[dsmithhfx]

It's a beautiful house.
Really loving all your latest color work.

Thanks!

[jschoonj]

Kodak Portra 400
SMC Pentax 43mm f/1.9 Limited
Pentax LX

[gofour3]

67ii & 75/2.8, shooting E100:



Phil.

[dsmithhfx]

[cooltouch]

I have been trying to digitise old slides with my K3 and HD DA 35mm. Results are very sketchy even on shots I know to be super sharp and colourful when viewed on a projector screen. There seems to be no consistency in IQ or fidelity. Converting to B&W helps sometimes, but not others! Anyway here are today's B&W conversions. And what's more it looks like its time to get my sensor cleaned. Grrrrr.

My apologies for resurrecting this old topic, but this is an area in which I have a bit of experience, so I have some questions and comments.

I'm not familiar with the K3 or the HD DA 35mm and their capabilities, so pardon if my questions show my ignorance.

You didn't mention a specific light source. What were you using?
You didn't mention what sort of slide holder you were using.
Were these images crops or 100% duplicates?
What software were you using for the digitization/conversion?
What is the resolution of your digitized images?
What f/stop did you have the lens set to?

Now some comments:
I have cobbled together my own slide duplicating setup that consists of a tube I scavenged from a "digital slide duplicator" that sells online for about $50. Various versions of this sort of device have been made. Mine was a somewhat early one that didn't have the capabilities of some of the later ones.
I used various adapters and tubes along with the dupe tube, located in front of and behind my lens to achieve as close to a 1:1 duplicate as I could get it. My setup provides almost exactly a 1:1 ratio.
I've employed a slide stage scavenged from a "zoom slide duplicator" that I bought off eBay for a few bucks. The stage was held onto the duplicator by a couple of stainless steel clips. My duple tube has flanges that I used to slide the stage onto. This arrangement allowed me some ability to reposition the slide in the frame.
I also found a roll film stage on eBay for a few bucks that use a similar clip arrangement, which I use for duplicating negatives and unmounted slides. These roll film stages that are independent of dedicated slide duplicators (for bellows, for example) are rather uncommon, but do show up from time to time.
My lens of choice is a Nikon 55mm f/2.8 AIs Micro-Nikkor. It is the sharpest Nikon macro lens I've found. Before I used a 55mm f/3.5 Micro-Nikkor, which was an excellent optic. But the 55/2.8 edges it out slightly in performance.
For illumination I have a couple of flashes that can be set for variable power output. I have a Nikon SB24 and a Canon 540EZ, both of which can be set to 1/8 or 1/16 output. I usually use 1/16, sometimes 1/8. When set to 1/16, for normal exposures, I hold the dupe rig about 1 foot away from the flash, which I have mounted to a light stand. It's an easy process moving the rig in and out to vary exposure of the duplicate.
I set my 55/2.8 to f/8 to reduce any chance of out of focus areas caused by film curvature. If the film shows rather strong cupping, I'll bump this up to f/11 or f/16.
The camera I use now is a Sony NEX 7. Sort of long in the tooth these days but it has an excellent 24.3mp sensor. It doesn't handle high ISOs all that well, so I leave the camera set to ISO 100. I shoot with the camera in manual mode to ensure that the shutter speed stays fixed. But to set it up for the shot, I have to place in in Aperture priority mode, so the meter will react to available light, enabling me to focus -- or check focus. I then set it to M to take the shot.
My NEX 7's sensor allows for 4000 x 6000 pixel images, which rival those achieved by high-end film scanners like the Nikon Coolscans. I've found that, at this resolution, even Kodachrome grain can be resolved.
Lastly, because everything in my dupe rig is a tightly held-together unit, nothing shakes or wobbles about when I move it, so it doesn't matter if I hand-hold the rig, although using a flash should take care of any possibility of shake anyway. On the rare occasion where I use available light for exposure, I don't have to be concerned about shutter speed.

And just to indicate the sort of results I've been getting with my setup, here are a few examples. The first image is a fujichrome 100 slide, all the others are Kodachromes.

[jschoonj]

My apologies for resurrecting this old topic, but this is an area in which I have a bit of experience, so I have some questions and comments.

I'm not familiar with the K3 or the HD DA 35mm and their capabilities, so pardon if my questions show my ignorance.

