Macro-focus tips

Hi Forum,

I recently purchased a Nikon D610 and I've started using it to digitise 35mm and 120 negatives and transparencies with a Micro-Nikkor 55mm 1:2.8 Ais and PK extensions. I find that I'm having difficulty getting good focus - or at least, when I make several attempts on the same negative, I've noticed the results can be varied. I've actually got better results using the optical viewfinder rather than with the screen and high zoom values. But then, fine-focus is a bit of a guess.

I wonder if there is an optical magnifier that might be suitable for the camera or if people have any other tips?

And yes, I'm locking up the mirror and using a timer to to take the shots to avoid camera shake. I've also been setting the aperture at f8. Should I close down more? The light source is a Samsung tablet at a distance of about 5cm. At this distance I see no pixels.

Thanks!

Hi Forum,

 

I recently purchased a Nikon D610 and I've started using it to digitise 35mm and 120 negatives and transparencies with a Micro-Nikkor 55mm 1:2.8 Ais and PK extensions. I find that I'm having difficulty getting good focus - or at least, when I make several attempts on the same negative, I've noticed the results can be varied. I've actually got better results using the optical viewfinder rather than with the screen and high zoom values. But then, fine-focus is a bit of a guess.

 

I wonder if there is an optical magnifier that might be suitable for the camera or if people have any other tips?

 

And yes, I'm locking up the mirror and using a timer to to take the shots to avoid camera shake. I've also been setting the aperture at f8. Should I close down more? The light source is a Samsung tablet at a distance of about 5cm. At this distance I see no pixels.

 

Thanks!

Make sure the camera or the negative doesn't move slightly after you focus.

I've also been setting the aperture at f8. Should I close down more?

No. Between f/5.6 and f/8 gives the optimum compromise between depth-of-field (needed to cover film curvature) and diffraction.

The light source is a Samsung tablet at a distance of about 5cm.

Small wonder you can't see to focus properly in LiveView!

Get a brighter light source. And one that's properly diffused. And for best results use flash for the actual exposure.

There are gizmos that attach to the front of a macro lens available. Like this:

It cost me £10 UK IIRC.

And this is another copying setup I've used with great results.

It can just be pointed at a bright light bulb for focusing, then at a white surface to reflect the flash for the actual exposure. Everything is rigidly attached to the camera and automatically squared-up and true.

The subject of digital camera 'scanning' has been beaten to death on PN in other threads. Do a search.

Personally, I'm now using an 80mm f/5.6 Rodagon enlarging lens for film digitising. I found it had a slightly flatter field than my 55mm Micro-Nikkor. The Micro-Nikkor was good, but the enlarging lens is better.

Getting optimum focus is probably the biggest issue, but the optical viewfinder isn't the answer. A bright viewing light, magnified LiveView and a rig that eliminates vibration is.

Are your negatives held completely flat?

Is the camera mounted on a copy stand or tripod?

I'd dare f11.

Hit a DOF calculator and ask yourself if your rig makes sure that everything stays in those tight tolerances.

Nikon DG-2 seems to fit your camera?

It can just be pointed at a bright light bulb for focusing, then at a white surface to reflect the flash for the actual exposure. Everything is rigidly attached to the camera and automatically squared-up and true.

Thanks very much Rodeo Joe. So is this second rig a PK-13 + Micro-Nikkor 55mm f2.8 with a Nikon ES-E28? If so, does it mount on a 52mm thread?

With plenty of light to focus by, you should be able to see, via zoomed in LV, when the grain/dye clouds pop in and out of focus.

Personally, I'm now using an 80mm f/5.6 Rodagon enlarging lens for film digitising

I guess enlarger lenses are built as flat-field projectors, so the reverse should be fine too!

With such a 'slow' aperture does it still pop in and out of focus snappily as you rack the bellows?

I've got a 80mm Schneider somewhere, I might give it a go with some MF negs!

No. Between f/5.6 and f/8 gives the optimum compromise between depth-of-field (needed to cover film curvature) and diffraction.

 

Small wonder you can't see to focus properly in LiveView!

Get a brighter light source. And one that's properly diffused. And for best results use flash for the actual exposure.

