If Bessler was still making these, they would be one of the leaders in camera scanning.
Who is using a flash for copying negatives with a dSLR?
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If Bessler was still making these, they would be one of the leaders in camera scanning.
Why do shutter speeds matter? Are you hand holding your camera! If you are worried about shutter speeds because you want to race through a scanning session does it really matter if they are 1/2 second at f/11 or 1 second at f/11? But I suspect that is just an ill thought out question because let's face it any camera nowadays can use its self timer or even its electronic shutter to reduce vibration. And if somebody is yanking your leg trying to sell you a Kaiser SlimLite for $160 try shopping around.
Commonly available in various conditions on e**y...
I went all in with Negative Supply.
Here is my test rig for digitizing 4x5 black and white negatives with Bowens Esprit 500 flashhead and tethered Hasselblad H3DII 39 in Phocus software. I use a frosted white piece of glass on top of the flash head where I changed the modelling ligt to a small LED, because the heat from the original halogen bulb made the negatives curl rather quickly. As negative holder I use the Pixl-later https://www.pixl-latr.com/
Set-up by Michael G, on Flickr
Phocus screendump showing tethered use of Hasselblad as digitizer. by Michael G, on Flickr
I found that the flashhead had to be on minimum and the best settings would be f8 and 1/800 sec to avoid shake, diffraction and influence from room light.
Set-up by Michael G, on Flickr
Phocus screendump showing tethered use of Hasselblad as digitizer. by Michael G, on FlickrI found that the flashhead had to be on minimum and the best settings would be f8 and 1/800 sec to avoid shake, diffraction and influence from room light.
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Thanks for sharing. I envy your shutter speed; my focal plane shutter syncs at 1/180th, but I’m used to working in a darkened room.Here is my test rig for digitizing 4x5 black and white negatives with Bowens Esprit 500 flashhead and tethered Hasselblad H3DII 39 in Phocus software. I use a frosted white piece of glass on top of the flash head where I changed the modelling ligt to a small LED, because the heat from the original halogen bulb made the negatives curl rather quickly. As negative holder I use the Pixl-later https://www.pixl-latr.com/
I found that the flashhead had to be on minimum and the best settings would be f8 and 1/800 sec to avoid shake, diffraction and influence from room light.
You are welcome.
Michael.
I use a ROSCO LitePad Axiom as, to my personal experience, the tonality of digital photography is a little 'broader' with continuous light.
http://www.photoeil.be/the-making-of.html
http://www.photoeil.be/the-making-of.html
My current setup. I scan anywhere's from a couple hundred to a couple thousand plus rolls a month with this setup, depending on how busy it is.
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That is exactly the kind of photo I was hoping to see! Thanks for posting!
So, the flash is aimed at the interior of the box - white paint inside, I assume?
What do you use for a focusing light?
But the exposure is made at the brief duration of the flash, not by shutter speed.
The interior is chrome with a set of custom baffles and diffusion material to distribute the light as much as possible for even illumination out of the top. I spent a fair amount of time working out the best configuration and materials that go inside the box (this is a planned future product, you're basically looking at the prototype).
For focusing, I just turn the flashlight on my phone on and slide it under the carrier so it's pointing down through the top diffuser into the box. It works. I'm in the early design phase of putting a focusing light in the box that can be turned on and off via a switch on the side.
Yes and no. Even when using flash, you're still making an ambient light exposure. It's just a matter of whether or not that exposure level is low enough to not encroach on the flash exposure.
Did you add an extra 35 masking plate so the film can feed straight through the brushes and into the carrier? So far that is one of my annoyances with the Negative Supply setup.
Yes, every shot with flash is combination of exposure from ambient and exposure from flash! When slide duplicating with flash, the difference between X-sync at 1/60 vs X-synch at 1/200 is not much, since the ambient contribution is minimal.
No. It's so I can rapidly switch between the 35mm carrier and the 120 carrier without switching the underlying plate that has the tabs sticking up for the 120 carrier. That and it gives enough clearance for the motorized transport so it sits flat. Without that small amount of extra space, the motor collides with one of the screws in the base plate and it doesn't sit flat, which makes aligning that much more difficult.
