I just came across a company that’s manufacturing a camera-scanning setup kind of similar to my homemade one:
Pretty nice looking unit, but crazy expensive in my opinion, at $1,500! And you’d have to add the optional focusing rails to be able to adjust your framing beyond their pre-set slot distances from your camera. (Are those toilet-paper roll holders as handles? Hey, whatever works!)
And here’s my setup:
I think the film transport track on my 35mm scanning system may actually work better than their system, because I don’t have to load a film holder before inserting it. I did see in a video that one of their 35mm film holders lets you slide film through it, but it looks like the negs would rub on the plastic as you slide it, potentially scratching the film.
I’m curious whether they actually sell many of these units.
I received my Kodak Duo Six-20 many years ago from a relative, and put it on a shelf for a while, then later got curious about shooting with it. I don’t really remember doing this, but apparently I noticed that it had film in it, so I probably wound it forward a frame, then took a test shot out my office window before winding the rest of the way and removing the film. For many years this roll of film sat around, and now I decided to finally develop it. Maybe this film would hold the lost images that would solve the mystery of the JFK assassination, or at least hold some interesting snapshots.
I developed in HC110 at higher than normal concentration for four minutes based on a test strip using a method described here. To summarize, I cut a small strip off the end of the film while spooling it in my dark bag. That strip was then exposed in the light, and dipped in developer in one-minute increments. I then used a developing time at the point where extra minutes didn’t add any more density.
Well, after developing, fixing, washing, etc, I was a bit disappointed to see what looked like just two images on the film. And after scanning I discovered that one of those images was the one I had shot out my office window years earlier. The other frame that was exposed contained no discernible image, just some odd cloudiness. The rest of the roll appears to have been very underexposed or not exposed at all.
Here’s the one image:
It looks like it could have been shot fifty years ago, but no, it was just shot on very old film. I can’t find info on when they stopped making Verichrome Pan in 620 format. It began production in 1956, and I found one site that said 120 format Verichrome Pan was discontinued in the 1970’s. I would guess that 620 was discontinued earlier than 120 was, and certainly no later. So this film was probably 40 to 60 years past it’s expiration date when I developed it. And who knows what kind of heat it endured over those years, sitting in an attic or something.
Here’s the roll before I unspooled it:
Here’s the camera:
Here’s a camera scanning rig that I built for “scanning” 35mm black & white negs very quickly with my digital camera. I picked up an old enlarger for $5.95 at a Goodwill store (different enlarger than I used for my 120 scanning setup) and utilized the neg carrier, bellows, and focusing mechanism to build this. It’s a big old Omega C760, and the bellows/focusing unit is a solidly-built piece of equipment. Laying on it’s side, it makes a great base for shooting negs. All I had to do was attach a couple of boards to it – one to hold the camera (with a simple bolt through the board to screw into the camera’s tripod mount), and another to hold the light box (same Logan light box that I use for the 120 setup – it slides in and out of this easily so I can use it for other things) – and build some kind of neg carrier (the tricky part).
My main objective was to create a fast way to slide negs through and shoot quickly without having to carefully line up every frame. With 120 film the speed is not such an issue, since you’re only shooting 12 frames or so per roll. Shooting 36 frames on a roll of 35mm film can add up to a lot of time if you have to spend time adjusting for each shot.
So the main thing that makes this work well is the film transport that I built by soldering together small pieces of brass. The rails are made of 1/8″ L-shapes bars which are paired to make a T track, and they’re spaced apart just enough to allow the film to slide through with a slight snugness. The pieces are soldered together so that when film is slid through, the image area of the film never comes in contact with any part of the mechanism.
You can see a bit of what it looks like, and how it loads in the video clip below.
A rig like this could be built without the bellows, but the advantage of bellow is that they provide an easy way to adjust the distance between camera and film plane. Simply turning the bellows focus knob moves the whole film plane unit (including lightbox) nearer or farther from the camera. This way I can get the negative to nearly fill the frame of the digital camera. The image is focused via the macro lens on the camera.
It takes just a couple of minutes to attach the camera to the base, slide a piece of film in, and set the focus on the camera (focusing is aided by the camera’s zoom feature and focus peaking). I focus with the lens wide open, then stop down to f/8 to add a bit more depth of field just in case there’s any bowing of the film. Exposure is set manually – in most instances I’ve shot at 1/15 sec, ISO 200, f/8. I set my camera to shoot black & white JPG images (see note below) at highest resolution. If I’m shooting a new roll of film that I just developed, I can shoot an entire roll in a few minutes. Working with film that’s already been cut into short strips takes longer, since you have to load each strip (and when scanning old film I spent a lot more time cleaning dust off each strip than actually shooting it).
