Top Tip: If you know you are going to be scanning(or as in your case photographing) the negs/slides when you first expose your film, shoot a shot of a grey card. Make sure it fills the frame and is exposed correctly. Then, when you photograph the negs, get a correct exposure off the shot of the grey card before you photograph the rest of the negs using the same exposure. It makes getting a proper exposure of the negs way easier and also means you have much less work to do in post production, especially if the frames have significantly large areas of unexposed silver, like when shooting against a black background.
But the light is coming through the negatives, but is reflecting off the grey card. I'd be shooting the negatives in virtual darkness, to prevent reflections.
@@PirHana I'm sorry, I'm not making myself clear. When photographing the negatives, light is coming from the light box, through the negatives and into the camera and is recorded by the sensor. It is also read by the camera's light meter which gives info with which to create an exposure. If you place a grey card where the negative would be, no light will pass through the grey card. The grey card will block the light from the light box. So you will only be getting a light reading based on the ambient light in the room, reflected off the grey card and into the camera. This won't give you any information about the intensity of the light coming out of the light box (and through the negatives). So grey card won't help to create an accurate exposure. Apologies for my lack of clarity before.
I ve never used film in my life, I only own a digital camera, however its so extraordinary to see the process, my respect for the film users grow even larger
I used a film scanner when I was shooting film 15-20 years ago, and although that process was much slower than DSLR capture, it was less of a pain in the butt to get the hardware part of the scanning process set up. However, once you have your camera scanning setup perfected, the results are much easier to control with today's software.
A trick to get the camera perfectly aligned above the light pad. Place a mirror under the camera on the light pad and align the cross hairs to the exact centre of the lens. Getting the alignment perfect is important to avoid warping distortion so your negative comes out square. Also the curve isn’t linear as the film compresses the shot somewhat. It’s more complicated with colour. So the plugin really helps decompress the negative. I’ve done thousands of negatives this way, mostly 100 year old ones. Great video, should inspire a few to try it.
Nico Cazals yes you align the guides in the camera viewfinder using the mirror. My camera doesn’t have centre cross hairs so I take test shots tethered into Lightroom and add them there, aligning the centre of the lens to the guides. It’s easier to do than explain, sorry. Check out the Peter Kroger book Digitising your photos (same author as the DAM book), an excellent reference.
Just in time Sean. With VE day upon us I have been going through my Mum and Dad's photographs from the 40's to 70's including slides and negatives and wondering how best to process them so that I can share them with the family. This has given a great starting point. Thank you so much.
Hey there, Sean... I'm old enough that I CAME from film and completely manual exposure. In SOME ways, I miss those days. As a digital photographer, often bird & wildlife, I often have my camera on aperture priority and move the EV Compensation slider back n forth... clickity clickity clickity... and although that may be understandable, in our politically and COVID-stressed times, it can be of value to slow down and be more MINDFUL of the photographic process... keeping you "in the moment"... and this has been SHOWN to be a healing process. I have old film cameras and I've thought of shooting some film... maybe I should prod myself more. Cheers, Sean!
I love the fact that you showed the three different methods to convert the image! Once again wonderful video. I've been doing b/w darkroom work for decades but you explained it in such a beautifully clear way!
Thanks so much for this Sean! I've just managed to follow all this and have scanned my first Fomopan 100 film :-) I bought all stuff used off ebay so my total cost was only about 50 quid which I was delighted with. I used my iPad as a lightpad and found that I could suspend the negatives above the iPad using an old photo frame, thus removing the pixilation via depth of field. I used an old Takumar 50mm f/4 macro lens for the scanning which worked beautifully.
A week before this video series started I got a Nikon FG-20 because I wanted to try out film photography. So these videos couldn't have come at a better time. It has inspired me further. Thank you!
I see my old Minolta X-570 staring at me from where I sit. Ordered new batteries and a light seal kit to revive it the other day. Can't wait to shoot film again. The last time I shot film was in 2006 or so - put it down when I got heavily into DSLRs. Looking forward to bringing that baby out again. Thanks for the inspiration - I've always loved the process.
As a professional photographer as well - your summation was point - right - on (to me anyway) as to why I shoot both digital and film. My film images are "for me" first and my digital images for clients, the gallery and not as much "for me" - certainly in what I post from my digital work. I do find that in shooting film - there are no client nor customer expectations as to "staying in my style". There is a downside, however - as your Instagram (or any Social Media) feed will be a bit of a mess, conflicted between "client expectation and "self exploration" between the two. But for that, I made the decision a while ago that my Instagram feed is "my feed", so should reflect who I am and where I am and what I'm playing with - and with a lack of a large number IG followers, it allows me that freedom to explore, fail and sometimes - even succeed. Brilliant three part series...
You are the Man Sean, Now I am thinking where the heck I have any negatives from back in the day and try this. Thank you so much. Digital takes away a lot of the hard work that was done back in the hay days. Truly amazing content. Thank you Sir .
