Yes, the medium format is the question. I can test the 35mm out, and I'm pretty sure I could get by with the Sony A7RII and close-up setup. It might not match the 4,000dpi of the scanner, but should be close enough for me. With medium format, I'm not setup to copy with the A7RII. That's why I was curious at too whether or not I would be satisfied copying with the Sony camera and its 42mp. I'd hate to waste the money to buy the proper copy setup for medium format with the Sony camera only to find out it doesn't come close to the Nikon LS8000's output. Maybe I should have asked the question this way, "Has anyone sold their Nikon 8000/9000 scanner and just used a digital camera to digitize their medium format negatives"?Since you have the close-up gear why not do a test run? You might find the scanner approach is easier, but the macro approach produces better results. And how would you manage the medium format material with the A7RII?
@John Wiegerink I think the best way to answer your question is a full-sized scan sample. Here's the 6x6 negative of FP4+ scanned on a comparable equipment: Sony A7R v4 with Sigma macro. Two shots stitched and then down-sampled to 8,000x8,000 pixels. Even with stitching this is a much faster scanning experience, I usually do 4 12-exp rolls in less than one hour. Decide for yourself how this compares to your LS8000 output and workflow.
A few months ago I ordered raw uninverted scans from Hasselblad X5 and Creo scanners specifically to see if cameras have any kind of inherent color disadvantage. Look it up in my posting history. My conclusion was that there's zero difference in color reproduction between modern mirrorless cameras and high-end ($10K+) film scanners from mid 2000s. I used manual inversions, Negative Lab Pro, Negmaster, and Filmomat SmartConvert. The software and skill made all the difference, not hardware. I was able to 100% match Creo and Hasselblad scans with a Sony camera.but you might still prefer the output of your Nikon scanner due to tone reproduction and color accuracy.
I saw this thread. Very instructive. Thank you for posting.A few months ago I ordered raw uninverted scans from Hasselblad X5 and Creo scanners specifically to see if cameras have any kind of inherent color disadvantage.
I've been experimenting with color negative conversion for quite some time now and while software and skill are crucial, scanner hardware does make a difference. The process is much easier when the color space of the scanner matches that of color negative film.The software and skill made all the difference, not hardware.
the color space of the scanner matches that of color negative film.
The process is much easier when the color space of the scanner matches that of color negative film.
It is reasonable to assume that Nikon build their scanner to align the light sources/filters with Status-M curves which are representative of absorbance spectra of color dyes.
That is exactly the thought that I tried to convey in reply to the OP's question. Camera scanning could be fast, convenient, flexible and provide superior optical results but one might like the results from the Nikon scanner better due to differences in technology and software.The main takeaway is that each method has its own pros and cons, and you end up having to compromise.
I also discovered that finding information on film and its characteristics
If you digitize slide film then it's easy with the camera. I have a hard time doing color balance and curve to make the negative looks right when using a camera.
Thanks everyone! Interesting discussion and very informative. My workings would be and is very much like "sojournermike" above. Almost 100% mono and if I did use color it would be for transparency film in 120 or 4X5. All other color work is done on the Sony A7RII, which is the main reason I originally bought the camera. I'm not much into plotting curves, spectral graphs and the like, I would rather rely on what the eye sees. I'm using Vuescan with the Nikon scanner and post process using DXO/Capture One. From what I gather here, it sounds like I could shed one piece of equipment and not miss it much. The scanner works fine, but who knows for how long? With no spare parts or even authorized service, I could end up with a very nice, large, heavy paper weight. Hence, the reason for this thread.
I agree, and I don't quite understand why the scanners can do this effortlessly, automatically, but there isn't any simple computer software that does the same thing.
...I don't quite understand why the scanners can do this effortlessly, automatically, but there isn't any simple computer software that does the same thing.
I have been using NLP (Negative Lab Pro) for several years now. I think it is very useful software. But I would never say it functions "effortlessly" or "automatically." Sometimes, I can achieve satisfactory color negative inversions without too much time and effort, but other times I have to try quite a few different settings to find some combination that works for me. And often, the combination of settings that works for one frame will not give the satisfactory results on the next frame, even when both frames are of similar subjects under similar light....there are a few options to do what you seek, some of which pretty popular within the scanning community. Grain2Pixel and NLP come to mind.
Actually, I do recommend the NLP plugin to anyone who is copying color negative film with a digital camera, and who is also using Adobe Lightroom. I think NLP is a powerful plugin offered at a fair price. But I would hate for someone to spend their $100 thinking they are going to be able to click one button and get instant results with beautiful, natural looking color, everytime. That did happen for me once or twice, but in my experience, it is rare.Good thing you're not an NLP salesman.
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