Luminous Landscape Forum
Equipment & Techniques => Cameras, Lenses and Shooting gear => Topic started by: EinstStein on January 18, 2020, 01:01:50 pm
-
Looking for copy/macro lens to copy films to digital.
Since my camera is Leica M, any SLR brand can be adapted, and it will be used with a vintage (ZEISS) copy stand, so I am looking for the one with the minimum distortion and as small as possible.
The copy stand is about 7 inches tall, something in the range of 50mm is preferred (will have to add macro extension), but if the best choice is something else I will see if it fits.
-
Some good commentary and links here -
https://forum.luminous-landscape.com/index.php?topic=128442.msg1090874#msg1090874
you don't have to shout. We can hear you.
-
Unless you are happy starting on the back foot, I'd consider the lens before the copy stand; let's face it: you can buy an old Durst enlarger for pennies, and as long as it's not damaged and the planes are truly parallel, go for a longer lens such as the Nikkor Micro 2.8/105mm which gives you more working space between subject and lens. Actually, parallel considerations are not absolutely critical on the enlarger, because you can compose on your camera to ensure everything is squared up.
I have one of those excellent old lenses, it has a focus lock on it, doesn't slip pointing downwards, and once you are set up you are ready to go. A wonderful lens I'm happy to have bought.
Fitting your camera to what used to be a negative carrier is not rocket engineering. All you need additionally is a little light-box of some kind, which I'd assume as a film shooter, you probably already own.
Rob
-
This is something we have quite a lot of experience with.
https://dtculturalheritage.com/product/digitization-workflows-transmissive-pdf-download/
https://dtculturalheritage.com/film-scanning-kit/
We've worked with Disney, Library of Congress, Getty, and dozens of other institutions, along with a handful of individual photographers, on the digitization of tens of millions of pieces of film using our technology.
If you're looking for excellent results and have any meaningful quantity of work to do I'd discourage "piecing things together".
That said, if you're looking for darn-decent results (e.g. better than 20-year-old flatbed scanner technology would give) and have a low quantity of film to scan (e.g. hundreds of pieces of film, but not tens of thousands) then you'll likely be quite satisfied with a cobbled together setup.
-
Also the Micro-Nikkor 55mm f/2.8 AI-S manual focus. Superb.
-
Also the Micro-Nikkor 55mm f/2.8 AI-S manual focus. Superb.
Agreed. I love mine so much, I bought another one as a spare. Sharpest lens I've ever used.
-
Looking for copy/macro lens to copy films to digital.
Since my camera is Leica M, any SLR brand can be adapted, and it will be used with a vintage (ZEISS) copy stand, so I am looking for the one with the minimum distortion and as small as possible.
The copy stand is about 7 inches tall, something in the range of 50mm is preferred (will have to add macro extension), but if the best choice is something else I will see if it fits.
Hi,
A good macro lens is all what is needed. Normal lenses are not designed for close up work. So, it is much better to have a macro lens than using a normal lens with extension.
Technically, most normal lenses are derivatives of the Planar design. The Planar is a very simple design yielding good results, but it needs to be optimized for a given focus distance. So, a Planar optimized for infinity would not work well for close up work. Older macro lenses used to be Planar designs optimized for close up distances.
Modern macro lenses are often more complex designs.
The major problem duping slides may be to keep the slide flat. Stopping down the lens increases depth of field, at the cost of diffraction. Adding extension increases the 'real aperture number' and also increases diffraction.
Best regards
Erik
-
I digitise my slides with a Canon 105 f2.8 macro I have had for a long time, and use my tripod with a manfrotto junior geared head and a hot shoe level. To complete the kit I have a Kaiser slimlite plano light box. I'm happy with the results.
Best wishes,
Jonathan
-
Rodenstock APO rodagon 80mm and 90mm are what I used for scanning.
-
I digitise my slides with a Canon 105 f2.8 macro I have had for a long time, and use my tripod with a manfrotto junior geared head and a hot shoe level. To complete the kit I have a Kaiser slimlite plano light box. I'm happy with the results.
Best wishes,
Jonathan
The perfect focal length.
A shorter lens compromises your abilty to work; you end up in your own way.
When using my lightbox for this operation, it was helpful for both the lens and myself to create a large black card mask that covered the box with the exception of the area that carried the transparency.
Rob
-
Looking for copy/macro lens to copy films to digital.
Since my camera is Leica M, any SLR brand can be adapted, and it will be used with a vintage (ZEISS) copy stand, so I am looking for the one with the minimum distortion and as small as possible.
A useful resource for people operating near 1:1:
http://www.coinimaging.com/index.php
Jim
-
Voigtlander Macro APO lenses: 65mm and 110mm. Sony FE mount.
-
Voigtlander Macro APO lenses: 65mm and 110mm. Sony FE mount.
CV 65/2 only goes to 1:2.
-
CV 65/2 only goes to 1:2.
The 65mm with an extension tube does a great job for 1:1 35mm negatives/slides. It's a perfect lens for copying medium format. The 110mm will focus 1:1 on a 35mm slide.
FM review, 110mm f/2.5: https://www.fredmiranda.com/forum/topic/1574251
These lenses function beautifully as all-purpose primes; they are manual focus.
-
While a lot of macro lenses are good for the purpose, I am looking for the suggestions of the best.
For me it does not make sense to shoot with, Say Zeiss or Leica glass then copy the slide or negative with a lens that is inferior.
I am convinced that the enlarger lens should be the ones. I have some Schneider and Rodagon enlarger lenses in the range of 50, 75, and 100mm, not the latest or the best version, I will see if it makes more sense to get the best versions.
-
While a lot of macro lenses are good for the purpose, I am looking for the suggestions of the best.
For me it does not make sense to shoot with, Say Zeiss or Leica glass then copy the slide or negative with a lens that is inferior.
I am convinced that the enlarger lens should be the ones. I have some Schneider and Rodagon enlarger lenses in the range of 50, 75, and 100mm, not the latest or the best version, I will see if it makes more sense to get the best versions.
The very best macro lenses are probably process lenses optimized for specific reproduction ratios.
-
The very best macro lenses are probably process lenses optimized for specific reproduction ratios.
Well, of course, if it is reasonably accessible.
-
Well, of course, if it is reasonably accessible.
And you can afford them. Here's a useful look at the Zeiss Luminars if you want to go that route.
http://www.savazzi.net/photography/luminarversions.htm
There are also the printing Nikkors.
Jim
-
For me it does not make sense to shoot with, Say Zeiss or Leica glass then copy the slide or negative with a lens that is inferior.
Right, it makes much more sense to shoot just digital from the git-go. I shoot film when I am going for an analog end product and digital when I am going for a digital end product.
-
Right, it makes much more sense to shoot just digital from the git-go. I shoot film when I am going for an analog end product and digital when I am going for a digital end product.
I wish the world can be divided in your simple way.
The hybrid has its own beauty.
-
I wish the world can be divided in your simple way.
The hybrid has its own beauty.
Here's a hybrid that I quite like: digital capture, inkjet printed digital contact negative, platinum print.
-
Schneider Makro Symmar HM 120mm f/5.6.