Hi Travis! Great to hear from you. Yes... This is an excellent way to go. Let me know if I can help with more info. Once you get rolling, it is really simple and effective. Hope you are well! - Bill
Hi Bill, great video! One question, I noticed your lens aperture is set at f/3.2 which for the Nikon 60mm is almost wide open. Not sure about macros but for most lens optimum sharpness is usually around f8 to f11. Have you noticed any softness in the corners compared to the center when shooting at such a large aperture?
Nice video, dear Bill. I have been saving it so I could really examine the method. Still using that cranky old Noblex because I love the image size and those big friendly negatives. I need to get a macro lens though. I have Jesse's old Canon 7D and my Sony 7rii. what lens would you recommend?
Excellent video! So glad you went from doing the shot of the negative to a final digital file. You used the cloning tool over the spot healing brush. Why?
Hi Stephen. Thanks! I've never been a fan of the healing brush although it has gotten much better over the years. It is more of a content aware fill and often didn't do what I wanted in the subtle skies I always went for. I found I could more easily control what I was doing by using the clone tool. With each upgrade, these tools become better and I really should give it more of a try, but I get set in my ways.
Bill, the Porta Trace light table has a CRI of about 80, so while it is good for B&W reproduction, it will probably cause people fits if they were to try to do color negatives or chromes on that particular light table. THere are other tables that have much high CRI, and for anyone who might be using this approach for color work should think about getting a light source that has at least a CRI of 90 or preferrably 95.
Good point. Thank you for making it.I've wanted to expand on this one for awhile for color work in that there will always be correction needed with color.
@@BillSchwab Bill, Yes no problem... Happy to help. Kaiser makes a similar LED light pad that has a CRI of 95 I think. It is about the same price and in theory, it should make color correction for color work a little easier for people. Obviously, it would't require any change in your approach, just in the light source. I've been doing a bit of research on this recently to make a purchasing decision... myself.
Nice video. Some remarks based on my experience doing the same. You may reduce the lateral incidence of light between the lens and the negative by inserting a round black cardboard tube between them. Lateral light costs a lot of contrast. After photographing, get every detail out of the negative by setting the sliders for highlights to 0% and for shadows to 100%. Then move the whites and blacks to the edges of the histogram until the alarm goes off. It may be that you have to move the first sliders back a little to achieve this. Warm regards Rudi
Thanks, Rudi. Great suggestion. I’ve experimented with this and haven’t noticed much difference so far, but I’ll give it some more attention. Nothing like the flaring I would sometimes get without masking on the flatbed.
Hi Bill, another great video, thank you so much. Just two questions... is there a correct way up for the anti-newton glass and does the glass cause some diffusion? Thanks
Hi Barry. I don’t notice any added diffusion because of the glass. Also… Great question on whether the side matters. It really depends on the glass. Anti-Newton glass actually has a very fine etch to it, like anti-glare glass, but less. It is that surface you want facing down. True ANR glass can be very expensive, but a great substitute that is a little less expensive is the tru-view framing glass. Non-glare glass will work in a pinch, but as you mentioned, there might be some diffusion issues depending on the glass.
@@BillSchwab Thanks for your replies Bill, much appreciated. Your post is very timely as I am looking to scan a lot of old negatives. I hope to get back to Photostock when we can (and while I still can!).
Inverting the black and white negative. Darker inverts to ligher. So darker exposure of negative give brighter inverted positive. In reality, probably the best thing to do is get the most “correct” expsoure in camera to ensure best dynamic range from darkest to lightest in the digital sensor and then use lightroom to fix exposure, contrast, etc.
Is there a way to invert the image in Capture One? Is inverting the curve in C1 the same thing? This video couldn't have come at a better time either, I just bought film for the first time and I plan on scanning the negatives with my Z6 and Capture One!
Hi Michael. As robust as C1 is, I am sure there is a way to invert. However, inverting the curve is not the same thing. I just tend to use my workflow in the manner that I showed. More of a personal choice.
What a great video! I learned so much! I have a question though. When I try to put pictures on my Facebook page sometimes if the sky has vignetting in. It looks like a very blocky rainbow. Loosing something in the translation. Any thoughts?
thank you, Dorothy! Unfortunately Facebook seems to do some sort of compression and I’ve noticed that with heavily vignetted images as well. You can probably try to combat this by pulling a little saturation out, but it seems to be a thing. Maybe someone else here can chime in. Thank you again, Dorothy!
Hi Tony. The tape is very thin and only about the thickness of the film base. Basically it only keeps the glass from pressing really hard on the strip of negative. For all practical purposes, the negative is flat. Hope this helps!
@@BillSchwab Thank you very much. This helps a lot. When I saw this method you are using it was like the sun coming out to shine after a long winter! I thought it must be too good to be true because it is genius in its pure simplicity and I will be putting this method into practice as soon as I can source some anti newton glass. Thanks for your expertise. Yeah I know..... but it's the first time Ive seen this method used!
@@tonyhayes9827 I'm sure you are going to be happy with your results. Play around as well to see what ends up being optimum with your combination of equipment. And don't be held back by the glass. A good, clean piece of window glass will work in a pinch. At least for experimentation. Also, many negatives will lay flat enough without the glass. Only use that if you have to. Have fun!
![[UNCUT] บอสพอล แผลงฤทธิ์ บอสพระ-นักร้อง ก. โดนแฉยับ! I คนดังนั่งเคลียร์ I 21 ต.ค. 67](http://i.ytimg.com/vi/XKf6HeftoPI/mqdefault.jpg)
Thanks Bill! I've been wanting to digitize all of my negatives for quite a while now. I think this may be what I've been looking for
Hi Travis! Great to hear from you. Yes... This is an excellent way to go. Let me know if I can help with more info. Once you get rolling, it is really simple and effective. Hope you are well! - Bill
You have such an elaborate set-up...going to computer....great. ellen
This is an excellent and very useful presentation. Thank you!