The video below shows how it goes.
Note on JPG files and dynamic range: I’ve seen some online posts about camera-scanning, and people are concerned about the digital camera’s ability to capture the full dynamic range of the film, and think they need to shoot RAW instead of JPG to capture the full dynamic range. Here’s my take: Relax – it’s not an issue at all. The dynamic range of the scene was already captured and compressed in the film. When “scanning” the neg, the dynamic range you are capturing is only the difference between the blackest part of the film and the brightness of your light source. Unless your light pad is as bright as the sun, you’re not talking about much dynamic range here. I don’t get any clipping of highlights or shadows. I’ve shot negatives in RAW format and JPG to compare them, and could find no discernible difference.
I was holding my phone in one hand here, so in reality I can go a little faster than this, but you can see that it’s pretty quick. I sometimes set the camera to a 2-second self-timer delay to make sure there’s no camera movement, but I don’t think it’s really necessary.
I keep the camera set at a distance so that I pick up a little of the border, ensuring that I get the full image, then I usually crop a tiny bit in Lightroom to even out the borders (it’s very convenient that an ASP-C digital sensor is exactly the same proportion as a 35mm frame). Keeping a little of the border visible also makes it easier to align each frame, since you can see a little of each edge on the digital camera’s LCD as you slide the neg through. Being able to capture the entire image, including the natural edge of the 35mm frame, is a big advantage this has over some other scanning methods. I’ve never gotten a commercial scan that included the entire frame – they’re always cropped.
After shooting a roll or two, I move my SD card to my Mac; copy the images; drag the whole batch of images onto a Photoshop action droplet that I previously created to automatically invert all of the images from negatives to positives; then import to Lightroom and make some exposure and contrast adjustments.
Let me know if you have any questions.
Here are some photos of the setup:
I’m using the Nikon Micro-Nikkor 55mm f/3.5 lens mounted to a Fuji X-mount adapter, along with a 10mm extension tube to allow closer focusing.
Above, you can see the focus-peaking manual-focus assist (set to red) in action.
Below: At the ends of the brass L track, I bent the corners out to make film loading easier. Once the film is pushed in a bit though, the track holds the film straight and flat, and nothing ever touches either side of the image portion of the film.
Below is a view looking inside the bellows at the negative. The wood piece at the bottom is a spacer that holds the brass neg carrier at the proper height to line up with the center of the lens, and the areas above and to the sides of the neg are filled in with black matboard to minimize any extra light coming in. That circular opening is where the enlarger lens board would have originally been attached.
I’ve considered modifying the camera mount so that I could have the option of turning the camera sideways, moving the neg closer to the camera, and shooting three overlapping images of one neg to stitch together in Photoshop for a higher-resolution ‘scan’. But for now, the 16MP (4896 x 3264) images are plenty for me.
Another idea I have is to use the dichroic lamp housing that came with the enlarger as my light source. This would allow me to adjust the color output of the light to possibly compensate for the orange mask of color negative film. Not sure about that, but might have to give it a try.
Below are some images from a roll of film I developed a few nights ago. Those black borders are the actual frame edges captured in-camera. HCB would be proud.
Here’s a close-up of the leaf in the image above to show the amount of detail captured in the scan:
Detail above is from approx. this area outlined in red:
These were shot in my Yashica Electro 35 on Arista EDU 100 film, and developed in Arista Premium Liquid Developer.
Yesterday I had the rare opportunity to leaf through an original copy of William Henry Fox Talbot’s 1844 book The Pencil of Nature, the first book ever to contain photographs.
These are actual photographic prints made by Talbot himself, the man who invented the calotype negative process. These prints were made on paper coated by Talbot and his assistants, and contact-printed in the sunlight from the calotype paper negatives that he shot in-camera (this was within a few years of what is generally considered the invention of practical photography – at about the same time that Daguerre invented the daguerreotype, which only produced a one-of-a-kind image on glass, while Talbot’s paper negative allowed for multiple prints to be made from the negative – essentially introducing the negative-positive photographic process used for the next 150 years).
I don’t want to go into too much technical detail, but you can easily find all the detail you want online, as this is an important piece of photographic history. I believe these prints are “salted paper prints”, in which the paper is sensitized with silver chloride, requiring long exposures in contact with the negative under sunlight. The negative shot in camera was a calotype (also called talbotype), which required relatively short exposures to produce a latent image on the translucent paper, that would then be chemically developed to bring out the full image.