The way you can get rid of seeing the pixels is elevating the negative from the tablet. At 1:1 the DoF is so shallow that the pixel array will go out of focus and you'll just have very accurate and very directional (due to the physical construction of pixels) light. Tablets are actually preferred to cheap light tables due to color reproduction. Less of an issue with black and white, but really matters with color film.
Well you just saved me from buying a cheap light box. Only thing holding me back was the temperature of the light. I can trust my iphone with that anytime.
Ive been in film for 3 years now, sending it to a lab for develop and scanning. I just bought a digital camera a month ago, and now IM BACK TO FILM! great series!
What an interesting trilogy. Even though I most likely will never return to shooting film, I always learn something when watching your videos. Yesterday while rummaging through my studio I took a look at my storage of negatives that go back into the 1960’s. I dug out my negatives from covering a Beatles press conference in New York City back in 1966. I took a look at your tutorial on digitizing film negatives then running them through your digital darkroom process. That in turn inspired me to take my 56 year old images of the Fabs and see what those images might look like with the far greater control than I had back then. I’ll keep you posted on what emerges. @seantucker
@@NicoFT Hello there. I’ve been a bit of a slug getting to my Fabs negatives. The pandemic here in the US has taken over my attention. However hearing from you is exactly the nudge I need to get out of my funk and focus on something that would be a great project. My negatives are in 126 format Kodak film from 1966. They are in good shape as I’ve stored them well. I’m giving myself a ten day deadline starting today. So watch this space I’ll post here as well as on my Instagram page “Roger way” Thanks for reaching out.
Absolutely belter of a video series. Thanks for your work Sean. Learning a lot. I actually managed to take one of the rarely occurring nice portraits of my wife earlier today. Always struggle with her beauty but today was the day. 👍
I found that the fun of film was to go into the darkroom and print my images. There’s nothing more exciting than seeing an image slowly appearing, seemingly out of the ether, as you gently rock the developing tray.
I haven't shot film for over 15 years, and never miss it, for me the joy of B&W work in the past was the magic of seeing the image reveal itself in the developing tray, to shoot and develop film and then just scan it seems pointless to me, the fun was in the darkroom. Even if you end up scanning the print.
This. I have never stopped shooting film, and printing in thd darkroom is by far the best part of it. I have a DSLR and a scanner, but it gets boring very quickly to digitalize your negatives (or positives). Still if video like these lure more people to try out film, all the better!
You're not helping people to enter into film by acting like an elitist my friend. Not many people have access to a darkroom to print, but they can engage and digitise at the end. It's not 'boring'. Plus, people often want to share their work online and so they will still want to digitise at the end even if they do print.
Sean Tucker Sean... you’re absolutely right. I’ve always wanted to set up a darkroom since taking photography 101 back in the 80’s. But since I’ve got a private septic system on my property it’s been hard to justify using all of the chemicals while printing and dumping them down the drain. I can’t tell you how excited I was to see you using this digital camera setup and I immediately ordered the chemicals for developing which are manageable with dumping into buckets for proper waste removal at my township garage. Thanks so much for taking the time to do this series! Your results are fabulous too!
@@seantuck I spend about 100 pounds a year to access a darkroom from a local camera club. I would not call that 'elite'. Many people spend that much on a ND filter without even thinking. I am just trying to encourage other people not to stop at the hybrid step and try the full traditional workflow end to end at least once. This has nothing to do with film being 'better' (it is not).
@@seantuck boring was to spent time in the darkroom, after you do it everyday for years is routine what it's called, and it was a loooong process to get to see an image and even more to printed correctly at the end, I do LOVE digital for the quickness and the only thing that stopped me for years to switch was that digital was not as good as film, but this days any digital average camera can beat a film one in a heartbeat and what I can enjoy now is scanning my old negatives and finally process them digitally so I can finish to see all the work I did for the last 30 years and haven't seen much of it, because of not having a darkroom with me while traveling, so just enjoy what you like more, film or digital, or both, photography is a language, not a technical skill, that'll make of you a camera/lab tech operator, not a photographer. Thanks for ALL of your videos, they are an oasis in a desert land. cheers
Loved this series of videos. I am on the edge of getting into film photography. I've had an old Minolta Hi-Matic G2 my grandparents bought back in the 80's and I used to play with as a kid. I took it out for spin with 36 exposures and was blown away how amazing the nostalgia of the photos made me feel. I am also in love with the process and how it has made me slow down. I think with digital I have had a mindset that even if I don't a shot has potential, I will shoot it anyway just in case. Like you said, it's about self discipline though and I plan on trying to think with that same mentality when shooting digital now.
