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.
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.
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,
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.
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. Fluid Mount Scanning Tutorial: A step-by-step guide - YouTube
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.
Have you tested other full frame Canons compared to sR?
I used to camera scan with a 5D MKII, and the 5DsR absolutely out performs it…though with 35mm the difference is negligible, due to the limited information of the originals. For medium format and 4"x5", the 50mp vs 21mp is a huge improvement.
Had a question for you on your setup, how did you connect the tripod head to your 8020 vertical beam? I’ve considered using a Manfrotto super clamp but my concern is that I’ll have issues leveling everything. Did you just screw the tripod head directly to the aluminum beam? If so was there specific 8020 hardware you used to fit in the channel?
I’m working on a copy stand design similar to yours out of 8020, that’s reminiscent of Negative Supply’s stand and have been trying to workout any blind spots I have in the process.
Any input would be awesome! Thanks!
slightly different take here, my lego rig! works with 35mm and 120. i use a regular tripod with a canon 7d/tokina 100mm pointing straight down
Nanlite LumiPad 11 + sheet of dura-lar.
A pretty “no-frills” setup compared to many, but I’m very happy with how it works, coming from an Epson V550 before this. A big thank you to everyone for sharing their setups and advice as inspiration and to help me in crafting my own!
Camera: Canon EOS 70D (on AC power)
Lens: Vivitar (Komine) 55mm f/2.8 auto macro (adapted from Olympus OM mount)
Support: Bogen 22B Special enlarger base + Manfrotto 488RC2 ballhead
Film holder/light source: Skier Sunray Copy Box II
USB tethered to early 2013 iMac for tethered capture with Lightroom. The whole digitizing setup (sans computer) is on a remote outlet so it can be completely powered off/on as needed
I’ve been using this setup for 2+ years with great success. I capture film, slides, and reflective media, up to 800 pieces per hour.