A London publisher produced this book in six editions, in which Talbot’s actual photographic prints are glued into place on the pages. The six editions were sold separately, and as was apparently the custom at the time, the owner would have the editions bound together into a single book. The Elmer Andersen Library for Special Collections and Rare Books at the University of Minnesota has a bound copy of volumes 1 and 2, containing a total of 12 photographs (the 24 total photographs were split into six volumes – it is believed that there are only about 15 complete copies of this book still in existence). It is clear that these two volumes were bound together into one book, although little of the binding remains intact today. The cover for these two volumes is not large enough to accommodate the other volumes, so the original owner must have only purchased the first two, or decided to have them bound separately for some reason.
Thanks to my friend Matt Newberry arranging for us to view this, I got to sit with him and browse through these very fragile pages containing some of the first photographs ever made. It seemed a bit crazy that we were able to be viewing Talbot’s actual prints so close-up and intimately.
Though the prints are severely faded, they are still sharp and show amazing detail. They’re beautiful. It’s surprising that prints from such an early experiment in photography still look this good 172 years later.
My favorite image in these two volumes is probably PLATE X. THE HAYSTACK, shown at the top of this post.
Other personal favorites are PLATE II. VIEW OF THE BOULEVARDS AT PARIS, and PLATE VI. THE OPEN DOOR, below.
Photography was so new to people in 1844 that he included a slipped-in “Notice to the Reader” that reads:
The plates of the present work are impressed by the agency of Light alone, without any aid whatever from the artist’s pencil. They are the sun-pictures themselves, and not, as some persons have imagined, engravings in imitation.
In the photo below I’m holding an original calotype paper negative (slipped in a plastic sleeve) believed to be taken by Talbot’s assistant Nicolaas Henneman sometime between 1843 and 1848. More info about this negative here
The book is readily available online to read and see scanned images of the photos. I highly recommend you give it a read. Talbot seemed to foresee the future of photography both in it’s many practical uses and as a form of art.
The book can be read in full here:
Today Matt emailed me this photo below, showing Talbot and assistants contact-printing photos in the sun. Perhaps the prints that we just saw were printed in these very frames.
Just a few more snow photos from the second roll of film shot that same day.
Rolleicord III, Acros 100, self-developed, camera-scanned.
A nice snowfall recently gave me the opportunity to take a walk and give my Rolleicord some much-needed exercise.
Not terribly exciting photos, but it was fun shooting them and developing the film at home. I guessed at the metering using the sunny-16 rule, and it worked well. The film did a nice job picking up the subtle detail in the very bright sunlit snow (while remarkably still holding shadow detail as well).
Shot on Fuji Acros 100; home developed in Arista Premium film developer (1:9, 7 min @ 68 deg).
Camera scanned using same setup described in the previous post.
I just developed a second roll shot on this same walk, and that’s now hanging to dry. Will fire up the ‘scanner’ again soon.
I recently posted photos that I had shot on black and white 120 film, home processed, and ‘scanned’ using my Fuji X-T1 camera and an old Nikkor macro lens. I’ll detail a little bit of the process below, because I think this holds great promise of being a quick and easy way to get some really nice quality scans. Below is a screen shot of a detail area from the photo above, to give you some idea of the quality and resolution.
When cropped square, these images are about 3100 x 3100 pixels. The X-T1 has about a 16MP sensor in it, and the full image size is 3264 x 4896 pixels. I didn’t completely fill the frame with the negative, so I’m cropping in a bit (plus cropping square of course in this case, since they’re 6×6 negs). I could make higher-resolution images of 120 film by getting closer to the neg and moving it around to capture several images, then auto-stitching them in Photoshop. I’ve seen examples of this online that are stunning. But for quick scans, these 9+MP images are pretty great.
So, how was this done?
First I bought a small light box to act as a backlight-source. I got a Logan 4″ x 5″ Slim Edge Light Pad, but I’m sure any would work fine. I had read that this model has a nice consistent brightness and color. And I wanted one for some other uses, anyway.
Then I had to figure out a way to hold the camera perfectly parallel to the light box. A tripod could be used, but it would be hard to align it perfectly, and to adjust height and repeat the setup. I tried this with a tripod in the past, and it’s a pain in the a**. An old copy stand would be perfect, but I had a hard time finding one for a reasonable price. So I decided that an old photo enlarger could be converted to a copy stand. I picked up an old Omega enlarger at a thrift store for $16:
It seemed a shame to tear apart such a nice enlarger, but I found that it could easily be dismantled in a way that it could be put back together if I want to return it to it’s intended use.