Hi Sean. Great series. I still have my Canon A-1 and F-1 from the mid-'80's and a Voightlander rangefinder that I picked up a few years ago. I took the Voightlander and the F-1, along with 10 rolls of film, with me on a trip to Mexico. This was a few years back and I also took my Canon 60D. That had to be the best photo trip that I ever had. Leaving the digital at the hotel on many occasions, I would go out with just the film cameras. It really did show me the benefits of slowing down and really picking my shots. I carried that over when I took out the 60D. For processing, I had the film developed at a lab without prints. I have a Canon 3000 flatbed scanner which wasn't really expensive at the time and had a blast discovering how my film shots really turned out. I used Photoshop for processing. Kind of like the old days where you had to wait for your films to get developed to see how well you did. Your series reminded me about that experience and now I want to dive into my supply of film and get out and start using it again. Thanks for this series, I really enjoyed it.
Thanks for a great trilogy video series , first watched it when you released it. I have since developed more than a hundred rolls of film initially using DF96, now DDX, Ilfosol 3, Rodinal and CS41 at home. You are right I found myself 63 years later from 135 to 120. Thanks for the journey.
Great video Sean, I've had a DSLR for 10 weeks, I've just bought myself a Canon AE-1 and want to not only develop my own film but scan the negatives. This has been a really helpful video.
Great step by step process. You make it less intimidating to jump into film and medium format. I always wanted to experiment film but didn't know where to start with. I think I know now. I will have to grab one of those Yashica or Mamiya TLR. Always loved those vintage cameras. Thanks again for the inspiration. You did it again.
Unless the glass you're laying over the negative is anti-newton glass, you're going to get newton rings in your images. They will be most noticeable in large, smooth areas like clear skies and blank backgrounds.
@@gerardbellouard9696 I use the negative holders intended for scanners to keep them flat, elevated slightly above the tracing pad with a ruler or similar spacer.
Agree, if you don’t want to invest in equipment it’s a great way to do it, but you can buy old trusted Epson scanners really cheap now. Anyway thanks for sharing, it brought some analog days nostalgia back - much appreciated!
This series is an Master class on film photography.,my respect and love to u for making this series as it take a ton of energy, time and other variable to make such a veido,thanks for being there ur way off work and delivery is poetic and something different that I can only feel,thanks once again for such an inspiration💓💓
Thank you Sean, this is pretty much the same process I've used to digitize my old 35mm color slides. Of course since they aren't negatives I don't need your exact same processing steps, but I use my camera on a tripod facing downwards onto my small "light table" to get the image digitized. Glad to see I'm not a total moron for not using a scanner.
I started photography at an early age with a Brownie camera. Film has always been a passion. I went to digital late in the game but have now come back to film. Was looking at the best way to scan film and I am convinced this is the way to go./ thank you for the video. And BTW the Fuji shots at the end are my fave, what detail!
Hi Sean. Thanks for the steer. I've since bought a copy stand to simplify alignment and the process generally. My Sigma SD Quattro H and Sigma 70mm DG f2.8 macro is proving perfect - an absolute resolution monster, that swallows everything in the film and produces digital files that leave me pleased as Punch. I started with film aged 14, with the family Yashica rangefinder and 47 years later I'm lucky enough to have a 1957 Leica M3, with a 1970 Summicron 50mm f2 version 3, to really bounce back into analogue. I've made one small change to your process by turning the film emulsion side up and using a glassless holder. I figured it avoided any small reduction in clarity that may come about via the image passing through the film carrier and glass. I'm sure a side by side comparison would be impossible to differentiate but my OCD was hungry and it's the same principle used in enlarging, in that there's no layers between the projected image and the paper. Anyway, I'd like to go back to my cell now... Your channel was one of the first I subscribed to and I'm perpetually grateful to enjoy thoughtful, sensible, articulate pieces that inform, entertain and illuminate. Really top drawer stuff.
Great little series Sean. I really enjoyed this episode because it really tied it all together with your philosophical aspect on growth and creativity and not just the how. I especially liked the Fuji portraits because er... I like dark backgrounds.
Great video Sean. Very informative. Was looking for a cost effecitive solution to convert load of old 35mm and medium format negs. This is ideal solution
Great series and really enjoyed hearing your thoughts at the end. If you haven’t already, I would recommend trying multiple shots of the 120 and stitching them together. The detail captured by the Fuji is incredible! Even if it’s just for a bit of pixel peeping!
I found stitching to be unworkable in my experience. The stitches were often not accurate or clean and the time and effort definitely not worth it. A 24 megapixel image will print very nicely at all but the largest formats.
This is great Sean, I started negative scanning last year and took great joy in digitizing bygone photos from my childhood back when my pocket money could only afford me cheap printers to develop my SLR photos. I'm happy to provide you with info on how to timestamp photos so that the EXIF is accurate to when you took it. :-)
Very clear, step-by-step videos and beautiful pictures. I've shot 5 rolls of 35mm colour film and I've been waiting to use B&W to develop it by myself, so these videos are very useful! :)
Thanks for this series, Sean. It brings me, sort of, full circle. I'm of the film age and resisted digital for quite a while. I never did learn about film developing though and this simplified method looks very enticing. Thanks again.
