Negative Supply Pro Film Carrier 35

[madNbad]

After not having spent a lot of money on the new mystery Leica, I decided to send some to Negative Supply for the reengineered Pro Carrier 35. Like just about everything from Negative Supply, it comes at a premium price but sometimes you get what you pay for. The upgrades include a smoother transport, three different mask, full frame 35, half frame 35 and panoramic. The full border guide is now a replaceable cassette instead of the guides inserted into the carrier and it comes with the same three mask. The biggest upgrade is to how it mounts to the Pro Riser. Previously, it was a magnet that held the Carrier MK 1 in place at a single point. Not often but there was always the possibility of the carrier shifting during scanning. The new system has the carrier snap into a holder eliminating the chances for any shifting. It did raise the plane of the negative, making adjusting my FE90 G with its fairly long minimum distance focus a bit tricky. The original MK 1 would have been fine for my needs for years but since I'm not buying multiple camera bodies or lenses anymore, need to scratch the itch somehow. Negative Supply has put a lot of thought into their designs and advancing the process of camera scanning. They listen to input from customers which led to the new carrier design. Camera scanning is not for everyone but living in a small house with no space for a traditional darkroom it works for me.

 

[mshchem]

After not having spent a lot of money on the new mystery Leica, I decided to send some to Negative Supply for the reengineered Pro Carrier 35. Like just about everything from Negative Supply, it comes at a premium price but sometimes you get what you pay for. The upgrades include a smoother transport, three different mask, full frame 35, half frame 35 and panoramic. The full border guide is now a replaceable cassette instead of the guides inserted into the carrier and it comes with the same three mask. The biggest upgrade is to how it mounts to the Pro Riser. Previously, it was a magnet that held the Carrier MK 1 in place at a single point. Not often but there was always the possibility of the carrier shifting during scanning. The new system has the carrier snap into a holder eliminating the chances for any shifting. It did raise the plane of the negative, making adjusting my FE90 G with its fairly long minimum distance focus a bit tricky. The original MK 1 would have been fine for my needs for years but since I'm not buying multiple camera bodies or lenses anymore, need to scratch the itch somehow. Negative Supply has put a lot of thought into their designs and advancing the process of camera scanning. They listen to input from customers which led to the new carrier design. Camera scanning is not for everyone but living in a small house with no space for a traditional darkroom it works for me.

I will be interested in follow-up reports. I have kinda the opposite situation where I have a darkroom but no setup for digitizing film with my digital cameras.
My biggest concern is spending a bunch on nice hardware like this, but still stumbling over the software, especially where color negatives are concerned.
Best Regards Mike

 

[madNbad]

I will be interested in follow-up reports. I have kinda the opposite situation where I have a darkroom but no setup for digitizing film with my digital cameras.
My biggest concern is spending a bunch on nice hardware like this, but still stumbling over the software, especially where color negatives are concerned.
Best Regards Mike

If you're using Lightroom, Negative Lab Pro plug in has a great website on digitizing color negatives. Plus there are forum members that use it regularly. I just do black & white and use RAW Power from Gentlemen Coders.

 

[mshchem]

If you're using Lightroom, Negative Lab Pro plug in has a great website on digitizing color negatives. Plus there are forum members that use it regularly. I just do black & white and use RAW Power from Gentlemen Coders.

Thanks for the info.

 

[bags27]

Thanks for the update. I've been using the Essential Film Holder from the very beginning (I must have been one of Andrew's first customers), and I've gone through a number of iterations for both 135 and 120 film. I find the product quite good and easy to use, and Andrew is incredibly helpful and quick to respond. He's a restless innovator.

The essential thing is: does it keep the film flat? The EFH certainly does, and I suppose the Negative Supply Pro does too.

 

[Empyreus]

I will be interested in follow-up reports. I have kinda the opposite situation where I have a darkroom but no setup for digitizing film with my digital cameras.
My biggest concern is spending a bunch on nice hardware like this, but still stumbling over the software, especially where color negatives are concerned.
Best Regards Mike

As someone @madNbad said, using Lightroom and Negative Lab Pro really makes processing all negatives extremely easy. I almost never edit my negatives after processing unless it's changing the white balance and maybe messing with the highlights and shadows.

 

[bags27]

As someone @madNbad said, using Lightroom and Negative Lab Pro really makes processing all negatives extremely easy. I almost never edit my negatives after processing unless it's changing the white balance and maybe messing with the highlights and shadows.

Negative Lab Pro is terrific, especially for B&W, where it's so easy to batch an entire roll. For color, I make 2 separate files, one that I run through NLP and use it as a contact sheet, because I slightly prefer Neg Master for color, but it's slower and more individual. So, I often pick and choose from NLP's output for color.