Let's see your DSLR film scanning setup!

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.

Another Heath Robinson setup! Precise sub-millimeter focusing is easily achieved by adapting a Nikon Stereo Microscope rack-and-pinion system. Minor adjustment of the camera via a turnbuckle and copper wire enables absolutely accurate alignment of the camera and film planes using either an engineers level or a mirror. Either a Nikon Bellows unit or a simple wooden frame is used to position film over a Raleno light box. Nikon 810 with remote release, live view and HDMI to 32" TV for rapid and

accurate focussing on grain.

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Lucas,
thank you for this. Canon EOS utility with LiveView and autofocus is a real time saver. Much better than manual focus with the ring. Great tip!!!

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hi @Pbranly, what film holder attachment are you using? i’d like to use the 105mm as well, instead of the 60mm nikon recommends for their es-2 holder. also the es-2 holder crops 35mm more than i’d like it to…
thanks.

This is what I use (with the lens cap off) with my negatives (24x36 and medium format)

  • Canon EOS M6 (raw+jpg) with Canon EF 100 f/2.8 Macro, coupled to iPad as remote control
  • Durst M605c enlarger

I’ve been trying with several filter setups to compensate some of the orange of color negative film. Results seem to NOT justify bothering with such a setting, NLP handles almost everything nicely.

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I built a copy stand out of 8020.net extruded aluminum.
I’m using a Manfrotto 410 tripod head along with a macro focus rail.
Canon 5D MIII, tethered to my desktop.
Small HD monitor in Live View so I can line up negatives without looking through the viewfinder.
The light source is a DIY using a 10" cake pan and a strip of LED lights wound around the side of the cake pan.
Holding the negatives are a FILM CARRIER MK1 + PRO MOUNT MK2 from Negative Supply LLC.

I’ve got hundreds of rolls of B&W which I’m working through now. Color slides and negatives next.

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Hello Richard,

This is an excellent post and I love you’re setup!

I am trying to do the same thing with the Nikon PB6 bellows and slide copier.
I have the same lens, Sony A7R2 camera, and I cannot get the slide in focus.
Does the PB4 give more extension than the PB6?
I am totally stumped. Any help would be greatly appreciated

Thank you very much,
Mike

Hmm… Assume you are talking about the 75mm f/4 APO Rodagon D 1x. Don’t know. Pull off the PS-6 and figure out where is the focus with the bellows extension about where I’ve shown it. It’s possible that you cannot get the slide far enough away from the lens. Nikon made an extension for the PB-6 rail.

It seems I will have to move the slide copying adapter to the point where it is about to fall off the end of the rail. NOT good!
I just looked into the coupler and extension for the rail and they cost more than the bellows. $130 - just for the coupler. My Mother used to call this “highway robbery”. Oh well.

Bummer. Sorry to hear this.

I might have to go back to the Nikon ES-1 Slide Copying Adapter with step up rings.
Back to the drawing board…

Another idea… You need more distance from the film plane to the slide. Add a PK-13 between camera body and the bellows? I think I had to do this with one of the lenses I tried on my different Nikon bellows. Will it be enough? Approx check: you’ll need about 300mm between slide and the film plane (150mm film plane to lens, and about same for lens to slide).

Brilliant idea! I will have to purchase a PK-13 extender. I think I had one but I can’t find it.
I am looking for one right now on eBay.

I’ll let you know when I get it.

Thanks,

Mike

I have a BESELER NEGATRANS as well but I have my doubts if the negative is flat 100%…what’s your experience with it ?

For 100% flat film, you need something like this. https://www.youtube.com/watch?v=wFbHt0y6R_Q

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I have tested the Negatrans. While convenient, it does NOT keep film as flat as other solutions. If you are going to use this, test and stop down for more DOF.

I’ve designed and 3d printed a film digitization system to use my Canon EOS 5DsR and Sigma 150mm macro lens to digitize up to 4"x5" film. 35mm, 35mm slide and medium format are digitized using the below system, and 4"X5" is done with a similar system on its own camera slider rail (as 4"x5" needed a different illumination system).

The light source, diffusers and slot to take the film carriers are fixed to the focusing rail, but the camera can shift position to accommodate different film sizes. The camera is kept parallel using a 3d printed block below the lens hood, forcing the camera to always be centred on the film.

The system below uses a 160 LED light source which is double diffused (I used strobe for 4"x5"), and magnetized film carriers (a 35mm full-frame carrier, and 645 carrier both provide the option for full-frame digitization with rebate border, and I also will be printing carriers for 6x6, 6x7 and 6x9 as I need them). I use a Lomography Digitaliza sytem to hold 6x12 film. Using the system I have been digitizing about 150 35mm images an hour, or 90 35mm slides (slower to load, and more adjustment to exposure). With the 4x5 system, I could do about 50 an hour.

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Looking nice!
Have you tested other full frame Canons compared to sR?