Lots of great tips in this and the comments. One thing I do differently is a lower ISO, like 100 and a longer shutter speed with a cable release. I feel like with higher ISO and faster shutter speeds you can get sharp images but the grain of the photo is competing with the noise of the sensor and I like to see the grain of the film come through the best it can. Therefore a slower shutter speed and lower ISO seems to work best. Also I put the fstop at 8 on my lens because that is the sharpest setting on that particular lens. I think some lenses you might use a different fstop depending on which fstop gives you the sharpest corner to corner image.
I tend to end up with rolls of exposed and undeveloped film sitting in the fridge. When I finally send it off to the lab it it fun seeing what comes back. I once sat on a few rolls for about 8-10 years before I finally got them developed and scanned.
Its interesting that at the very moment you are teaching yourself how to use film to good effect, I am teaching myself how to use a digital sensor to good effect. Its a generational thing. I grew up with film. I didn't use a DSLR or Mirrorless camera until last year. Its all good. Your portraits are really good.
I did my whole collection of 35mm slides and B&W negs using the Nikon Coolscan V. A lot of fussing around involved. I think I would go with your method if I had to start over. The light table is a great idea.
This was very helpful, thanks. One thing I'll mention about my own experience, is that I get better results when I overexpose by 1 stop, instead of underexposing by 1 stop like you do. I find that I get much better shadow detail this way. The Sony CCDs are extremely sensitive, so the highlight information will still be there, just the blacks won't be as crushed as they are on an underexposure, and your shadows will be less noisy. I've always had better results having to lower the exposure in Lightroom/Photoshop than I have raising it. Otherwise this is a great series. Thanks!
As some who has thousands of slides and negatives to digitise I think you've just saved me a lot of money. No need to buy any extra equipment except for the light pad. Presumably this process works exactly the same for slide? Probably easier? Thanks Sean!
Hey Sean you still not sure about this TH-cam thing. Becouse What I just watched was excillent I can't wait to get to this level of proficiency in my photography as well as on TH-cam. Well done
Didn’t want to purchase another tripod because mine doesn’t have the horizontal pole option but another option is using an L bracket on my Z6, the type which has a slider feature which provides just enough extra reach over the table surface to shoot the negatives. So much fun!
Lovely shoot Sean! I really dig into getting continues light to shoot, then self develop and scanning. Worth the 3 weeks wait for the whole 3 parts series!
A couple of suggestions... I would mask the images more closely to eliminate the flaring you spoke of. Also, if you don't have a macro lens, extension tubes are cheap and allow very close focusing.
Love the commentary at the end. I’ve always been a film guy- though I shoot a lot of digi also- and I’ve always struggled to explain why I love it so much. Loved your explanation. 👌
Sean, In the future, try to use f8, and the lowest/base ISO (on Sony it's 100). Set the camera to aperture priority on a 2 second self timer. This way, you have the cleanest possible image from the sensor you can get, with no risk of ISO noise. Aperture priority will obviously balance the exposure via changing shutter speed as necessary. Use exposure comp if needed, but I do the method I just explained on my Sony A600 and it's flawless.
I recently went back to shooting film I am 77 and it takes me back 50 years to when film was all we had and I had a dark room. I enjoy the digital darkroom (Photoshop) it is quicker less messy and cheaper I develope my film and scan it with my digital camera I have been shooting digital for 20 years but going back to film is very rewarding
Using film makes you slow right down and consider what you are shooting. Can you make it better? Is that the look you want? Is my exposure correct? Rather than fire off a shot and check it on the screen on the back of the camera. I used to really enjoy the tension of waiting to get the film developed to see if you were correct and the image is what you wanted. I'm now getting back into photography thanks to Sean.
Top Tip: If you know you are going to be scanning(or as in your case photographing) the negs/slides when you first expose your film, shoot a shot of a grey card. Make sure it fills the frame and is exposed correctly. Then, when you photograph the negs, get a correct exposure off the shot of the grey card before you photograph the rest of the negs using the same exposure. It makes getting a proper exposure of the negs way easier and also means you have much less work to do in post production, especially if the frames have significantly large areas of unexposed silver, like when shooting against a black background.
But the light is coming through the negatives, but is reflecting off the grey card. I'd be shooting the negatives in virtual darkness, to prevent reflections.
@@DrBrianOCallaghan a matte grey card then?
@@PirHana I'm sorry, I'm not making myself clear. When photographing the negatives, light is coming from the light box, through the negatives and into the camera and is recorded by the sensor. It is also read by the camera's light meter which gives info with which to create an exposure. If you place a grey card where the negative would be, no light will pass through the grey card. The grey card will block the light from the light box. So you will only be getting a light reading based on the ambient light in the room, reflected off the grey card and into the camera. This won't give you any information about the intensity of the light coming out of the light box (and through the negatives). So grey card won't help to create an accurate exposure. Apologies for my lack of clarity before.