I added a small platform of plywood, with a hole cut at the perfect size to hold the end of my Nikkor macro lens. This certainly wouldn’t work with all lenses, but the way this lens is built (and since the Fuji X-T1 is a very light camera), it works perfectly. I used a level to carefully align the platform to be near-perfectly level with the base of the enlarger (fortunately, the enlarger had adjustment screws on the base that normally holds the neg-carrier, to make this adjustment easy).
I used a neg carrier that I happened to have from a flatbed scanner to hold the negatives flat against the light box, and inserted the camera and lens into the platform:
It may look a bit unstable, but the camera actually sits very steady, since the camera body is light, and the lens is heavy and has a portion that sticks out with nice straight sides, which slides into the hole in the plywood (I looped the camera strap around the top of the enlarger to keep it out of the way, but it would also catch the camera if it were somehow knocked off the stand). The height of the stand was adjusted so the neg would almost fill the frame, then the lens was focused. The manual focus aid in the X-T1 helps a lot for this — it will zoom in on the center of the frame and show red highlights when edges are in sharp focus, as seen below in the bad iphone photo of the camera’s LCD screen:
The room lights were shut off before shooting the actual photos, to eliminate any reflections off the film.
I tested the camera and lens combo by shooting several images of a couple negs from f/3.5 to f/22, and found that I got the sharpest images at f/3.5 to f/8. Surprisingly, this lens actually seems slightly sharper wide open at f3.5 than stopped down a stop or two. But to get a little bit of depth of field to help ensure the whole neg was in focus, even if it wasn’t completely flat, I shot them at f/8.
Here’s the lens I’m using:
It’s a Nikon Micro-Nikkor 55mm f/3.5 – a great macro lens with extremely little distortion. In these images of square negatives, there was absolutely no bowing of the edges of the images. When cropped square to the image, the edges were perfectly straight. I’m lucky that I just happened to have this lens already, so I only needed a cheap adapter to put it on the Fuji X-T1.
The camera was set to electronic shutter so there’d be no camera movement from the shutter, and set to ISO 200, auto shutter speed, and with a 2-second self-timer to eliminate camera shake from pressing the shutter button. Next time I’ll set the shutter speed manually so that all of the exposures on a roll are consistent, as that will make later Lightroom adjustments easier to apply through the whole roll.
The negs had just been dried after developing, so they were still very clean, so I didn’t even bother blowing dust off of them. The scans picked up a few dust spots, but not bad at all. I slid the negs through by hand, and had to spend a few second on each one making sure it was aligned straight in the viewfinder, and that I wasn’t cutting off any of the image. That’s where this process could really be improved — by building some kind of neg carrier that the negs could slide through and stay aligned in the viewfinder. Even so, it probably only took about 15 minutes to shoot the roll, from setting the camera height and focusing the first neg to shooting all twelve images. (EDIT: Now that I’ve done a few rolls this way, it’s even faster — I have the enlarger marked at the proper height, so setup is faster, and I can get through a roll in a few minutes)
Process updated: See NOTE at end of this post.
Then the negs were brought into Lightroom and adjusted. Here’s what they looked like when first imported to Lightroom:
In Lightroom there’s no easy way to invert the negs into positives (they should really add a simple checkbox in the tone curve panel to invert the image). You have to grab each end of the tone curve and pull the bottom end up to the top, and the top end down to the bottom to invert the image (if you can’t get this to work, click the button in the bottom-right of the Tone Curve box — this change it to a ‘point curve’ and you can move the very ends of the line). So you change this: Simple enough, but now all of your exposure sliders in Lightroom are reversed. Increasing the Exposure slider darkens the image; decreasing the Blacks slider actually increases the Whites. It’s a bit confusing. I did this in Lightroom because I wanted to work with the camera RAW image, thinking that would give me the best quality. But after some experimenting I’ve decided that the JPG images are just as good, so it’s easy to simply invert the images in Photoshop, then make all the normal adjustments in Lightroom. Next time I do this, I’ll quickly invert all the images in Photoshop before importing them into Lightroom. Process updated: See NOTE at end of post.