Thanks. Saxons' pretty sharp but there are occassional glitches. I modified the riser by adding longer screws and nuts so I could lock the feet in place. I have an extra 35 mask and know where to get longer screws, I might give it a try. Good looking setup, BTW.
I think this is pretty genius. I'm not sure I have the native coordination to use a setup like this without tripping on itHere is my test rig for digitizing 4x5 black and white negatives with Bowens Esprit 500 flashhead and tethered Hasselblad H3DII 39 in Phocus software. I use a frosted white piece of glass on top of the flash head where I changed the modelling ligt to a small LED, because the heat from the original halogen bulb made the negatives curl rather quickly. As negative holder I use the Pixl-later https://www.pixl-latr.com/
I found that the flashhead had to be on minimum and the best settings would be f8 and 1/800 sec to avoid shake, diffraction and influence from room light.
Wow, first time I've seen this. Do these get HOT?? Very interesting!
This is precisely what I had in mind, except my test setup was with a cardboard box.
I'm using a tablet for a light source now and haven't built the lower box, but I really appreciate your photograph for if I ever do stop being lazy and building my own flash box.
Yeah, it could be optimized a little for rapid switching between film formats. For home users, it's not so bad, but for a relatively high volume lab, speed wins the day. Ideally, I'd like to see a plate that I can just drop a 4x5 holder on, then lift it up and drop the 120 carrier in, then lift that up and drop the 35mm carrier in and have all those aligned with a slot and tab system so the 35mm frame is exactly in the middle of the 120 frame, which is exactly in the middle of the 4x5 frame. That way, using their stands, I only have to line the framing up once for the 35mm frame and going to a bigger frame size is nothing more than picking up the 35mm frame and putting either the 120 or 4x5 frame into place and raising the camera and/or changing the lens. Tool-less and minimal adjusting or shifting stuff around is key, again, time is money. When it's really busy, I need to average 1 roll of film every 3 minutes for hours on end.
The biggest challenge is getting the light distribution inside the box to be as evenly spread out as possible over the 120 or 4x5 area. It's not as simple as just painting the inside a very reflective color like white or chrome.
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I was thinking a white surface or mirror at a 45 degree angle to redirect the light up through the film holder - have you tried that? The box would need to be much thicker (taller). I was thinking of angling the reflector 45* one way for the flash, then rotating it to 45* the other way for the focusing light. Make sense?
Yeah, i get that. I tried a few things. Nothing perfect. Best I got was two flash guns, one each side, and a 45 degree bounce in the middle like a table tent. I had some diffuser material in the middle of each one and between the bounce and the glass. Worked fine for 135 but, like I said, it was hokey-cardboard-for-experiments only. Definitely not efficient nor perfect. I needed a good bit of room between the bounce and the film, too, so I know there was a lot more to do when I left off.
Point being, I am sure you had a LOT of experimenting to get that nice and even for 4x5. Kudos there.
Mirror is a bad idea. Adrian Bacon knows way more, his actually works, but from my tests you needed as much diffusion as possible to get a nice, even lighting over a larger area. A mirror to angle the flash is just like pointing the flash gun straight at it.
Chrome interior, eveywhere, is a good thing like the inside of a reflector for a studio light. But the end result you're hoping for is like a larger than 4x5 (or whatever size is your max) soft box. Even, diffuse light, but with NO hotspots.
If you mean by "HOT" that the ROSCO LitePad is warming up, well this does happen a tiny bit, but these Rosco's are fitted in a steel plate kind of frame. That holder works like a cooling thing (and allows to attach anything with the use of magnets instead of tape or anything else...).
But, anyway, the negative isn't in direct contact wit the LitePad because it is laying on a glass plate about 5 cm above the light source to avoid the coming through of the tiny prisms of the diffusing surface of the LitePad.
I was working this way because I had some software troubles with my scanner...
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