@@DrBrianOCallaghanI think what paulsaxby meant was photograph a grey card on a film frame then photograph the negative of that first?
I ve never used film in my life, I only own a digital camera, however its so extraordinary to see the process, my respect for the film users grow even larger
I used a film scanner when I was shooting film 15-20 years ago, and although that process was much slower than DSLR capture, it was less of a pain in the butt to get the hardware part of the scanning process set up. However, once you have your camera scanning setup perfected, the results are much easier to control with today's software.
A trick to get the camera perfectly aligned above the light pad. Place a mirror under the camera on the light pad and align the cross hairs to the exact centre of the lens. Getting the alignment perfect is important to avoid warping distortion so your negative comes out square. Also the curve isn’t linear as the film compresses the shot somewhat. It’s more complicated with colour. So the plugin really helps decompress the negative. I’ve done thousands of negatives this way, mostly 100 year old ones. Great video, should inspire a few to try it.
“Align the cross hairs”?
Nico Cazals yes you align the guides in the camera viewfinder using the mirror. My camera doesn’t have centre cross hairs so I take test shots tethered into Lightroom and add them there, aligning the centre of the lens to the guides. It’s easier to do than explain, sorry. Check out the Peter Kroger book Digitising your photos (same author as the DAM book), an excellent reference.
Good tip!
if you make a grid on the mirror it will be even easier.
Tip for easy accurate focus: shoot negatives emulsion side up and focus on film grain using cam focus magnify. Then flip image in post.
Paul, great piece of advice. Thanks for the info. Cheers
Just in time Sean. With VE day upon us I have been going through my Mum and Dad's photographs from the 40's to 70's including slides and negatives and wondering how best to process them so that I can share them with the family. This has given a great starting point. Thank you so much.
Hey there, Sean... I'm old enough that I CAME from film and completely manual exposure. In SOME ways, I miss those days. As a digital photographer, often bird & wildlife, I often have my camera on aperture priority and move the EV Compensation slider back n forth... clickity clickity clickity... and although that may be understandable, in our politically and COVID-stressed times, it can be of value to slow down and be more MINDFUL of the photographic process... keeping you "in the moment"... and this has been SHOWN to be a healing process. I have old film cameras and I've thought of shooting some film... maybe I should prod myself more. Cheers, Sean!
I don't know what it is about you Sean, but your voice is like a friend.
I love the fact that you showed the three different methods to convert the image! Once again wonderful video. I've been doing b/w darkroom work for decades but you explained it in such a beautifully clear way!
Thanks so much for this Sean! I've just managed to follow all this and have scanned my first Fomopan 100 film :-) I bought all stuff used off ebay so my total cost was only about 50 quid which I was delighted with. I used my iPad as a lightpad and found that I could suspend the negatives above the iPad using an old photo frame, thus removing the pixilation via depth of field. I used an old Takumar 50mm f/4 macro lens for the scanning which worked beautifully.
A week before this video series started I got a Nikon FG-20 because I wanted to try out film photography. So these videos couldn't have come at a better time. It has inspired me further. Thank you!
I see my old Minolta X-570 staring at me from where I sit. Ordered new batteries and a light seal kit to revive it the other day. Can't wait to shoot film again. The last time I shot film was in 2006 or so - put it down when I got heavily into DSLRs. Looking forward to bringing that baby out again. Thanks for the inspiration - I've always loved the process.
As a professional photographer as well - your summation was point - right - on (to me anyway) as to why I shoot both digital and film. My film images are "for me" first and my digital images for clients, the gallery and not as much "for me" - certainly in what I post from my digital work. I do find that in shooting film - there are no client nor customer expectations as to "staying in my style". There is a downside, however - as your Instagram (or any Social Media) feed will be a bit of a mess, conflicted between "client expectation and "self exploration" between the two. But for that, I made the decision a while ago that my Instagram feed is "my feed", so should reflect who I am and where I am and what I'm playing with - and with a lack of a large number IG followers, it allows me that freedom to explore, fail and sometimes - even succeed. Brilliant three part series...
You are the Man Sean, Now I am thinking where the heck I have any negatives from back in the day and try this. Thank you so much. Digital takes away a lot of the hard work that was done back in the hay days. Truly amazing content. Thank you Sir .
Does anyone else love the low-contrasty look at 15:36 ? I was like, woah! Thanks for the awesome tutorial 🙏
The way you can get rid of seeing the pixels is elevating the negative from the tablet. At 1:1 the DoF is so shallow that the pixel array will go out of focus and you'll just have very accurate and very directional (due to the physical construction of pixels) light. Tablets are actually preferred to cheap light tables due to color reproduction. Less of an issue with black and white, but really matters with color film.
Well you just saved me from buying a cheap light box. Only thing holding me back was the temperature of the light. I can trust my iphone with that anytime.
Ive been in film for 3 years now, sending it to a lab for develop and scanning. I just bought a digital camera a month ago, and now IM BACK TO FILM! great series!
