retrofocus wrote:
How did you "scan" or photograph the medium format files with the A7? Did you stich together two separate files to cover the medium sized negative?
I set the negative up in a medium format negative carrier (from an old enlarger) on a rail system that keeps it square with the Sony A7. I Use a Canon FD 50mm macro lens and get in close enough that the 6x6 negative is completely covered in one digital exposure. Of course, this means that I am not getting full resolution from the negative on that sensor (since I crop it down to 6x6)
I've tried moving in closer and stitching 2-4 shots together, but honestly it is not worth the extra work most times.
astrodave wrote:
I set the negative up in a medium format negative carrier (from an old enlarger) on a rail system that keeps it square with the Sony A7. I Use a Canon FD 50mm macro lens and get in close enough that the 6x6 negative is completely covered in one digital exposure. Of course, this means that I am not getting full resolution from the negative on that sensor (since I crop it down to 6x6)
I've tried moving in closer and stitching 2-4 shots together, but honestly it is not worth the extra work most times.
-David
Hi David, thanks so much for the info, much appreciated. I might have some medium format negatives in the future, too and was curious what is the best way to photograph them. You just answered this well!
You're welcome. The biggest challenge I've had with scanning color film in this way is color balance. I think after many experiments, I've finally found a recipe that I like:
1. Photograph using raw/dng with daylight balanced backlight
2. Open raw negative image in photoshop (ACR), reduce black levels, bump sharpness slightly and add a small amount of noise reduction
3. Add a bit of 'Fill light'
4. Open in Photoshop, crop and invert
5. Run specialized action (HLVG - 'Hasta La Vista Green') which reduces the green cast I get from my setup (without affecting other colors)
6. Reduce vibrance and saturation and then adjust levels
7. Run "Auto Color" and done.
Sounds like a lot, but it actually goes pretty quick. Removing the green cast and reducing vibrance and saturation were the biggest pieces of the puzzle.
Dan, fantastic work! Some of your best I have seen. The Pan F is beautiful and you captured and developed it masterfully. For your development you stated you stand developed. I am assuming Rodinal for an hour?
Along the old Ore Road in BBNP. This was one of the most rugged 4 wheel drive roads I have been on. Took two trips to do it as a motorcyclist wrecked in a ditch and her bike wouldn't start (I couldn't get it to jump off either) and her camp was 11 miles away. So we drove her back and came back late that afternoon. 26 miles through the desert one way. Images shot on canon 7ne, 24-105L, ektar, souped and scanned at home, lr5.
Jon Buffington wrote:
Dan, fantastic work! Some of your best I have seen. The Pan F is beautiful and you captured and developed it masterfully. For your development you stated you stand developed. I am assuming Rodinal for an hour?
Yes, I use Rodinal. Got a lot f it off of craigslist a few years back! Probably could go for 4+ years at my rate of film shooting!
I do think I need to try some "normal" dilutions soon
I feel you about having too much developer. I have a bunch that I got for cheap. Bought to get some more because it is there. Expired new old stock on a shelf. Diafine, acufine, edwal fg7, hc110 and I get it for half or less that the price new years ago.
Dan, have you ever been to Ultrafine online? Great prices on film and a lot of new/old stock cold stored of discontinued films. Ultrafineonline
edit to add:
Just checked their 120 B&W film stock. They still have plus x in 120 that has been cold stored. Also, I have heard great things about their ultrafine extreme 100 film. Not sure who makes it, some have said ilford makes it for them but it apparently is not a rebadged film.
