Thanks for this tip!
Nate, the Nikon PS-4 slide holder is an accessory for the PB-4 or PB-5 bellows. Loosen the thumb-screw in photo and you can move the slide/negative L-R and up-down. This does a fine job of position for four images to stitch when I shoot with an crop-sensor body. The PS-5 slide holder is similar, but without the shift feature.
Sweet spot for multi-capture and stitch? Good question. Needs further work.
I did a test for my chromes from the late 70’s. Kodachrome 64, shot hand-held, Nikon gear and prime lenses. You have to look very hard to find the 4-way stitch better than a single 24MPx capture. Maybe a little. Maybe different for other films, different for C-41 vs. chromes? Surely depends on the film and on the image. 24MPx may well be enough for most 35mm.
And even if it is out of NLP, here was my bench for positive slides
Main issue was heat of the 150 W lamp ! And old slides that had ugly colors because of their age
I’m doing similar for slides with a Kodak Carousel projector. I assume you added a diffuser; what did you use?
I removed the second block of lens between lamp and slide ( I let the first closest to the lamp) and added several layers of 5 mm white PVC.
The issue is that i had to replace often as plastic self destroyed because of heat.
This is also a security for the DSLR as the 150 W lamp is far too powerful
But this was a good compromise between light efficiency and the smallest amount of vigneting.
LED bulb with high CRI works well for chromes as well as negatives. I’m using 8-watt (50 watt equivalent).
My setup, from the table up: Kaiser Slimlite Plano, Leica BEOON copy stand, Beseler Negatrans, Nikkor EL50/4, Fuji X Pro 2.
@d.lincoln - how do you like that Beseler Negatrans?
I dig it. Makes rapid scanning a breeze.
This is a bit of a Heath Robinson contraption but it worked.
The rig is currently dismantled. Eventually I’ll set it up again with a different film holder to tackle the 6x6 slides and negs, many of which date from the 1950s (my late mother’s not mine). Later still, there are some APS negs that it might be nice to digitise. For this I have a Leitz doublet close-up lens that I could slip in front of the Nikon macro lens to get just a little beyond 1:1…
I use the Slidesnap Strip with a Canon 6DmkII and 100mm Macro. I can capture 110, APS, 35mm, 126, 127, and 120. For other sizes I use a copy stand with same camera and Kaiser Lightpad. For slides I use a modified Kodak Slide Projector by the same company.
I use a Nikon D800, Nikon 60mm f/2.8 AF-S Macro, Nikon ES-2 slide copy adapter, two tripods, and a Raleno LED video light. With the film uncut, it is a very quick process to take the shots, move the six-frame bracket down the strip, take six more shots, etc.
I used to do high-end duplication and copy work using an animation stand similar to the ones used to make the first Star Wars movie. A Marron-Carrel MC1400. I’ve tried to emulate that setup here. I’ve got my Nikon D810 mounted to a studio stand. Two nice things about this:
I can push/pull the horizontal arm so it’s centered over the table (or the lightbox). Here I was able to position it so I could sit in a chair and view through the eyepiece on the viewfinder.
Since I also shoot flat art, I can raise the camera up and center the copy work and/or place the artwork low near the floor.
On the right is a 6’ electronic cable release which I’d like to turn into a footswitch.
The camera has a Nikkor 60mm with the Nikon ES-2 duplicator.
The black foam core is there for flat art, not necessary for use with the ES-2.
The light box is a 4" light box made by Logan.
The table it sits on, I made several years ago. It comes apart for easy storage. The table top can be tilted up so I can shoot flat art from more of a standing position instead of directly over top. I attached a metal lip to the front of it to keep art and glass from slipping off.
This photo shows my prep area with my notebook full of negatives, light table (similar to what some others are using), cleaning supplies, a Schneider 4x loupe (why is it so hard to find 4x loupes?) and a Harbor Freight air compressor (pretty quiet). It’s not in the best position though. When I worked on the Marron-Carrel, all I had to do was turn my chair around to get my next piece of film. I really need to put this set up on a folding table and position it behind my shooting position for better efficiency. The stuff on the Ikea cart below the table is just cleaning supplies and latex gloves I use for other types of product photography, not for this.
Oh, the negative holder is the standard one that comes with the ES-2. I cut the posts out of it and filed it down so I could capture full frame. I used this tool from Harbor Freight to sand it out: Rotary Took Kit
Here is my computer setup. Left to right: The stand on the left holds my iPad which plays music wirelessly to a pair of Hamon-Kardon speakers (essential for any type of photography). The obligatory jar of nuts, water bottle, two monitors. I’ve had two monitors for several years, and believe it or not, I don’t use the one on the left that often. Wacom tablet (for spotting images), iMac 28" which I do most of my work on. It is tethered to the camera.
@mgilvey You win.
LOL! I didn’t know we were competing.
I do not have a picture available, but the setup I used for digitising color slides was this
- professional repro standard that I purchased 2nd hand
- Nikon D90 (12 MP) with ML-L3 remote control to trigger the camera
- Sigma 70mm/2.8 macro lens
- Nikon PB400 flash unit connected to the camera using a SC-17 cable, used as a indirect lightsource
- a piece of opal perspex, positioned about 20cm above the bottom plate of the reprostandard
- white carton and paper on the bottom plate and three vertical sides used as a lightbox
The lens is set on F/11 or F/16 and focusing is done using the autofocus.
I used a piece of metal glued to the perspex to register the slides in the proper position. This way I could achieve up to 20 slides per minute.
NB Nikon has a ‘in-focus’ LED indicator, that light up once the object is in focus. This will also work if you put the camera on manual focusing, even with an older non-AF lens, such as this 55mm/2.8 Micr0-Nikkor, which is one of sharpest lenses ever built. Unfortunately, the LED indicator is visible in the viewfinder only, not on the LCD screen on the back of the camera. This makes it not really useful in a studio setup.
@HansE, how is the Sigma 70 macro? are you resolving film grain in the corners?
I have the 70mm/2.8 EX DG (right now, Sigma offers a newer model). It is really very sharp up into the corners (stopped down to F/5.6 or higher), no difference between center and corners. Did not try it wide open, also because the DOF is too narrow.
By the way: this lens is built for FX format, so with the DC format D90, you use only the center part of the image circle!
At the time, it was tested in a German photo magazine, ColorPhoto, and came out as the best in its class, both on Nikon (D300) and Canon (EOS450D). On Nikon, AF works only on cameras with AF motor built-in. Not on the D5300, for example.
Thanks, Hans. I have the 50mm f/2.8 Sigma EX DG Macro for Nikon and it is really excellent. I would expect that the 70mm would be similarly excellent.