I just got into film last month, now I wish I tried it earlier, feels very fresh and kind of exciting to see the results
Thanks not only for the technical but your insight,also.
What an interesting trilogy. Even though I most likely will never return to shooting film, I always learn something when watching your videos. Yesterday while rummaging through my studio I took a look at my storage of negatives that go back into the 1960’s. I dug out my negatives from covering a Beatles press conference in New York City back in 1966. I took a look at your tutorial on digitizing film negatives then running them through your digital darkroom process. That in turn inspired me to take my 56 year old images of the Fabs and see what those images might look like with the far greater control than I had back then. I’ll keep you posted on what emerges. @seantucker
Hi Roger, did you get around to re-scanning your images of the Fabs? How did it turn out? Super curious to see how that went for you.
@@NicoFT Hello there. I’ve been a bit of a slug getting to my Fabs negatives. The pandemic here in the US has taken over my attention. However hearing from you is exactly the nudge I need to get out of my funk and focus on something that would be a great project. My negatives are in 126 format Kodak film from 1966. They are in good shape as I’ve stored them well. I’m giving myself a ten day deadline starting today. So watch this space I’ll post here as well as on my Instagram page “Roger way” Thanks for reaching out.
@@rogerwyatt3246 Nice, looking forwards to it!
what a detailed and thoughtful video! ❤love it soooo much thank you soooo much
Wow the 6x6 format really works well with her!
I realize this was produced some time ago, but it was highly relevant for me today. Thanks Sean, I love your work mate!
Very informative and done in a relaxed, uncluttered informative style. Great.
Absolutely belter of a video series. Thanks for your work Sean. Learning a lot. I actually managed to take one of the rarely occurring nice portraits of my wife earlier today. Always struggle with her beauty but today was the day. 👍
First photo with the Fuji is my favorite, is so beautifull the composition simple and elegant, nice video
Thank you again and again for really educating us and actually saving us a lot of money.
I found that the fun of film was to go into the darkroom and print my images. There’s nothing more exciting than seeing an image slowly appearing, seemingly out of the ether, as you gently rock the developing tray.
These photos are absolutely beautiful!
Always a pleasure to watch your videos, Sean. Thanks for sharing with us. :)
I haven't shot film for over 15 years, and never miss it, for me the joy of B&W work in the past was the magic of seeing the image reveal itself in the developing tray, to shoot and develop film and then just scan it seems pointless to me, the fun was in the darkroom. Even if you end up scanning the print.
This. I have never stopped shooting film, and printing in thd darkroom is by far the best part of it. I have a DSLR and a scanner, but it gets boring very quickly to digitalize your negatives (or positives).
Still if video like these lure more people to try out film, all the better!
You're not helping people to enter into film by acting like an elitist my friend. Not many people have access to a darkroom to print, but they can engage and digitise at the end. It's not 'boring'. Plus, people often want to share their work online and so they will still want to digitise at the end even if they do print.
Sean Tucker Sean... you’re absolutely right. I’ve always wanted to set up a darkroom since taking photography 101 back in the 80’s. But since I’ve got a private septic system on my property it’s been hard to justify using all of the chemicals while printing and dumping them down the drain. I can’t tell you how excited I was to see you using this digital camera setup and I immediately ordered the chemicals for developing which are manageable with dumping into buckets for proper waste removal at my township garage. Thanks so much for taking the time to do this series! Your results are fabulous too!
@@seantuck I spend about 100 pounds a year to access a darkroom from a local camera club. I would not call that 'elite'. Many people spend that much on a ND filter without even thinking.
I am just trying to encourage other people not to stop at the hybrid step and try the full traditional workflow end to end at least once.
This has nothing to do with film being 'better' (it is not).
@@seantuck boring was to spent time in the darkroom, after you do it everyday for years is routine what it's called, and it was a loooong process to get to see an image and even more to printed correctly at the end, I do LOVE digital for the quickness and the only thing that stopped me for years to switch was that digital was not as good as film, but this days any digital average camera can beat a film one in a heartbeat and what I can enjoy now is scanning my old negatives and finally process them digitally so I can finish to see all the work I did for the last 30 years and haven't seen much of it, because of not having a darkroom with me while traveling, so just enjoy what you like more, film or digital, or both, photography is a language, not a technical skill, that'll make of you a camera/lab tech operator, not a photographer. Thanks for ALL of your videos, they are an oasis in a desert land. cheers
Loved this series of videos. I am on the edge of getting into film photography. I've had an old Minolta Hi-Matic G2 my grandparents bought back in the 80's and I used to play with as a kid. I took it out for spin with 36 exposures and was blown away how amazing the nostalgia of the photos made me feel. I am also in love with the process and how it has made me slow down. I think with digital I have had a mindset that even if I don't a shot has potential, I will shoot it anyway just in case. Like you said, it's about self discipline though and I plan on trying to think with that same mentality when shooting digital now.
