Something from Saturday - finally took the car cover off the Mini and went for a drive with my son. It's a month early than usual here, with all snow long gone, and most of the salt washed off the roads.
Before the days of 4K GoPros, the on-board cams were a little larger - CART Chicago Grand Prix 2000, movie crew working on Stallone's "Driven" flop movie
Joe Costa wrote:
pburke: How do you scan your film? The results seem always very nice.
Nikon Coolsan 4000 ED, Vuescan software to 48 bit TIFF, then open that in Camera RAW and treat like a RAW file from there in Photoshop CC. Much of the quality comes from that additional step of processing. It also helps if the slides were stored properly, with little to no color fading.
The 4000 ED isn't the best scanner, but it does perform very close to the 5000 ED, which may get a little more shadow detail. Not worth the premium cost of that unit over the 4000 ED, I think. One thing that is necessary on all these Coolscan units is periodic cleaning of a very small and hard to access mirror, otherwise there is a lot of light bleed along any high contrast white to black contrast edge. Some of that can be fixed in post, but it's best to be avoided in the first place by keeping that mirror clean. I use the same wet cleaner I use to get the oil off the D600 sensor.
I also use a stack feeder, so I can scan a batch of 50 at a time unattended. Feeding as many slides as I have by hand would have me loose interest very quickly. Works fine with the modern plastic frames. currently I am scanning some 1960s Kodachrome slides for a friend and those constantly jam up in the feeder. That's about when the scanner gets turned off for a month and you do something else, because it's just plain tedious.
Dude that's awesome. Really dig your film racing work! Mad respect. I've shot some racing in the digital era, and I don't think I'm good enough to pull of the photos you've been sharing without the help of a screen...
hehe - we actually had a Nikon D1 in 2000 for those quick turnaround shots. All those photos were pretty horrid compared to what we did on film. Could also be that we always shot film in good light and digital in bad light, as we knew we could never sell any of the digital files to anyone for print use.
How things have changed. Now you can see the tiniest scratch in the paint of race car captured while zipping past at 80mph and you don't have to even worry about focus any longer. We mostly shot manual back in the day on film as the cameras always got it wrong.
a modern shot - D810 with 400mm f/2.8 handheld pan
Back in the film days, it all was just a little softer, even in the harshest California sun: EOS 1N with 300mm f/2.8 pan on Provia, maybe 30mph and at the ideal center of turn radius so no AF needed