I found your post here: DSLR negative scanning and you mention that the ES-E28 has a 28mm thread, if I understood correctly. So would the following adapter be the thing to get? :

https://www.amazon.de/-/en/Step-Down-Filter-Adapter-Step-Down/dp/B01870J6E0

'd dare f11.

With a 24 MP camera, you notice the loss in sharpness even at f/8.

Slides are relatively easy, but precise focusing at 1:1 is nearly impossible without live view. For macros of free standing objects, a focusing slide or rack is very useful. That opens the door to focus stacking with 3D objects.

Although I greatly prefer an actual film scanner, if you are going to use a camera for this, the best setup is with a copy stand, a diffuse light source underneath the negative or slide, enlarging lens on bellows, and so on as discussed in many, many posts here - granted that the search engine in P.net 2.0 kinda sucks .

The process is made simpler with a set made for this as with the Honeywell Universal Repronar (not to be confused with the version that comes with an Asahi camera)

There are others, and the rig can be duplicated with an upside-down dichroic enlarger head and a copystand, bellows, and macro lens

The old mail-order outfit, Spiratone, offered something like this

Modern Photography 1980-02

Oh, and also another copier, but one I've never used personally:

Popular Photography 1978-02

Nikon ES-E28? If so, does it mount on a 52mm thread?

Only after cutting out the useless 28mm thread and fitting an M42 mount from a scrap film camera. This allows M2 extension tubes to be fitted, along with an M42 to 52mm filter thread lens reverser.

The <28mm hole looked a bit too close to vignetting for my liking, and wouldn't allow the fitting of cheap extension tubes to vary the lens-to-film distance.

It was a bit of work to modify, but the ES-e28 kit only cost me £15 UK, complete with slide and 6 frame filmstrip holder.

Of course it's only suitable for 35mm.

I toyed with the idea of modifying a medium-format bellows-type compendium hood to make a similar setup for 120 film. But then I got offered a purpose-made Bowens Illumitran copying setup for a good giveaway price, and abandoned the DIY approach.

P.S. the Illumitran isn't entirely plug'n'play either! Its flash trigger voltage is ridiculously high and the flash output is too bright. It needs a radio-trigger to safely connect to a digital camera, and the flash power needs reducing. I replaced the old dustbin-sized flash capacitor with a modern one having a much lower capacity. Obviously this is done at your own risk - 450 volts isn't to be played with!

Only after cutting out the useless 28mm thread and fitting an M42 mount from a scrap film camera. This allows M2 extension tubes to be fitted, along with an M42 to 52mm filter thread lens reverser.

Thanks for the explanation. I may consider trying the ES-E28 and adapting. The ES-2 looks excellent but because of the dreadful exchange rate here, works out to be quite expensive. But as a next step, I'll most likely try to find a better light source, as you suggested initially, since the results I'm getting now are far from bad, just a little hit and miss on some negatives due to my eyesight, I think.

All the best,

I was chatting to a chap the other day about slide/neg camera-scanning and he uses rather an 'unusual' set up. He's a self-professed 'cheap-skate'...:D

He's a DX shooter with a D7200 and the VR II version of the AFS 18-55mm. He found the sweet-spot (flat-field and no distortion) somewhere around 40mm where he got a full frame with the 2 biggest tubes on his Kenko DG extension set.... and f8/11 was quite respectable.....and he could use AF in LV. His eyesight for MF isn't great as he's had lens replacement for cataracts in both eyes.

It was mounted pointing straight down above a small LED lightbox for viewing 5x4 film. He'd made some black card masks for different formats. I guess he had to completely adjust EVERYTHING to change format!!

Now I know the DX 18-55mm lenses have quite a good (semi-)macro of ~1:2.6 (Thanks Roland!) but extension tubes and zooms can be weird bedfellows. I'm not even sure how to do the maths! I imagine that lens breaths like a dragon...;)

I don't have either camera or lens to try this out but it sounds kinda fun!

He's a self-professed 'cheap-skate'...:D

Must be to not want to splash out about 75 quid on an old 55mm Micro-Nikkor.:confused:

Gee. I thought I was a bit tight-fisted!

an old 55mm Micro-Nikkor

Don't forget AF was important to this (poor!) chap!

Don't forget AF was important to this (poor!) chap!

Ah, right.

That bit didn't sink in.

What does a used 60mm AF micro-Nikkor go for?

Not a lot, surely. And other AF macros are available.