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Medium format slides to digital

Thorkil

Well-known member
...the Hasselblad 907x and my Leica R macro lenses/bellows/etc when that camera arrives...
G
(I certainly will envy you that 907X :rolleyes:, but not as copystand - I'm dreaming of that the later non-moon-model will be cheaper than the X1D II - but it surely won't)
 

Godfrey

Well-known member
(I certainly will envy you that 907X :rolleyes:, but not as copystand - I'm dreaming of that the later non-moon-model will be cheaper than the X1D II - but it surely won't)
LOL! I know I'm paying a premium for a silly little plaque on the side and the color, but ... what the heck? I figure I'll only really get the chance to buy one new Hasselblad in my lifetime and I might as well go for the gusto. The Apollo program means so much to me, at an emotional level, that I just couldn't pass it up. :D

I don't know how much more the standard edition 907x in chrome will be. Seems to me they're cutting it pretty close with the SE model at back+body for $7500, given that the guts of the back is pretty much the same as the guts of the X1D II minus the EVF cost. The 907x body is simpler, but there are still other bits that have to go with the package to make it useful. It's an interesting balancing act.

G
 

dougpeterson

Workshop Member
I'm going to buy a Kaiser flat lightbox with 5.000 Kelvin adjusted light, guess its more easy to tune-in then i C1
The Kelvin color balance of the light source is relatively unimportant. The CRI/CQS and accuracy of the ICC profile for the [camera+light source] is very important.

Color film had beautiful and nuanced color. Using a mediocre light source really wastes that.
 

Mexecutioner

Well-known member
LOL! I know I'm paying a premium for a silly little plaque on the side and the color, but ... what the heck? I figure I'll only really get the chance to buy one new Hasselblad in my lifetime and I might as well go for the gusto. The Apollo program means so much to me, at an emotional level, that I just couldn't pass it up. :D

I don't know how much more the standard edition 907x in chrome will be. Seems to me they're cutting it pretty close with the SE model at back+body for $7500, given that the guts of the back is pretty much the same as the guts of the X1D II minus the EVF cost. The 907x body is simpler, but there are still other bits that have to go with the package to make it useful. It's an interesting balancing act.

G
I am glad you ordered what you want, especially with the moon program being so meaningful to you. The money difference can't be really quantified nor explain the satisfaction one gets to get just that perfect thing.
 

JoelM

Well-known member
I've had success with camera scanning as well as flatbed scanning, up to 6x17. Dust is the enemy in my experience. With 35mm, I mostly use the Nikon Coolscan 5000, but camera scanning works well and sometimes better when it comes to color balance. (I use flatbed with 8x10 as evidence in LF section).

I think for a copy stand, I have a Kaiser, but I would need to verify. Reasonably priced, geared mount, and squared.

Joel
 

Thorkil

Well-known member
LOL! I know I'm paying a premium for a silly little plaque on the side and the color, but ... what the heck? I figure I'll only really get the chance to buy one new Hasselblad in my lifetime and I might as well go for the gusto. The Apollo program means so much to me, at an emotional level, that I just couldn't pass it up. :D

I don't know how much more the standard edition 907x in chrome will be. Seems to me they're cutting it pretty close with the SE model at back+body for $7500, given that the guts of the back is pretty much the same as the guts of the X1D II minus the EVF cost. The 907x body is simpler, but there are still other bits that have to go with the package to make it useful. It's an interesting balancing act.

G
I just fully understand you! I know exactly your feeling about it :thumbup: (except for the moon :), I was passenger as teenager in a Volvo Amazon when they landed, and my exitement was just about what made the adults get so exited, I guess, but I remember the mother who drove, the radio, the speedometer, this red/orange arrow which grew horizontal to the right, the brown leather seats, the road, everything) Perhaps it would suit my SWC too, and perhaps on that 202FA (which has to have a minor adjustment they say), I'm perhaps about to buy (got the 50/2.8FE + magasin, so I'm just missing the in-between) - but reality (for me at least)..., but I'm looking forward to your pictures! :thumbup:
 
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Thorkil

Well-known member
The Kelvin color balance of the light source is relatively unimportant. The CRI/CQS and accuracy of the ICC profile for the [camera+light source] is very important.

Color film had beautiful and nuanced color. Using a mediocre light source really wastes that.
Thanks...It looks like I'm heading for trouble, but I have to take the chance, else I will go back to my old big 30 year old monster-lightbox, where the Zeiss 100/2 macro on the Z7 seemed spot on color-wise, the Tamron 90 macro just slightly off it seemed-
but I have to give it a try...
best
 

Shashin

Well-known member
My enlargers are long gone, but I did save the column and baseboard to a Saunders 6x7 enlarger. I had the post that held the head machined to take a tripod head--I have a light with a softbox mounted on it as a mini-studio for small objects. However, Dan's use of a macro rail has me thinking. I have a Manfrotto macro rail sitting somewhere. My wife is always complaining about the junk I collect--but it is not junk if one day you find a use for it!

This is the not a very clear picture on the studio/lighting setup.



The result:



Now, I have to think about film...
 

