do not practice, but you will find many articles and tools relating to this subject on the web. Example of realization A sample of scanning to obtain 19296x19132 pixels image (369M pixels) from a 120 negative (Kodak TRI-X 400 black and white film shots with an Holga 120 GCFN camera). You'll probably notice on the image the reference spots added manually with a permanent marker pen on the ANR glass (negative side) to first, quickly align each shot to the next one, and second, to help automatic stitching later. Here it's not useful because the negative subject already have a lot of control points, but when I do long exposure with large blank areas, I'm really happy to have them for both cases, believe me! I'll later add a more specific sample with more details from scanning to printing. The image stitched from 24 views (4x6 files).Final image with reference spots removed, edited for my taste. More sample images scanned with DSLR ANR GLASS - HELP REQUESTED! I'm searching for someone who can provide me specific ANR Glass cut with a grid of small numbers (around 0.5mm) printed or engraved on it. If you have any idea or solution, please contact me. References Film Toaster support and special bench for scanning with a digital camera Scanning 120 negatives example, assembly, material, method Scanning a film with a digital camera method with color film, tripod, Nikon D90, 645 negative Comparison: cheap digital camera scanner vs pro scanners Noritsu HS-1800, Epson V850, Canon 350D DSLR Film Scanning The secret to perfect color negatives, Epson V600, Fuji X-T2 Cultural Heritage The "rolls" of reproduction, surreal prices How to scan film with a digital camera Epson V700, Canon 5D Mark II B&H article, scan without a scanner Nikon D800, Micro-NIKKOR 105mm, Imacon Flextight 646, Epson Perfection 4870 Did you like this article?If this article has helped you progress or enlightened you on certain points, that's the goal, mission accomplished! Others might be interested too, so don't hesitate to share it : on social networks, photography forums, your acquaintances having the same passion or job as you, to other members of the photography club you belong to, with a link on your website, on other publishing platforms. You can also make a small financial contribution. Finally, if you feel like it, leave a message below, it's always nice to have a feedback. Thank you very much and good continuation to you.

Very interesting and excellent article Denis, I am still lucky enough to be able to use my Minoltascan 5400 with Vuescan software. The resulting scans look good overall to me, some sporadic flatness issues in the negative films. I hope it works for a long time since no one is able to fix it anymore!

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You'll probably notice on the image the reference spots added manually with a permanent marker pen on the ANR glass (negative side) to first, quickly align each shot to the next one, and second, to help automatic stitching later. Here it's not useful because the negative subject already have a lot of control points, but when I do long exposure with large blank areas, I'm really happy to have them for both cases, believe me!