Really like the new direction of your vlog. Love these images. Outstanding work my friend. Thanks for sharing.
Hi Sean. Great series. I still have my Canon A-1 and F-1 from the mid-'80's and a Voightlander rangefinder that I picked up a few years ago. I took the Voightlander and the F-1, along with 10 rolls of film, with me on a trip to Mexico. This was a few years back and I also took my Canon 60D. That had to be the best photo trip that I ever had. Leaving the digital at the hotel on many occasions, I would go out with just the film cameras. It really did show me the benefits of slowing down and really picking my shots. I carried that over when I took out the 60D. For processing, I had the film developed at a lab without prints. I have a Canon 3000 flatbed scanner which wasn't really expensive at the time and had a blast discovering how my film shots really turned out. I used Photoshop for processing. Kind of like the old days where you had to wait for your films to get developed to see how well you did. Your series reminded me about that experience and now I want to dive into my supply of film and get out and start using it again. Thanks for this series, I really enjoyed it.
This is sorcery. Sean you're a magician.
Awesome series thus far. Great work.
Thanks for a great trilogy video series , first watched it when you released it. I have since developed more than a hundred rolls of film initially using DF96, now DDX, Ilfosol 3, Rodinal and CS41 at home. You are right I found myself 63 years later from 135 to 120. Thanks for the journey.
Mind blown when you inverted the point curve, had no idea you could do that for your negatives!
Great video Sean, I've had a DSLR for 10 weeks, I've just bought myself a Canon AE-1 and want to not only develop my own film but scan the negatives. This has been a really helpful video.
this was very useful and informative video.. and gives me a thought to convert all old negatives to digital, thanks for great video...
Great step by step process. You make it less intimidating to jump into film and medium format. I always wanted to experiment film but didn't know where to start with. I think I know now. I will have to grab one of those Yashica or Mamiya TLR. Always loved those vintage cameras. Thanks again for the inspiration. You did it again.
Enjoyed your 3 part series, thank you 😎🎞📷
A superb series Sean, great work and thank you ✨🙏 Inspirational!
Unless the glass you're laying over the negative is anti-newton glass, you're going to get newton rings in your images. They will be most noticeable in large, smooth areas like clear skies and blank backgrounds.
any other solution to keep the negative flat ?
@@gerardbellouard9696 I use the negative holders intended for scanners to keep them flat, elevated slightly above the tracing pad with a ruler or similar spacer.
A great set of videos. Thank you. The high contrast prints remind me of some of the fashion photos from the 40's & 50's.
Agree, if you don’t want to invest in equipment it’s a great way to do it, but you can buy old trusted Epson scanners really cheap now. Anyway thanks for sharing, it brought some analog days nostalgia back - much appreciated!
Been following and it’s a nice educative series for photography aficionados
I've pulled.out my old film 35mm this past year. Brings back memories
Even though I'm not going to do film photography anymore, I can't go past one of your videos, Sean. It was very interesting to watch.
Great job Sean, going to dig out my 503 cx ond get some 120 film.
This series is an Master class on film photography.,my respect and love to u for making this series as it take a ton of energy, time and other variable to make such a veido,thanks for being there ur way off work and delivery is poetic and something different that I can only feel,thanks once again for such an inspiration💓💓
Thank you Sean, this is pretty much the same process I've used to digitize my old 35mm color slides. Of course since they aren't negatives I don't need your exact same processing steps, but I use my camera on a tripod facing downwards onto my small "light table" to get the image digitized. Glad to see I'm not a total moron for not using a scanner.
I started photography at an early age with a Brownie camera. Film has always been a passion. I went to digital late in the game but have now come back to film. Was looking at the best way to scan film and I am convinced this is the way to go./ thank you for the video. And BTW the Fuji shots at the end are my fave, what detail!
great series, Sean! inspiring what you do, how you explain and how the results look!
Great shots. Model looks very comfortable in front of your camera.
Hi Sean. Thanks for the steer. I've since bought a copy stand to simplify alignment and the process generally. My Sigma SD Quattro H and Sigma 70mm DG f2.8 macro is proving perfect - an absolute resolution monster, that swallows everything in the film and produces digital files that leave me pleased as Punch. I started with film aged 14, with the family Yashica rangefinder and 47 years later I'm lucky enough to have a 1957 Leica M3, with a 1970 Summicron 50mm f2 version 3, to really bounce back into analogue.
I've made one small change to your process by turning the film emulsion side up and using a glassless holder. I figured it avoided any small reduction in clarity that may come about via the image passing through the film carrier and glass. I'm sure a side by side comparison would be impossible to differentiate but my OCD was hungry and it's the same principle used in enlarging, in that there's no layers between the projected image and the paper. Anyway, I'd like to go back to my cell now...
Your channel was one of the first I subscribed to and I'm perpetually grateful to enjoy thoughtful, sensible, articulate pieces that inform, entertain and illuminate. Really top drawer stuff.
Such VALUABLE information!! Thank you!!
