I’m just getting started with scanning/copying my negatives and slides using a digital camera (Nikon D500 initially but have available a D7200). I have a Negative Supply copy stand rig which mounts the camera to a bracket that is slid up and down on the column. I need to level the camera sensor to be parallel with the film plane, but there is no direct way to do this. Next best that I’ve come up with is to level, or set my digital angle cube to zero on the copy stand base and then put the angle cube on the back of the camera body to read its orientation and adjust from there. My question is whether it is safe to assume the back frame of the Live View display is an adequate surrogate for the sensor?
To use the digital angle cube on the back of the camera, I have placed a precision ground metal plate that spans the width of the Live View frame and placed the angle cube on that. It is easy to rotate the angle cube plate because the angle cube has magnets on the bottom and sides, so those form one solid unit.
I have and have tried the little plastic levels that fit in the hot shoe, but my sense is there is far lower precision than the angle cube offers, as long as the Live View frame is close enough to parallel with the sensor plane. One uncertainty about this on the D500 is that the Live View panel pivots out, but it does seem to snap back in solidly.
You may notice the NiSi Focus Rail between the stand column and camera. I do not like the stock camera bracket, nor do I like that the height adjustment of the stock copy stand is entirely manual, unclamp/move/reclamp. I am working on an adapter to mount the focus rail to the column so I have the leadscrew for adjusting the camera height. I want this for more control over framing of the negatives/slides on the sensor (viewfinder).
Hi there, welcome to the forum. Without knowing how accurate the digital level is I would still think that you’re probably OK doing it that way. However it looks a bit time consuming, and more importantly it is still an indirect measurement. Much better to use a mirror to reflect an image of your lens. It is then fairly easy to be very precise. A possible issue is that you need to be able to move the camera, or change the focus on the lens to deal with twice the normal distance, down to the mirror and back to the lens.
The Nisi rail is a great addition, others have used it or a version of it using the same principle. I would recommend using an adjustable base under your film holder to adjust for alignment, even just a board with card shims, though others use such things as geared heads.
Thanks for the welcome. The angle cube is actually quite accurate. I’m a machinist and have tested it against traditional methods for precision angle setting, sine blocks, precision machined angle plates and the like. The angle cube was as good or better than all of them. It is my go-to method for angle setting. It is also the fastest and easiest of them all. It is FAR better than the little plastic level cube that fits into the hot shoe.
I’m not familiar with the mirror method, but I’d like to find out. Where can I find information on it? Not sure how it will work if the camera/lens has to be moved, as that might change the “level” achieved in the lower position required. (Edit: upon reflection, if the focusing rail discussed below is set up right, raising and lowering the camera should not alter the level setting. And, I have found an article about using the mirror method and it does sound like the best method. Not to find an appropriate mirror.)
In regard to your other reply, about the NiSi rail, I think it will work to build in the adjustment into the adapter that will attach the rail to the copy stand column. It will incorporate adjustment on two vertical axes.
I have a geared head, but I’ve not tested it to see if it can adjust in fine enough increment, because it is too large to fit with this copy stand. (Edit: I have since tested the geared head and it is quite sensitive and very easy/effective. I’d like to use it, but will have to buy or build a larger copy stand.)
Note that it is important to align the negative and the sensor. Absolute alignment in relation to gravity doesn’t matter.
BTW: Nisi rails have those threads for feet. All you need now is some perforated plate(s) that can attach to the rail and to the column with fitting screws and a couple of slot nuts…or one or preferably two arca style clamps holding the rail. For adjustment, you could add tape to compensate tilt or use blades of a feeler gauge set…if the column is sturdy enough to make it worthwhile.
I’ve been in touch with Lester Lefkowitz on this effort, as well as here, which is where I got the idea for the geared head. I have both of his excellent books on Close-Up and Macro Photography. What wonderful resources these are. I realized the simple pipe and board copy stand, Manfroto super clamp, geared head and NiSi focusing rail was a far sturdier, more practical and effective combination than the Negative Supply basic stand that I was trying to work with. Only an hour or so to build the stand. Assembling the parts was a breeze as well. Very easy to align in all planes and the focus rail does indeed work for maintaining alignment when the camera is run up and down. The model I have has a quick release button for rapid movement along the rail; one rotation of the dial yields 1mm of travel.
The two tools I find reliable for this purpose are the Zig-align (Zig-Align Mirror Kits for Parallelism) and the Versalab Parallel (PARALLEL). Both deliver accurate results when used correctly. It also helps to have a media platform whose height is precisely adjustable at each of the four corners such that either of those two tools will indicate when the height of the feet is giving you an exactly parallel state between media and sensor.
…kind of expensive compared to a simple mirror (2 to 3 inches square or round) that is usually available in DIY and art supply shops.
The usual mirrors have the reflective layer behind the glass. This reflects light as it were from the surface the mirror is put on. To check for unevenness, rotate the mirror by 180 degrees. If nothing changes in your finder, all is well.
Note that the mirror is the means to align the optical axis perpendicularly to the object plane. If the lens is not properly aligned in itself and in relation to the sensor, differences can show up e.g. with targets like Vlad’s. A mirror can’t do this, but it’s really easy for adjusting the optical axis (of the lens).
Hi Digitizer, ya it costs more than just a mirror, but it’s really convenient to work with and tests for the alignment of the whole system from media through the lens to the sensor just by looking at the straightness of the tunnel it creates in the viewfinder/LED screen when adjusting the alignment. It consists of two mirrors - one circular in a filter with a hole in the center that screws onto the lens, and another that sits where the media should be (for this one can use any good quality mirror). It’s been around for a long time and as far as I know many serious photographers at least in North America use them.
using two mirrors amplifies any deviation, a smart move. Still too expensive for my taste. If (my) money were unlimited, I’d probably get a Phase One CH solution and employ someone to do the scanning. Well, that is an extreme position, but alas, my income is limited …
… and I enjoy building the rig(s) more than doing the scanning…
OK, I hear you. When I bought mine the cost was tolerable, but I see the basic set is now $144. BTW, you and I had this discussion already with “ctorres” back in October of last year. Time flies…
