Originally posted by Derek Zeanah I really need to know more
The 100 is a problem - the field of view is far too narrow and the minimum focal distance not short enough.
I have the 35/2.8 Limited Macro (whose minimum focal distance is next to nothing) and an old Asahi Pentax slide copier (which also handles 35mm negatives), and with a filter or empty 49mm ring on the front of the lens, the copier slides neatly on and screw-clamps down. Thank God for the ubiquity of the 49mm filter thread among Pentax lenses through the years! Camera on tripod, filter (as spacer) on lens, because the hood does not retract back far enough, lamp of some sort in front of the whole setup for even illumination. Settings: monochrome filter ON, colour-inverting filter (via "info" menu) ON, JPEG to the appropriate quality you want (though I believe it also does it in Raw). Live view ON, ISO 100, f/8 or thereabouts, Av mode, then set the menu dial to +/-, turn on the light and start pulling the frames through. The Third Knob then adjusts your exposure value to give you an appropriate level of illumination/contrast and live view shows you what you are about to get. I use a plug-in cable release. With the whole assemblage on a firm base like this, shutter speeds are irrelevant. Remember to turn SR off.
You may shoot in full frame and then crop away the extra later (the 35/2.8 vignettes rather badly on full frame setting, but fortunately all the damage is outside the area of interest), or you may shoot in crop. The difficulty is getting enough blank spacers or filters to fill the FOV as much as possible and ensure the minimum of wasted space. Pull the first frame through, dial in your EV adjustment to give a pleasing result, and shoot. Then pull through the next, and the next...
I shoot my negatives while they are still in one continuous roll of 24 or 36, and it makes rendering a whole film into digital very quick and easy. If I downsample or shoot in APS-C mode and choose a smaller JPEG MP setting, I have smaller files that are still good for Flickr or Facebook, and I can look at those and decide which ones are worth doing a full treatment in RAW and cleaning up/inverting in post, and even plan what I might have to do with them. Whether Pixel Shift is even worth it for monochrome, I have no idea.
I haven't gone down the bellows route yet, because my bellows and slide holder do not clamp to each other and I don't have a stable base. You need two tripods for that, and I prefer to leave one at work for various reasons.
---------- Post added 31-07-17 at 08:41 ----------
Originally posted by stevebrot In theory, the K-1 should be head and shoulders above a high-end Epson and even a Nikon Coolscan.
In pure resolution terms, yes. In practice, the integrated software packages for the film-capable scanners appear to simplify the workload enormously, to the point where I am still sorely tempted to buy one. Some of them will even detect and crop the individual frames of a multi-shot strip for you and present them as separate images, ready to deal with and save as such. And as they will also often handle 120-size negatives, the upgrade path to the small end of medium format is there if you want it. They will also convert colour negatives with ease, which is something I haven't worked out a post-processing workflow for yet.