Thorkil

Well-known member
Thanks...It looks like I'm heading for trouble, but I have to take the chance, else I will go back to my old big 30 year old monster-lightbox, where the Zeiss 100/2 macro on the Z7 seemed spot on color-wise, the Tamron 90 macro just slightly off it seemed-
but I have to give it a try...
best
I'll go for this one..a tad more Pro it looks like, without ripping my wallet into pieces...
https://www.grafisk-handel.dk/shop/just-normlicht-smart-1023p.html
 

nikonf

Member
This looks like and excellent solution for digitizing transparencies.

I have the Sigma 70mm 2.8 ART macro and a Sony A7R2 camera. Would this give acceptable results?
I would think this could capture fine details in my 35mm Kodachrome slides from the 1970s through 1990s.

I used a Minolta Dimage 5400 scanner in the early 2000s and I was never really satisfied with the results. Would like to be able to print up to 24x36 and many of the scans I produced are not acceptable for prints of this size.

Would the Sony A7r2 make high quality copies of these slides?

Thanks you for any input you can provide,
Mike

I've found 35mm full frame to be the sweet spot for scanning. Medium format digital has more DoF issues and the quality gain is not that much. I scan with a Panasonic S1R, which can create a true RGB capture at 187mp. Even when you have to crop to 1:1 that's still a file somewhere in the range of 100-125mp. I use a Sigma 70mm 2.8 ART macro, and it's perfect corner to corner.

There is a lot of doubting surrounding camera scanning but you really need to try it to realize how well it works. Frankly cameras like the S1R or Sony A7RIV obsolete the Hasselblad scanners. And yes I'm speaking from experience with both.
 

nikonf

Member
Hi Dan,

I just read your post regarding this and I would like to know if you could give me the details of your setup.

I have the Hasselblad X1D and the Novoflex focusing rail.

What have you used to adapt the X1D to the macro lens? Is that an Alpa rig?
Which lens are you using? I have the Schneider 120mm f5.6 Makro M lens.

This looks like an excellent way to duplicate my medium and large format transparencies.

Any information you could provide I would be very grateful for.

Thank you very much,
Mike Herring

Thought maybe this could be of interest.

 

Godfrey

Well-known member
The classic technique for copy work was to use a mirror, place it on the plane you want to focus, adjust your camera so the reflection is in the center, and you are done. Works on any inclined plane. Hasselblad use to sell a device called a Linear Mirror for this.

Since you have a glass holder, turn off the back light, illuminate your rig, and center you reflection from the glass.
Everyone tells me this is the orthodox copy work technique, but I've never gotten it to work to my satisfaction. I use a copy stand and a high accuracy bubble level to align film/original stage and the camera, as Dan has found, and that technique produces excellent results.

G
 

Godfrey

Well-known member
Hi Dan,

I just read your post regarding this and I would like to know if you could give me the details of your setup.

I have the Hasselblad X1D and the Novoflex focusing rail.

What have you used to adapt the X1D to the macro lens? Is that an Alpa rig?
Which lens are you using? I have the Schneider 120mm f5.6 Makro M lens.

This looks like an excellent way to duplicate my medium and large format transparencies.

Any information you could provide I would be very grateful for.

Thank you very much,
Mike Herring
I'm going to try some negative copy work with the 907x a little later today. I'll use the Fotodiox Pro R-mount to X-mount adapter and the Leica Macro-Elmarit-R 60mm f/2.8 lens coupled with the CFVII 50c electronic shutter capability. I have a roll of Hasselblad 6x6 negs to copy and want to see what I can get out of the resulting 39 Mpixel captures.

I'll report back later on how successful this is and what focusing/coverage issues I run into, if any. :)

G
 

Godfrey

Well-known member
Okay, I did a roll of B&W negatives with the 907x ...


Juice Shop - San Francisco 2019
Hasselblad 500CM + A12 + Distagon 50mm
Ilford HP5 - Kodak HC-110 1:49, 8 min, continuous agitation
Scanned: Hasselblad 907x + Leica Macro-Elmarit-R 60mm f/2.8

Yes, it works. It works very well!

The full resolution upload I made to Flickr is a half resolution, 3000x3000 pixel image, if you want to look at that just click on the image above.

enjoy!
G
 

sog1927

Member
I thought the Omega C760 was designed to be used as a slide copier. The head detaches and can be placed upside down on the baseboard. It can then be used as a light source with the negative carriers. I thought you could mount a camera directly on the column. I haven't tried it, but I still have mine in storage.

My enlargers are long gone, but I did save the column and baseboard to a Saunders 6x7 enlarger. I had the post that held the head machined to take a tripod head--I have a light with a softbox mounted on it as a mini-studio for small objects. However, Dan's use of a macro rail has me thinking. I have a Manfrotto macro rail sitting somewhere. My wife is always complaining about the junk I collect--but it is not junk if one day you find a use for it!

This is the not a very clear picture on the studio/lighting setup.



The result:



Now, I have to think about film...
 

danlindberg

Well-known member
Although I replied to your PM I write a few lines here too. I see on my own photograph that I used the Schneider 90 instead of the 120... short memory :p

The amount of Alpa spacers were just a question trail and error until I reached the closest possible sharp position without cropping the transparency.

