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09-08-2014, 12:12 PM   #31
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QuoteOriginally posted by fs999 Quote
You could perhaps have better results using a 14bit Raw capable camera. The K-30 has only 12bit...
I think having 2^12 shades vs. 2^14 per channel is especially helpful when pulling up shadows and pulling down highlights. This could be useful when processing reversal film having lots of contrasty shadows and highlights and you want to equalize it a bit. Expand that dynamic range while maintaining the color scheme.

Since my initial post I have been experimenting a bit with exposure compensation on a frame by frame basis. Some times I expose for the highlights because there is more detail in them and I bring up what I can from the shadows. Other times it's reversed. This is where I think a histogram makes for an excellent complimentary tool.

09-16-2014, 01:37 AM   #32
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A couple weeks ago I got myself a Yashica X3.0 half frame 35mm camera. A half frame camera creates portrait oriented negatives which are ~18mm wide and ~24mm high. Turned sideways, this is very close in size to the APS sized sensors in many DSLR cameras. Read the following Wikipedia article for a deeper dive into the half frame format :

Half-frame camera - Wikipedia, the free encyclopedia

Without adjusting my macro setup from its original configuration for scanning traditional 35mm landscape oriented film, the half frame negative projection does not fill up the entire sensor. Here is what the negative looked like at 1:1.5. I rotated the image in Aperture to make Wonder Woman stand straight. Otherwise, she would be sideways.



Cropping the image down to only include the half frame negative results in an ~8MP resolution image. In the example above I am cropping down a bit more because the Yashica couldn't focus closer. I removed some of the spacers between my lens and my negative holder to get closer to 1:1.



Now I am closer to a full 16MP shot. Again, I'm cropping down for compositional purposes.

I wanted to compare the 1:1.5 and almost 1:1 shots to see if there is an increased perception of the grain. A larger grainier picture does not have much worth unless you are interested in the grain.



The color processing between the shots is a bit different despite lifting all the adjustments from one image and stamping them in the next. I think bringing the negative in closer changed the color and the intensity of the projected image onto the sensor. The 1:1 shot was 1/25th and the 1:1.5 shot was 1/30th. I'm also wondering now if the focusing and the lens performance was different at the two macro distances. Otherwise, in terms of grain, I think the 1:1 shot does show more of the texture of the film but it doesn't seem distracting. I can't see any difference when viewing the images scaled down to fit on my 21" monitor. My gut feeling says that a 4"x6" print won't show any difference either since that kind of detail gets averaged out during the downscaling process.

I have more to investigate but I wanted to post my initial results.
12-26-2020, 12:26 PM   #33
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hello,
would to say "thank you"
this tread was very useful to me and I am now able to "shoot" very nice negatives!!
03-01-2021, 10:47 AM   #34
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Well done!
It does take work, but once you tweak your setting it is quick and efficient
I have been using an old Asahi bellows for a while to do this and for me the biggest issue is the light source, I went form an old GEPE light (cold) to LEDs and found that the blues bloom easily even with custom WB with the slightest over exposure in some of the 1970s slides I got.





Last edited by titrisol; 03-01-2021 at 11:08 AM.
03-01-2021, 05:44 PM   #35
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QuoteOriginally posted by 6BQ5 Quote
I wanted to compare the 1:1.5 and almost 1:1 shots to see if there is an increased perception of the grain. A larger grainier picture does not have much worth unless you are interested in the grain.
Nice job!

BTW, what film did you use for this shot?
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