Light source for color 4x5 scanning

[lowleft]

I am looking for a light source for scanning C41 4x5. I know I can take the faceplate off a Cinestill light (did it to the V1) and it'll fit but is a bit tight. Not sure if the v2 is worth the upgrade for color films this big, or if I should get another light source altogether. I would like to spend less than the Negative Supply Company one if possible, but I would get one used if I need to.

 

[thinkbrown]

My solution has been scanning my 4x5 in 2/4 photos and then stitching them together with hugin. Gives me more resolution and allows me to use my existing light.

 

[spookyphoto]

I am looking for a light source for scanning C41 4x5. I know I can take the faceplate off a Cinestill light (did it to the V1) and it'll fit but is a bit tight. Not sure if the v2 is worth the upgrade for color films this big, or if I should get another light source altogether. I would like to spend less than the Negative Supply Company one if possible, but I would get one used if I need to.

https://www.ebay.com/itm/395951442659

 

[koraks]

https://www.ebay.com/itm/395951442659

scanning area is considerably less than 4x5"; it's even less than half that.

 

[lowleft]

My solution has been scanning my 4x5 in 2/4 photos and then stitching them together with hugin. Gives me more resolution and allows me to use my existing light.

Oh not a bad idea! Is it worth getting the second version of the light from Cinestill?

 

[Chan Tran]

Use the color head you use to enlarge the 4x5 negative. Put it upside down on the easel with the bellow and lens stage removed. Mount the camera on the enlarger carriage and do the copying.

 

[thinkbrown]

Oh not a bad idea! Is it worth getting the second version of the light from Cinestill?

Honestly I'm not sure. I have both and use the standard white one more often because it's brighter and the majority of my work is b&w. I found it gave me slightly better color separation but didn't work well at all with maskless films like Phoenix. Beyond that I don't think I've experimented enough to have a strong opinion

 

[xkaes]

Use the color head you use to enlarge the 4x5 negative. Put it upside down on the easel with the bellow and lens stage removed. Mount the camera on the enlarger carriage and do the copying.

That's basically what I do, too. One good thing about this is that you don't need the entire enlarger, and you can find good diffusion color heads pretty darn cheap these days. Then all you need is a 4x5 film carrier -- about $35.

Just turn it upside down on a copy stand and you've got alignment all set up.

Another option is the Besesler slide copy stand -- which includes a colorhead upside down, a 3200K focusing light and a powerful electronic flash for the exposure. It's designed for up to 6x7, but I managed to find the 4x5 adapter.

 

[lowleft]

Oh great ideas, I don't have a 4x5 enlarger, just a 6x7.

That's basically what I do, too. One good thing about this is that you don't need the entire enlarger, and you can find good diffusion color heads pretty darn cheap these days. Then all you need is a 4x5 film carrier -- about $35.

Just turn it upside down on a copy stand and you've got alignment all set up.

Another option is the Besesler slide copy stand -- which includes a colorhead upside down, a 3200K focusing light and a powerful electronic flash for the exposure. It's designed for up to 6x7, but I managed to find the 4x5 adapter.

Do you think a color head from a 23C II would work? I just got it with both heads but don't plan on doing color enlarging soon.

 

[xkaes]

It will if you build some sort of "cone" to spread the diffused light evenly over the 4x5 film. For example, on the Besesler Dual slide copier, the film stage has a white diffusion panel that is 6x7cm. The 4x5 adapter is a simple 5x6" black metal box -- about three inches thick -- that sits on top of the 6x7 light panel. On the top of the 4x5 adapter is a 4x5" white diffusion panel. Pretty simple.

 

[lowleft]

It will if you build some sort of "cone" to spread the diffused light evenly over the 4x5 film. For example, on the Besesler Dual slide copier, the film stage has a white diffusion panel that is 6x7cm. The 4x5 adapter is a simple 5x6" black metal box -- about three inches thick -- that sits on top of the 6x7 light panel. On the top of the 4x5 adapter is a 4x5" white diffusion panel. Pretty simple.