Sturdyness of tripod/head/rail is of course important so that once you finetune camera position it actually stays there when you let go of it. The biggest challange in my opinion is to find a precise parallel placement of transparancy and sensor. My method is to use the big ALPA round bubble leveller - I start to put it onto the transparency and take careful note on where the bubble is, then place it on the screen at the back of the camera and dial in the exact same placement of the bubble. Finally finetune focus and recheck bubble. Good to go!

Alpa has an Adapter specifically for the Hasselblad X1D. You can only use Alpa mounted lenses in 34 mount. This limits possibilities for wideangle, but better than nothing! And as a bonus you can use all Hasselblad V lenses without limitations. For instance, the 40, 60, 100 renders beautifully on the X1D sensor and gives you excellent shift capabilities.

Hi Dan,

I just read your post regarding this and I would like to know if you could give me the details of your setup.

I have the Hasselblad X1D and the Novoflex focusing rail.

What have you used to adapt the X1D to the macro lens? Is that an Alpa rig?
Which lens are you using? I have the Schneider 120mm f5.6 Makro M lens.

This looks like an excellent way to duplicate my medium and large format transparencies.

Any information you could provide I would be very grateful for.

Thank you very much,
Mike Herring
 

danlindberg

Well-known member
I tried a 35mm slide but don't have enough spacer to get close enough, so needed to crop. Believe the original is Velvia shot with Contax G1 and either the 45 or the 90. Can't remember.

 

Mexecutioner

Well-known member
Around 8 years ago a friend of mine that had quite a few 35mm slides asked me if I could "scan" them for him. I had no proper scanner, but I had (still do) my macro rig with bellows and my Nikon Multiphot lenses, so I came up with this contraption and was able to scan boxes upon boxes of slides in one day. The only thing I needed and bought on eBay was the slide holder which is compatible with the PB-6 macro rail. I used a Canon 6D for this, which is not showing the remote flash trigger in this picture. So it basically took about 5 seconds per slide.

This is the first test shot I made from a shot of mine from the late 80's I took in Oaxaca, Mexico. I have to say they came out pretty good.

post-2758-0-95631100-1374190619.jpg

post-2758-0-23385900-1374190596.jpg
 

darr

Well-known member
ALPA + Extensions Copy Setup

Here is my ALPA TC with SK 120 M (macro), Multi-Adapters (spacers/extension tubes) and CFV-50c digital back making a copy of a 35mm slide. I do not want my lens to be on top of the slide bc I want a bit of working space. Depending upon your camera, lens, and lightsource dimensions, the amount of extensions/spacers will vary. One of the reasons I wanted to have a heavy duty copy stand was to not have to worry about the stability of the components while shooting. All components are links in the chain and stability and distance matters.


I do not think this setup has any extra benefit than using a APS-C or FF and stitching.

For me the benefits of copying with my Fuji X-Pro3 is: (1) no need to tether, (2) auto-focus works 100% of the time, (3) the X-Pro3's screen is easy to use for composition, (4) no need for external light meter, and (5) much quicker, less gear. If you have, and know how to use the correct tools including post-processing software, copy stand, and have good technique, there is no need to use a MF camera IMO. If you are running a copying business most of the day, then an automated system would be better, but for hobbyist/semi-pros with a limited amount of copying needs, MF IMO is an unnecessary expense with not much added benefits *unless* you already own the gear and enjoy using it.

Even tho I own multiple MF digital systems, I prefer using my X-Pro3 the most after a few years of doing digital camera scanning. YMMV






The end result (every item in this 1985 slide is part of the wonderful memories I have of my grandmother) :



 
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yaya

Active member
To share some of the stuff we at Phase One have already put in place: As we are a fairly international company, with office locations in several countries as well and staff in the field, and with many now “stuck” at home, we now have all teams, including R&D, set up so that we can work remotely. In fact there are engineers working from home while having full access and control over hardware that sits on their office desks. In addition we have various open channels for continuous communication between team members.

I now have a make-shift repro studio at home with everything I need for production of little demo and tutorial videos as we are looking to create more online content in the coming weeks and months. This is a great opportunity to practice and re-lube some long-forgotten video editing skills ☺

We launched a new product last week which was a real test for how to make the shift very quickly as we had all kinds of events (as in physical events) lined up. I'm glad to say that all things considered it has been a great success.

Lockdown also means I can find time for experimenting and looking at new ideas, applications and solutions. Yesterday I was scanning some Super 35 cine film with an iXM-MV 150F with a Blue Ring 120mm macro and all the extension tubes I could find. Result is just over 10,000ppi and I can recognise George Clooney’s face! I can also see how poor was the focus on much of the frames :facesmack:

We're allowed one outdoor exercise per day and the kids are always happy to join me. Weather in London has been nice so far so we all get to spend some family time in the garden as well.

Wishing everybody and their families a safe “journey” and hoping we’ll all come out of this stronger, kinder and smarter! :lecture:

BR
Yair

 
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