rene_maurin

555 ELD as travel camera? Do you have a gear sherpa? :D

Hello, I apologize if this is not the right thread for my inquiry, but the discussion here seems like there are some quite knowledgable folks here ... Also, I am one of the colour-obsessed D810 users that somehow never really feel happy with what I produce with. I also enjoy working with film so what I am thinking about is acquiring a system that would allow me to use both MF film and digital backs on one body and lenses set. A SImple question would be - which MF analogue body would you consider most digital back-friendly? Thank you for your opinions in advance! Rene

<p>Btw, unless you are unapologetically defending your skeptic position, I am attaching a link to where some basics are covered. And this is way back from the year ... Todays equipment yields better results but the principles stay the same.<br> http://www.frogymandias.org/imagery/index-camera-scanning-negatives.html<br> You also have astonishing ultra high CRI LEDS with vario color temperature. Stuff like this http://www.akurat.lighting/en/products/on-camera<br> So basically only the physical problems of the process remain. That is if you want to keep it cheap. Given you have money just buy a Kaiser repro stand for transparencies ...</p>

<p>I never said some software doesn't try to handle this problem in this way. Scanning time is a bad description though. Maybe you are talking about exposition time. However there is a myriad of scanning software which does not. I can say it for certain for Minolta, Creo / Scitex and Hasselblad.<br> What you probably referring too is the problem of the exposure of the red channel which ends in clipping since it is offset the most. This is a problem which is not unknown in old good colour wet printing yet easily solvable. It depends chiefly on the colour temperature of the light source. You are aware that scanners have different light sources as well. Take a 5600K LED light source and you will greatly reduce this problem. If it is not enough use some simple Rosco gels like Cinegel #3202: Full Blue (CTB), Cinegel #3204: Half Blue (1/2 CTB), Cinegel #4415: 15 Green. This will align the red channel into a very comfortable exposure zone. Use a high CRI on camera LED panel and some gels and you will be exposing like a chief.<br> There are high end professional solution using this process by now as the Phase One DT Film Scanning Kit which of course costs a fortune. <br> So, thank you for your good luck wishes, but there isn't really much luck required. Truth is , there is more fiddling in PS for such repro scans then with a scanner. </p>

<p>I am sorry Wayne, but you should get rid of your arrogance assuming the knowledge of other people completely without any firm base ... <br> If you only searched web you would not be so ignorant. There are books written about digitalising transparency materials and reprography - the category which this falls into. I have no lust to give you a lesson for free since I am sure you can google alone. Star at the SilverFast page where you will see that they provide software which will convert linear scans according to chosen film material even if you never had a scanner connected. Also you can scan the edge of the film to have a sample of the orange mask and later cancel it out. This is a process even included into VueScan linear scanning. There are plenty of people building their own dslr based repro devices for large format critical scans converting them via several processes none including a scanner. You should sometimes check analogue photography forums such as APUG or http://forum.luminous-landscape.com ...<br> Meh, no, I never used a scanner - before dslr I scanned with trained squirrels painting photos with pigments produced out of walnuts and mushroom. Later I used to edit my photos with steam machine ...</p>

<p>Wayne,<br> I would have to disagree - for the scanner to vary the scan time of each colour (I never hear of that before) it would need to know the type of negative film. Orange masks vary quite substantially from film to film. Additionally, you will see there often is a way to make a linear scan which produces a positive of a negative film (not inverted). Every scanner software have this option which bypasses scanners software postproduction. The inversion is of course problematic due to several things. You can read a lot about that on the page of the developers of ColorPerfect plugin www.colorperfect.com. I also have no idea what you refer to with with shifting colours to clip? Getting rid of the mask is done simulating correction filters which can be somewhat emulated with photo filters of other colour overlays. You are not trying to shift the orange mask but to get rid of it meaning getting the orange colour value low not shifting it same amount of another colour ...<br> Regarding the focusing I was rather talking about critical grain focusing via life view magnification. Do you seriously think people who scan negatives in 21st century do not know the basics of autofocusing? :D<br> Cheers!</p>

<p>As a new ES-1 user who wants to scan colour negatives I will chip in my 5slides. </p> <ol> <li>Colour conversion shall not be a problem - it can be done with SilverFast or ColorPerfect PS plugin. The scanner does not scan negatives differently than positives - it has to reverse them via software as well.</li> <li>What I dislike most about ES-1 is the loosens of the telescope tube. I was thinking to fix that via an O ring which I can tighten once I find the sweet spot filing up the sensor frame. The material seems soft enough for the outer tube to grip on the inner tube. Ideally the outer tube would have a simple screw which would tighten and lock the tubes, but it is not possible to bore one without harming the inner tube. </li> <li>Second problem is copying film strips. I fixed that simply by sliding a 6x7 slide frame anti newton glass between the the springs. This protects the strip for mental springs and should also keep the film strip as flat as possible without a glass sandwich. I think the glass and allow are smooth enough not to scratch the film while fiddling with it.</li> <li>Another annoyance is not being really able to distinguish what is the edge of the ES-1 film opening and what the edge of the film. I plan to fix this by simply marking the opening in the ES-1 with 4 white dots in it's corners. This way I can distinguish the the opening from the film edge.</li> <li>Focusing this thing seems quite a pain. I use a Mikro Nikkor AF 55mm 2.8. In auto it hunts quite a lot. I believe once the telescope is fixed focus can be found via the green spot confirmation (which rather blinks then lights up solid). It is true that F11 might be the best regarding DOF and diffraction especially with mounted slides.</li> </ol> <p>I would be glad if all of you could share how you improved the copying experience with this, just a little to simple device.</p> <p>Best, Rene</p>