You can also use a negative test pattern, which will allow you to line up and possibly test different lenses for sharpness, especially at corners. Vlad S., who is based in New York, produced a quality 1951 USAF 135 or 120 negative using the high-resolution, high contrast Adox CMS II film (see uncut film image below). This film model is for the sole purpose of testing and fine-tuning cameras and lenses used to scan, film scanners, and to test the setup, focus and sharpness of darkroom enlargers. You can learn more and order these targets from Vlad's site. You can also use the "live view" with a mirror placed on the light source and based on the lines of the screen grid by magnifying more or less. The lens image must be perfectly centered vertically and horizontally. Find or add a very small element (dust, powder, etc ...) and place it perfectly centered on the live view grid. Change the focus very slightly and you should get a second halo of reflection around the element. As long as everything is not perfectly aligned in the centre, as well as the perspective projection, this is not good. The alignment is not good, the reflection halo is not centered with the element in the live view return.The alignment is good, the reflection halo is centered with the element in the live view return. All of these methods will allow you to check that everything is properly aligned to obtain perfectly homogeneous scans. Film side The film must be positioned emulsion towards the lens. The emulsion is located on the matt side of the film, or the hollow part when it bends. Film flatness I use ANR glass to ensure perfect film flatness. Scan done with a medium format scanner dedicated to 120 film. The negative was slightly curved, the edges are sharp, not the center.Scan of the same curled 120 film with a digital camera between 2 ANR glasses. Everything is perfectly clean.Without ANR glass the film is curved. A Emulsion, B Shiny film side, C Film holder, D Light source.With an ANR glass on top the film is flat.A ANR Glass, B Emulsion, C Shiny film side, D Film holder, E Light source. Focusing By using the Liveview it is possible to increase the magnification time to perfect the focus on the grain of the film. Some people advocate autofocus with autofocus lenses, I have not tested it but I suggest doing it manually for all to ensure the final consistency. Different Canon Liveview magnification factors up to the film grain.Different Canon Liveview magnification factors up to the film grain. Parameters The shots are all taken in RAW mode, the JPEG format being destructive (grain) and making stitching more difficult. If your light panel delivers a daylight temperature, also set your DSLR's white balance to daylight. The lens is open somewhere between f/5.6 and f/8 to have a little depth of field on the grain, and especially a maximum of sharpness and a minimum of distortion. Lowest sensitivity possible to avoid digital noise. From there you have to find the shutter speed that will best capture your view of the film. Once all these parameters are set, write them down, especially if you are taking several views of the same negative, otherwise you will not get a homogeneous result. Personally, I switch everything to manual mode to avoid any unpleasant surprises. Shooting I am using Canon's EOS Utility directly connected to the PC as well. With the Liveview mode and the remote control of the box this reduces the complexity of handling on the small screen of the device, as well as the vibrations. In 24x36 I take a single shot. With 6x6 film, I usually do 6 takes which are assembled later. Stitching software I tried different software such as Photoshop with Photomerge, Microsoft ICE, Hugin stitching software but without satisfactory results, until I found PTGui. I finally bought the latter which is incredibly efficient, the negative always comes out well assembled the first time, very quickly, really impressive. Conversion For black and white, a simple inversion, desaturation, and some adjustment in brightness and contrast will give you an immediate result. Positive films obviously don't need to be inverted, so try the automatic adjustment as a starting point and adapt your method. On the other hand, reversing color negative films is a complex subject that I do not practice, but you will find many articles and tools relating to this subject on the web. Example of realization A sample of scanning to obtain 19296x19132 pixels image (369M pixels) from a 120 negative (Kodak TRI-X 400 black and white film shots with an Holga 120 GCFN camera). You'll probably notice on the image the reference spots added manually with a permanent marker pen on the ANR glass (negative side) to first, quickly align each shot to the next one, and second, to help automatic stitching later. Here it's not useful because the negative subject already have a lot of control points, but when I do long exposure with large blank areas, I'm really happy to have them for both cases, believe me! I'll later add a more specific sample with more details from scanning to printing. The image stitched from 24 views (4x6 files).Final image with reference spots removed, edited for my taste. More sample images scanned with DSLR ANR GLASS - HELP REQUESTED! I'm searching for someone who can provide me specific ANR Glass cut with a grid of small numbers (around 0.5mm) printed or engraved on it. If you have any idea or solution, please contact me. References Film Toaster support and special bench for scanning with a digital camera Scanning 120 negatives example, assembly, material, method Scanning a film with a digital camera method with color film, tripod, Nikon D90, 645 negative Comparison: cheap digital camera scanner vs pro scanners Noritsu HS-1800, Epson V850, Canon 350D DSLR Film Scanning The secret to perfect color negatives, Epson V600, Fuji X-T2 Cultural Heritage The "rolls" of reproduction, surreal prices How to scan film with a digital camera Epson V700, Canon 5D Mark II B&H article, scan without a scanner Nikon D800, Micro-NIKKOR 105mm, Imacon Flextight 646, Epson Perfection 4870 Did you like this article?If this article has helped you progress or enlightened you on certain points, that's the goal, mission accomplished! Others might be interested too, so don't hesitate to share it : on social networks, photography forums, your acquaintances having the same passion or job as you, to other members of the photography club you belong to, with a link on your website, on other publishing platforms. You can also make a small financial contribution. Finally, if you feel like it, leave a message below, it's always nice to have a feedback. Thank you very much and good continuation to you.

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