How I scan my negatives…. and why it does not matter
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- Опубликовано: 25 дек 2023
- Video about scanning and editing black and white film
Behind the Scenes video footage by Stephanie Bola
Cameras used to capture the images:
Chamonix 45N2
Hasselblad 501cm with 80mm
Mamiya RZ 67 with 110mm
Nikon FM2 with 50mm
Leica M3 with 50mm
Kodak TMAX 400
Ilford HP5+
thanks for sharing, two nice sets of images!
It's refreshing to see the simplicity of your final editing process. It shows the power of getting it right in the camera due to understanding light, the art of composition, the film camera itself, and the development process. Your channel is a wonderful inspiration and masterclass in photography. Thank you!
Thanks a lot for your kind words!
That was fantastic, thank you. And I'm sure I speak for most people when I say; it's not possible for you to show us "too many" of your images. On a side note, I'd be really interested to hear from Stephanie about her thoughts on her lighting modifier choice for getting the modeling shots.
We both love them - first time we got a proper set of continuous lights and so far very happy :)
@@micmojo Could you say which lights and modifiers you're using? I just got a. Pentax 67 and I think a constant light is in my future :)
Jan, thank you for sharing! That is really interesting.
Interesting
thank you for uploading this
I even like your taste in music 😲
Thank you Jan. Interesting insights :)
Always a joy to watch your workflows. Very inspiring and of course thank you for sharing it. I think I agree with you that the settings and light are still the most significant of the image. Personally if I can't get a reasonable analog image in postprocess within 5 minutes I cancel the editing. To me the taken image should be for 95% already ok.
Looking forward to your next video.
Thank you Raymond! :)
Amazing
Lovely video - I agree camera scanning is so much easier than dealing with scanners and scanning software. On a side note at the beginning I see you explaining the process of making a large format photo to your model. I'm wondering what you tell them? If I say "don't move" I find I get a stiff expression, but if I don't say that there's a lot of fidgeting and missed framing/focus!
Yes that is a tricky bit, I tend to explain how it works and why they should keep in the same place after I tell them to and normally that works quite well. I still will give very minor instructions after the film is in the holder without moving them out of the plane of focus and then pre-warn just prior releasing the shutter, so they do not blink. That is the beauty of portraits on large format - its all a bit more complicated :)
Jan, what lens do you use for the 4x5 portrait, best Easter wishes!
First, thank you so much for this Jan! Quick question though, did I miss the point of stitching multiple images together? Surely this isn't done for depth of field, but just to create these massive resolution images correct?
Thanks for your comment! Yes, its for resolution, but also due to the lens of the scanning camera. With my copy stand I could not move the lens far enough away to capture a 4x5 in one picture, hence its easier to take 4 and stitch them together.
thanks for the informative video when you stitch do you move the lens and camera to scan over the surface of the 4 x 5 negative? Isn't most stitching software designed to deal with files where a camera lens is rotated (on a tripod) on a shooting location rather than moved side to side/ up and down parallel to the subject? And obviously rotation would not work well for scanning negatives. Curious to try shooting motionless subjects on location and moving the camera and then stitching afterward without errors/distortion/etc. thanks for any insight here.
yes I move the negative parallel to the lens. It works fine for me, LR offers 3 different projection modes (not sure that is the right word) but one of them seems to work best for my process as the lines of the negative border stay perfectly straight.
@@micmojo ah, yes. thanks for the info. that makes sense. to move the negative rather than the camera lens. if only I could move reality relative to the camera out on location rather than rotate around the nodal point. ha! only solution to that is using a modular separate digital back and moving it relative to the lens (wildly expensive).
tripod setup please? :) looks quite convenient
its a Gitzo GT3330 with a G2270M head