Oh nice! I'll have to look up some photos of this to get a better idea. But this could work absolutely perfectly!

 

[MattKing]

One concern about using an enlarger's colour head is that they can get a bit warm, and in many cases they are designed to cool from the top.

 

[xkaes]

None of the Beseler 4x5 color heads vent out of the top, and if I recall correctly, the Dichro head for the 23 vents out the back, as well.

 

[xkaes]

Oh nice! I'll have to look up some photos of this to get a better idea. But this could work absolutely perfectly!

I'll take a picture of the 4x5 adapter and upload it.

 

[MattKing]

None of the Beseler 4x5 color heads vent out of the top, and if I recall correctly, the Dichro head for the 23 vents out the back, as well.

The LPL heads have cooling veins on top and on the back.

 

[xkaes]

Here is the Beseler Dual Slide Copier 4x5 adapter. The box fits over the base 6x7 diffuser light panel -- on the bottom -- and is about 2" high. It has a diffuser panel on the top for the 4x5 film, and a 4x5" flap to hold the 4x5 film in place. Pretty simply.

 

[Robert Ley]

Here is the Beseler Dual Slide Copier 4x5 adapter. The box fits over the base 6x7 diffuser light panel -- on the bottom -- and is about 2" high. It has a diffuser panel on the top for the 4x5 film, and a 4x5" flap to hold the 4x5 film in place. Pretty simply.

View attachment 425420

I have one of these Beseler 4x5 adapters, got it with one of my Beseler color heads and never knew what it was used for. I just put it over one of my small light panels that I now use for negative copy. I started using these new light panels, The RALENO 13" led light panel that I picked up on Amazon for about $60 and they work great are very bright with variable color temp and intensity and a high CRI. They also work great for macro lighting too.

Question on use, do you lay the negative directly on the plastic diffuser or is there something to place under the neg so it doesn't touch the diffuser. At present I'm working on my 645 negs with my new Essential film holder with the Raleno light panel.

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[xkaes]

It's only meant to hold 4x5, so there is no film holder -- other than the flap. And the flap does not lock, so it's designed only to be used horizontally. The holes in the corners are to lock it in place on the slide copier. It's part #4112.

The flap does have about 1/8" flexibility in up movement, but not enough to fit a negative carrier, but enough for a slide/negative mount or anti-newton glass. I just lay the negative/slide on the diffuser.

 

[Robert Ley]

It's only meant to hold 4x5, so there is no film holder -- other than the flap. And the flap does not lock, so it's designed only to be used horizontally. The holes in the corners are to lock it in place on the slide copier. It's part #4112.

The flap does have about 1/8" flexibility in up movement, but not enough to fit a negative carrier, but enough for a slide/negative mount or anti-newton glass. I just lay the negative/slide on the diffuser.

Thanks for the quick response. This adapter has been kicking around my work area for 15+ years and the diffuser is remarkably scratch free. Looking forward to giving it a shot at 4x5 negative copying. Another fine example of never throwing anything out .

 

[xkaes]

You lucked out!!!!

Why it would come along with a colorhead is mysterious, but no point in looking a gift horse in the mouth.

 

[lowleft]

Yeah I just ended up with a Raleno light that is 97 CRI for now. The Cinestill light v1 just had some weird lighting effects near the edges of the negative, had a very inconsistent look.

 

[originalwinslow]

Jack's big scanlight is a great light source. Big enough for 4x5 with options to use 95CRI or narrow band RGB (which is a major improvement over white light).

 

[lowleft]

Jack's big scanlight is a great light source. Big enough for 4x5 with options to use 95CRI or narrow band RGB (which is a major improvement over white light).

What is the benefit of RGB light over white light?

 

[originalwinslow]

Better color depth and tonal range. The difference is much more dramatic than between a 95 and 99 CRI. Once you see it you won't want to go back.