You didn't mention a specific light source. What were you using?
You didn't mention what sort of slide holder you were using.
Were these images crops or 100% duplicates?
What software were you using for the digitization/conversion?
What is the resolution of your digitized images?
What f/stop did you have the lens set to?

Now some comments:
I have cobbled together my own slide duplicating setup that consists of a tube I scavenged from a "digital slide duplicator" that sells online for about $50. Various versions of this sort of device have been made. Mine was a somewhat early one that didn't have the capabilities of some of the later ones.
I used various adapters and tubes along with the dupe tube, located in front of and behind my lens to achieve as close to a 1:1 duplicate as I could get it. My setup provides almost exactly a 1:1 ratio.
I've employed a slide stage scavenged from a "zoom slide duplicator" that I bought off eBay for a few bucks. The stage was held onto the duplicator by a couple of stainless steel clips. My duple tube has flanges that I used to slide the stage onto. This arrangement allowed me some ability to reposition the slide in the frame.
I also found a roll film stage on eBay for a few bucks that use a similar clip arrangement, which I use for duplicating negatives and unmounted slides. These roll film stages that are independent of dedicated slide duplicators (for bellows, for example) are rather uncommon, but do show up from time to time.
My lens of choice is a Nikon 55mm f/2.8 AIs Micro-Nikkor. It is the sharpest Nikon macro lens I've found. Before I used a 55mm f/3.5 Micro-Nikkor, which was an excellent optic. But the 55/2.8 edges it out slightly in performance.
For illumination I have a couple of flashes that can be set for variable power output. I have a Nikon SB24 and a Canon 540EZ, both of which can be set to 1/8 or 1/16 output. I usually use 1/16, sometimes 1/8. When set to 1/16, for normal exposures, I hold the dupe rig about 1 foot away from the flash, which I have mounted to a light stand. It's an easy process moving the rig in and out to vary exposure of the duplicate.
I set my 55/2.8 to f/8 to reduce any chance of out of focus areas caused by film curvature. If the film shows rather strong cupping, I'll bump this up to f/11 or f/16.
The camera I use now is a Sony NEX 7. Sort of long in the tooth these days but it has an excellent 24.3mp sensor. It doesn't handle high ISOs all that well, so I leave the camera set to ISO 100. I shoot with the camera in manual mode to ensure that the shutter speed stays fixed. But to set it up for the shot, I have to place in in Aperture priority mode, so the meter will react to available light, enabling me to focus -- or check focus. I then set it to M to take the shot.
My NEX 7's sensor allows for 4000 x 6000 pixel images, which rival those achieved by high-end film scanners like the Nikon Coolscans. I've found that, at this resolution, even Kodachrome grain can be resolved.
Lastly, because everything in my dupe rig is a tightly held-together unit, nothing shakes or wobbles about when I move it, so it doesn't matter if I hand-hold the rig, although using a flash should take care of any possibility of shake anyway. On the rare occasion where I use available light for exposure, I don't have to be concerned about shutter speed.

And just to indicate the sort of results I've been getting with my setup, here are a few examples. The first image is a fujichrome 100 slide, all the others are Kodachromes.

That Fujichrome looks great

[dsmithhfx]

[Swift1]

Hasselblad 500c/m
Carl Zeiss Planar C T* 80/2.8
Expired Fujichrome Velvia RVP
Epson V500

[Aaron28]

first roll of b&w...don't know how the 100asa film was came with a ksx1000 a few years back that i got for lenses and was rolled by someone not store bought.....
shot with my aunt's pentax ME (which i am returning as the young cousin is getting into film) and FA77
missed focus on the 2nd

[dsmithhfx]

Tri-X

[cooltouch]

That Fujichrome looks great

Yep, I developed a real fondness for it back then, which was the mid-80s. Back then it was just plain Fujichrome 100.

[stevebrot]

Yep, I developed a real fondness for it back then, which was the mid-80s. Back then it was just plain Fujichrome 100.

Same here


Steve

[dsmithhfx]

Tri-X

[_the_bside_]

concrete bending – a moment of reflection and improvisation with Victor Polster who will be soon bring his immense energy and talent to Staats Theater Nürnberg for a new chapter.
Series visible here

[stevebrot]

concrete bending – a moment of reflection and improvisation with Victor Polster who will be soon bring his immense energy and talent to Staats Theater Nürnberg for a new chapter.
Series visible here

Very nice. I (probably others, too) am interested in knowing what camera, lens, and film were used and if any special treatment was used to get the effect you used.


Steve