Another advantage that I discovered in shooting my own scans is that I can get the full frame with no cropping of the image. Here’s the first test image I shot, from an older roll of film. You can see the actual edges of the frame of the film:
And here is an overlay showing the scan that the lab did on top of my scan (tinted red). The red edges are the parts of the image that were cropped out of the lab scan. That’s a pretty big difference.
I’m looking forward to developing more film and experimenting more with this. Next step: build a neg carrier to slide the 120 film through. After that: Build a rig to slide 35mm negs through for the same kind of setup.
I’ve scanned more film using this setup and have changed just a couple things:
1) I’m setting my camera to record a B&W JPG instead of color to simplify it a little. I did some testing of B&W vs Color and JPG vs RAW, and found virtually no difference. The dynamic range is very low, so there’s no need to shoot raw.
Note on dynamic range: I’ve seen some online posts about camera-scanning, and people are concerned about the digital camera’s ability to capture the full dynamic range of the film. Here’s my take: Relax, it’s not an issue at all. The dynamic range of the scene was already captured and compressed in the film. When “scanning” the neg, the dynamic range you’re capturing is only the difference between the blackest part of the film and the brightness of your light pad. Unless your light pad is as bright as the sun, you’re not talking about much dynamic range here. I don’t get any clipping of highlights or shadows.
2) Before importing into Lightroom I do a quick inversion in Photoshop to turn the negs into positives. I created a Photoshop action ‘droplet‘, so all I have to do is drag a folder full of images onto the ‘droplet’ on my Mac, and they will all be opened in Photoshop, inverted and re-saved. It all works automatically and just takes a few seconds. Then when they’re imported into Lightroom I don’t have to mess with inverting the tone curve.
A few weeks ago we spent a nice evening walking around Como Park taking photos as a family. My wife wanted to learn to use our Fuji X-T1, and my son was carrying my old Canon DSLR, so I went old-school and carried my Rolleicord. After our picnic dinner on the lawn, I loaded a roll of Fuji Acros 100 black and white film, and we set off for the Conservatory. We intended to go inside the conservatory and back out to the beautiful Japanese garden, but found that both were closed for the evening, so we just walked around the park. With all of us taking photos, I enjoyed for once not being the one slowing down the rest of the family. I had no trouble finding subjects for my 12 images on my roll of film, and enjoyed the slow process — if I would have been shooting digital I probably would have taken a hundred shots and ended up with about the same number that I liked.
I developed the film myself the night before last, which was quick and easy since I had chemicals premixed and ready to go. This is the first time I’ve developed 120 film, and it’s even easier than 35mm because you don’t have to mess around with opening the film canister — you just unroll the film right off the spool (inside a dark-bag) and onto the developing tank reel. I let the film hang to dry in an unused room where it’d be unlikely that much dust would be flying around in the air, then last night I “scanned” the images. I say “scanned” in quotes because I actually shot photos of the negs using my X-T1 with an old Micro-Nikkor 55mm manual-focus macro lens. The process was quick and easy, and the results are stunning. I’ll be writing a post soon about my process.
Camera: Rolleicord III
Film: Fuji Acros 100
Processing: Arista Premium Liquid Developer, mixed 1:9, 7 min. @ approx. 68 degrees F.
Arista Indicator Stop Bath; Arista Premium Liquid Fixer; Kodak Hypo Clear; Water wash; a couple drops Arista Flow wetting agent; hang to dry with no wiping.
Scan: Fuji X-T1; Nikon Micro-NIKKOR-P.C Auto 1:3.5 f=55mm (at f/8); Logan 4×5 light pad.
We finally moved to the second part of my son’s photography project – printing photos the old-fashioned way. We’re lucky to have a large laundry room with some kitchen counters (we had a temporary kitchen down there while remodeling our kitchen a few years ago), so it makes a great darkroom. There were only a couple of small windows to black out with plastic garbage bags and duct tape. There were a couple of ceiling light fixtures in which we could replace the bulbs with my old safelights. There were even two separate sections of counter so we could have a dry area for the enlarger and a wet area for the trays, which was very near the laundry sink. In the sink we rigged up a makeshift print washer by simply setting a very large developing tray on top of the sink, running water into it and letting it run over into the sink.
We started out by making contact prints of his two rolls of film one evening. I had some very old photo paper left from the last time I worked in the darkroom, probably 15 years ago or more. Turns out that unexposed photo paper doesn’t last forever! The pack of 8×10 Kodak RC paper came out really dark with hardly any contrast, as if it had been fogged. I had a pack of Illford 5×7 paper that fared better, so we were able to piece together contact prints of all of the negs using several sheets of that. I ordered a new pack of Illford 8×10 gloss RC paper and we looked at the contact prints for a few days while waiting for that to arrive.
