steve_rasmussen

<p>The main advantage of scanning at home is that you can take the time to get the colors right. Most subcontracted labs don't have the luxury of time, as they have a business to run. They must get the job done and move on. Quality, many times takes a back set to expediting. If you want to spend lots of money on a lab scan, then they will take the time to get it right. </p>

<p>Yes, the Plustek 120 has had some issues but can produce excellent results if the operator goes through all the learning curve to figure out the Silverfast/Plustek system. It took me 8 months to figure out the best tools to use for each film type. No, it can't compete with the old Heidelberg Topaz scanner but most of film scanning is about the operator, not the machine. If one can put up with this machine's idiosyncrasies, it is an option for 35mm and 120 E-6 work. </p>

<p>Yes, the TTL meters will drift over time, so if one is to use them as a default meter, one has to calibrate/ check accuracy with a proven meter once a year. Most times, an adjustment can be made using the ASA dial. Other times, the meter needs to sent in for more complex adjustments when more than one EV range is off.</p>

<p>Another South Pacific shot-- from 2006-- 400mm Takumar, 6x7, Society Islands, Fr. Polynesia.<br> 95% of my work goes to calendars- 5% to books and magazines. None of my customer take film so I must scan everything to be able to market it. </p><div></div>

<p>Thanks Arthur, I have spent a lot of time in the South Seas. </p>

<p>Thanks Don. I scanned it myself. <br> Arthur-- Nice infra-red work. </p>

<p>A shot from 1997 of the Cook Islands. Pentax 67, Velvia 50, 45mm lens. </p><div></div>

<p>I remember that shot Don. Didn't know you had sold it. <br /><br /></p>

<p>We have an ongoing thread for posting our MF shots but is anyone interested in posting their sold/published work?</p>

<p>Velvia 100 is one of the hardest films to scan. The uncorrected scan will have too much violet in areas that were originally gray. At least that is what I get from a Plustek 120/Silverfast combination. Trying to correct that, sometimes causes other colors to be off. Color cast corrections (pipette) work on some V100 shots, others not so well. Velvia 100f, Velvia 50, Provia 100 and Provia 400X all scan pretty good however. I have seen bad scans from the Hasselblad X5 which proves that the operator is a very important factor in the scanning process. A real pro on a Plustek can easily beat a novice on the Hasselblad X5. As my scanning abilities improve, I can get a pretty close approximation to my original slide. Any good scan takes time. If one tries to rush things, it is going to get ugly. Many times, lab scanned work will be time limited, so the results can be mediocre for the value scans. Paying more gives the operator more time to do it right. <br> <br /> I would not give up on shooting film with this one bad scan experience.</p>

<p>I have not given up on MF film shooting. I shoot no digital, much to my customers dismay. I must scan all work to be able to stay in the game (Plustek 120). I don't visit Pnet as much as in the past because there was a time when Pnet had a separate Pentax 67 forum. When the gurus here decided to fold it into the larger Medium Format Forum, P67 owners looked elsewhere because we felt slighted. Pentaxforums took a lot of us. As you can see, I still visit here once in awhile. </p>

When noted landscape photographer David Muench uses a 35mm SLR, it is interesting to note that he uses a Leicaflex. He used one on his book New Mexico II for some of the shots. Not sure if he still uses it now however. My guess is that the camera was the SL2. Anyone know for sure? His lenses range from 21mm to 560mm. SR