<p>Hello,<br> I am a fresh user of an "old" Dynax 7 and 5600HS (D) system. I have read everything I could find on net about the wireless flash triggering and ratios. I also experimented a bit with an empty camera and am now left with a few questions.</p> <p>Since this is film and not the digital inflation I would love to get more answer in theory, before I go do tests on films. My questions are following:</p> <p>1. When setting the Dynax 7 to WL mode, the screen asks to chose Normal or Ratio mode. The Normal mode is described as "only accessory flash fires". Yet when I use it, it appears the on camera flash fires as well.</p> <p>2. When I select the Ratio mode, the Dynax 7 manual states "built-in flash with provide 1/3 and off camera flash 2/3 of the exposure". Now I understand this, but playing with the system further questions arise:</p> <p>a: How will the camera determine that ratio regarding it does not know the distance of the off camera flash? There is no way the 4 segment TTL metering matrix can know what I aimed the flash at. Furthermore, it can not know the zoom setting I have chosen.</p> <p>b: When in "Ratio mode" which is supposed to provide a fix 1/3 - 2/3 ratio I can still change the ratio on the off camera flash to the vice versa setting. However, due to the way it is marked I have no idea which one is the 2 and which the 1 in either cases.</p> <p>c: Since it appears I can trigger the external flash via Ratio mode also when having the off camera flash in Manual mode I am curious how the system resolves this? Am I correct when I think that the camera should achieve a sufficient final exposure via OTF-TTL even when the off camera flash is in manual mode and set to any strength? Will the on camera flash do it's job to fill in the exposure deficit?</p> <p>I suspect the Ratio mode must be some kind of approximation unless the system would do a TTL metered off camera flash up to 2/3 of the required exposure and then fill the 1/3 with the on camera after.</p> <p>Anyway, I will be glad if this thread is not all dead by now and if I can get any response or thought about it before I go and spend 100 Euro testing this on film before I can use the knowledge on my subjects ...</p> <p>Thank you for the answers!<br> Rene Maurin</p>

<p>The ability to immediately review and reshoot images ... Barf.<br> I have done the clean deed, left electronic behind.</p>

<p>Hello.<br> I guess this thread might be slightly abandoned but still. <br> As I am using direct flash in my photography a lot (please no comments about the aesthetics of it) I wonder how to achieve the most consistent and precise exposures. <br> I understand the mechanisms about the both systems but wonder how the exposure measurements are done in relation to the image composition. Ideally, I would be able to to do some kind of exposure lock for the flash evaluation, pointing the centre at the subject's skin and then reframing.<br> Is there a way to do some kind of preflash readout on a centred measurement and then reframing using the EV read in this preflash reading? I reckon the 4 segment TTL tries to find a medium value for all the reflected light which can produce quite variable exposures. I am aware ADI tries to correct this with the distance value, but there are not so many ADI capable lenses out there. A manual preflash measurement would be far more exact and consistent. Or if possible at least to choose what segment of honeycomb the camera will use for its TTL readout ...<br> Are any of this proposed methods achievable with the 7? Either with built-in or ad-don. Or shall I resort back to the manual distance technique? <br> Thank you for your thoughts and best regards,<br> Rene</p>

<p>Hey,<br> Unfortunately, I have no helpful info for you, but rather a question. Did you try scan 35mm and MF films with it? </p> <p>Greetings :)</p>

<p>And another novice question - this lenses would perform at a reduction from MF to FF chip well too?</p>

<p>Dear Bob,<br> thank you for your answer. I bet there are better lenses, but this is a ¥€$ question. I just have this lens from my fathers abandoned analogue graphic studio and thought I might put it to use.<br> I have no idea how this was mounted on a repro camera either so I am struggling with a setup. I might just get a small repro camera, but then I can't find much info on those dinosaurs ...<br> So the "D" means duplication? </p>

<p>I have an Rodenstock 210mm APO Gerogon I would like to use as a 1:1 repro lens built into a bellows slide copy system replacing a scanner ... The photo scanners simply got too expensive for the risk one takes with them having little service and support ...<br> Can you guys help me with a few questions, since I am not really to tech savvy?<br> 1. Is this lens capable of 1:1 reproduction?<br />2. What would be the approximate working distance?<br />3. How the hell do I bridge from an exotic M50 mount to a more common mount found on bellows?<br />4. Would bridging be easier onto a MF bellows, like Hasselblad? <br /><br />I immensely appreciate all your answers and thoughts! <br> Thank you in advance!</p>

<p>I have an Rodenstock 210mm APO Gerogon I would like to use as a 1:1 repro lens built into a bellows slide copy system replacing a scanner ... The photo scanners simply got too expensive for the risk one takes with them having little service and support ...<br> Can you guys help me with a few questions, since I am not really to tech savvy?<br> 1. Is this lens capable of 1:1 reproduction?<br />2. What would be the approximate working distance?<br />3. How the hell do I bridge from an exotic M50 mount to a more common mount found on bellows?<br />4. Would bridging be easier onto a MF bellows, like Hasselblad? <br /><br />I immensely appreciate all your answers and thoughts! <br> Thank you in advance!</p>