Thank you! Glad it helps.
Excellent! Thank you.
Hi Bill, great video! One question, I noticed your lens aperture is set at f/3.2 which for the Nikon 60mm is almost wide open. Not sure about macros but for most lens optimum sharpness is usually around f8 to f11. Have you noticed any softness in the corners compared to the center when shooting at such a large aperture?
Nice video, dear Bill. I have been saving it so I could really examine the method. Still using that cranky old Noblex because I love the image size and those big friendly negatives. I need to get a macro lens though. I have Jesse's old Canon 7D and my Sony 7rii. what lens would you recommend?
Excellent video! So glad you went from doing the shot of the negative to a final digital file. You used the cloning tool over the spot healing brush. Why?
Hi Stephen. Thanks! I've never been a fan of the healing brush although it has gotten much better over the years. It is more of a content aware fill and often didn't do what I wanted in the subtle skies I always went for. I found I could more easily control what I was doing by using the clone tool. With each upgrade, these tools become better and I really should give it more of a try, but I get set in my ways.
Bill, the Porta Trace light table has a CRI of about 80, so while it is good for B&W reproduction, it will probably cause people fits if they were to try to do color negatives or chromes on that particular light table.
THere are other tables that have much high CRI, and for anyone who might be using this approach for color work should think about getting a light source that has at least a CRI of 90 or preferrably 95.
Good point. Thank you for making it.I've wanted to expand on this one for awhile for color work in that there will always be correction needed with color.
@@BillSchwab Bill, Yes no problem... Happy to help. Kaiser makes a similar LED light pad that has a CRI of 95 I think. It is about the same price and in theory, it should make color correction for color work a little easier for people. Obviously, it would't require any change in your approach, just in the light source.
I've been doing a bit of research on this recently to make a purchasing decision... myself.
Nice video.
Some remarks based on my experience doing the same.
You may reduce the lateral incidence of light between the lens and the negative by inserting a round black cardboard tube between them. Lateral light costs a lot of contrast.
After photographing, get every detail out of the negative by setting the sliders for highlights to 0% and for shadows to 100%. Then move the whites and blacks to the edges of the histogram until the alarm goes off. It may be that you have to move the first sliders back a little to achieve this.
Warm regards
Rudi
Thanks, Rudi. Great suggestion. I’ve experimented with this and haven’t noticed much difference so far, but I’ll give it some more attention. Nothing like the flaring I would sometimes get without masking on the flatbed.
Hi Bill, another great video, thank you so much. Just two questions... is there a correct way up for the anti-newton glass and does the glass cause some diffusion? Thanks
Hi Barry. I don’t notice any added diffusion because of the glass. Also… Great question on whether the side matters. It really depends on the glass. Anti-Newton glass actually has a very fine etch to it, like anti-glare glass, but less. It is that surface you want facing down. True ANR glass can be very expensive, but a great substitute that is a little less expensive is the tru-view framing glass. Non-glare glass will work in a pinch, but as you mentioned, there might be some diffusion issues depending on the glass.
And thanks for watching, Barry!
@@BillSchwab Thanks for your replies Bill, much appreciated. Your post is very timely as I am looking to scan a lot of old negatives. I hope to get back to Photostock when we can (and while I still can!).
@@barrywilkinson6853 It would be great to have you back, Barry! That was a great year!
The first photo with 1/15 is too dark. The second photo with 1/20 is brighter. How is that possible?
Inverting the black and white negative. Darker inverts to ligher. So darker exposure of negative give brighter inverted positive. In reality, probably the best thing to do is get the most “correct” expsoure in camera to ensure best dynamic range from darkest to lightest in the digital sensor and then use lightroom to fix exposure, contrast, etc.
Is there a way to invert the image in Capture One? Is inverting the curve in C1 the same thing? This video couldn't have come at a better time either, I just bought film for the first time and I plan on scanning the negatives with my Z6 and Capture One!
Hi Michael. As robust as C1 is, I am sure there is a way to invert. However, inverting the curve is not the same thing. I just tend to use my workflow in the manner that I showed. More of a personal choice.
What a great video! I learned so much! I have a question though. When I try to put pictures on my Facebook page sometimes if the sky has vignetting in. It looks like a very blocky rainbow. Loosing something in the translation. Any thoughts?
thank you, Dorothy! Unfortunately Facebook seems to do some sort of compression and I’ve noticed that with heavily vignetted images as well. You can probably try to combat this by pulling a little saturation out, but it seems to be a thing. Maybe someone else here can chime in. Thank you again, Dorothy!
If the tape means the glass is not in contact with the film does that mean the film is not being flattened?
Hi Tony. The tape is very thin and only about the thickness of the film base. Basically it only keeps the glass from pressing really hard on the strip of negative. For all practical purposes, the negative is flat. Hope this helps!
@@BillSchwab Thank you very much. This helps a lot. When I saw this method you are using it was like the sun coming out to shine after a long winter! I thought it must be too good to be true because it is genius in its pure simplicity and I will be putting this method into practice as soon as I can source some anti newton glass. Thanks for your expertise. Yeah I know..... but it's the first time Ive seen this method used!
@@tonyhayes9827 I'm sure you are going to be happy with your results. Play around as well to see what ends up being optimum with your combination of equipment. And don't be held back by the glass. A good, clean piece of window glass will work in a pinch. At least for experimentation. Also, many negatives will lay flat enough without the glass. Only use that if you have to. Have fun!
THANK YOU!! ; o ) Congrats on the vaccine!