He settled on a couple of images that he wanted to enlarge, and we got to work. I had forgotten most of what I used to know about chemicals and the timing of developer, stop bath, fixer, washing, etc, so we had to do some research, but it all went pretty smoothly. We spent a few hours in there to get good prints of two images, but they turned out great. The negs seemed a little low on contrast, so we used a fairly high polycontrast filter to boost the contrast of the images.
The first photo we printed was a close-up of a moss-covered tree with a blurred background of a small stream, shot in the Cascade mountains. We did a test strip to figure out the exposure time, and he decided he liked a pretty dark exposure. That print went pretty quickly and we had a nice final print in just a couple tries. I helped him set up the enlarger and focus, then he exposed the print, and I ran the timer while he worked the print through the developing, stop bath, and fixer trays, and into the wash tray.
The second one took a little longer to get the way we wanted it. It is an image of Pike Place market, with sky at the top and the market below. He liked the high-contrast look we got using the polycontrast filter in the enlarger, but it resulted in a washed-out sky when we got the exposure correct on the lower part of the image. This gave me a great opportunity to teach him about dodging and burning. We burned in the sky by exposing it for a few extra seconds while I dodged the bottom part of the image, and the building canopy at the right edge. A few tries and we had a very nice print.
He entered both photos in the 4H art competition at our county fair, and took home a purple ribbon for the Pike Place photo. Being in 4H is what prompted him to do this project in the first place — he thought it’d be a fun project to enter at the fair. Since he won a purple ribbon, he gets to exhibit it at the Minnesota State Fair at the end of the summer!
Aside: Even though the 4H building isn’t one of the most visited parts of the Minnesota State Fair, the fair itself is pretty huge — last year’s total attendance over the twelve days of the fair was 1,824,830 people! Yes, 1.8 million people. It’s a big fair. So I think it’s a pretty big deal that he gets to show a photo there.
I think the print turned out great:
It was a lot of fun, and now that I have some fresh paper and chemicals, I should get back in there and print a few of my own negs. A true silver-gelatin print is a beautiful thing!
Yes, this is still the Shot on Film blog, but in addition to shooting old film cameras, I do shoot modern digital cameras. No reason not to enjoy both. I recently bought a Fuji X-T1, and I know that a big part of why I fell in love with it the first time I saw one was because the design of it is so much more like a classic film SLR than any other digital camera I had ever seen. The shape, design and feel of it, the shutter speed dial, the ISO dial, the aperture ring on the lens (that’s one thing I wish they’d gone a step farther on — putting actual aperture markings on the lens). Once the camera is set up the way I like to shoot, there’s little reason to ever push buttons or look at menus on the LCD. I can just leave the LCD off and use the viewfinder and feel almost like I’m shooting film, except that the electronic viewfinder (EVF) shows me approximately what the actual exposure is going to look like (nice feature, I admit).
I shot some photos early one morning this week, and when looking at them in Lightroom a couple images struck me as looking like film photos. Film has a unique look and I feel like I can usually tell when a photo was shot on film. I follow a number of photographers on Tumblr, and as I scroll through the images almost nightly, I usually notice photos that I think were shot on film, and more often than not I’m correct. Of course, digital images can be edited to look more like film, such as by using the popular VSCO film packs in Lightroom.
These images shown here are the two that jumped out at me for some reason as I looked through my images today. To me they look like they were shot with my Mamiya 645 on Ektar film. Maybe it’s the rich brown tones that Ektar renders so nicely, maybe it’s the little bit of extra contrast that I added in Lightroom, maybe it’s the Fuji Provia camera profile that was applied when I imported to Lightroom. I think it’s probably all of those, but also one other thing — I started shooting very early in the morning, before sunrise, and to work in the low light I cranked the ISO of the digital sensor up to 3200. Shooting at high ISO results in digital noise in the images, and with previous digital SLRs that I’ve used (Canon 40D, most recently), the digital noise was really unappealing – these multi-colored spots that just looked unnatural. What I notice about these images from the Fuji is that when I zoom way in, the noise looks to me almost like film grain! Perhaps that’s why I thought this looked like a high-res scan of medium-format film.
Here’s a screenshot where I’m zoomed in at 1:1 on screen. Click it to view full size:
And zoomed in more. Click to view full size:
Don’t worry, I’ll be back with more film photos. I haven’t gone completely to the dark side!