Thanks a lot 🖤 big respect from Tunisia 🇹🇳
Great little series Sean. I really enjoyed this episode because it really tied it all together with your philosophical aspect on growth and creativity and not just the how. I especially liked the Fuji portraits because er... I like dark backgrounds.
RIGHT ON! I was wondering how you invert a negative in LR! THanks Man!!
Loved to see you experiment in this creative medium :)
Great coincidence. I was just looking for a way to digitize and develop some old negatives from my parent’s. This helps a lot. Thx
An excellent tutorial. Thank you.
This is my summer project sort out, I've got loads of negatives from the good old days to digitise. Thanks for the video ;)
Great video Sean. Very informative. Was looking for a cost effecitive solution to convert load of old 35mm and medium format negs. This is ideal solution
10:52 wow you just blew me away. can't wait untill i get a develop kit!
Been waiting for this!!!!!!! Thanks Sean!!
Great series and really enjoyed hearing your thoughts at the end. If you haven’t already, I would recommend trying multiple shots of the 120 and stitching them together. The detail captured by the Fuji is incredible! Even if it’s just for a bit of pixel peeping!
The Fuji lens is stunning.
I found stitching to be unworkable in my experience. The stitches were often not accurate or clean and the time and effort definitely not worth it. A 24 megapixel image will print very nicely at all but the largest formats.
@@millerviz yeah it can definitely be fiddly!
This is great Sean, I started negative scanning last year and took great joy in digitizing bygone photos from my childhood back when my pocket money could only afford me cheap printers to develop my SLR photos. I'm happy to provide you with info on how to timestamp photos so that the EXIF is accurate to when you took it. :-)
Pure gold, as always. Thank you, Sean.
Great series !! I love your videos
Thanks Sean brilliant I will give this a try soon on some of my old films
Very clear, step-by-step videos and beautiful pictures. I've shot 5 rolls of 35mm colour film and I've been waiting to use B&W to develop it by myself, so these videos are very useful! :)
Excellent video! Thanks for sharing!🥂
Thanks for this series, Sean. It brings me, sort of, full circle. I'm of the film age and resisted digital for quite a while. I never did learn about film developing though and this simplified method looks very enticing. Thanks again.
Lots of great tips in this and the comments. One thing I do differently is a lower ISO, like 100 and a longer shutter speed with a cable release. I feel like with higher ISO and faster shutter speeds you can get sharp images but the grain of the photo is competing with the noise of the sensor and I like to see the grain of the film come through the best it can. Therefore a slower shutter speed and lower ISO seems to work best. Also I put the fstop at 8 on my lens because that is the sharpest setting on that particular lens. I think some lenses you might use a different fstop depending on which fstop gives you the sharpest corner to corner image.
This is a gem of info, thank you Sean!
I tend to end up with rolls of exposed and undeveloped film sitting in the fridge. When I finally send it off to the lab it it fun seeing what comes back. I once sat on a few rolls for about 8-10 years before I finally got them developed and scanned.
I love your talk here.
I love this series, it was a lot of fun.
Its interesting that at the very moment you are teaching yourself how to use film to good effect, I am teaching myself how to use a digital sensor to good effect. Its a generational thing. I grew up with film. I didn't use a DSLR or Mirrorless camera until last year. Its all good. Your portraits are really good.
I did my whole collection of 35mm slides and B&W negs using the Nikon Coolscan V. A lot of fussing around involved. I think I would go with your method if I had to start over. The light table is a great idea.
Beautiful portraits of Sarah by the way.
This was very helpful, thanks.
One thing I'll mention about my own experience, is that I get better results when I overexpose by 1 stop, instead of underexposing by 1 stop like you do.
I find that I get much better shadow detail this way.
The Sony CCDs are extremely sensitive, so the highlight information will still be there, just the blacks won't be as crushed as they are on an underexposure, and your shadows will be less noisy. I've always had better results having to lower the exposure in Lightroom/Photoshop than I have raising it.
Otherwise this is a great series. Thanks!
ty
Brilliant brilliant video
As some who has thousands of slides and negatives to digitise I think you've just saved me a lot of money. No need to buy any extra equipment except for the light pad. Presumably this process works exactly the same for slide? Probably easier? Thanks Sean!
Shane Nixon I’m wondering the same thing...
Hey Sean you still not sure about this TH-cam thing. Becouse What I just watched was excillent I can't wait to get to this level of proficiency in my photography as well as on TH-cam. Well done
Been waiting all week for this... 😬
This was so helpful! Thank you very much!
Didn’t want to purchase another tripod because mine doesn’t have the horizontal pole option but another option is using an L bracket on my Z6, the type which has a slider feature which provides just enough extra reach over the table surface to shoot the negatives. So much fun!
Lovely shoot Sean! I really dig into getting continues light to shoot, then self develop and scanning.
Worth the 3 weeks wait for the whole 3 parts series!
A couple of suggestions... I would mask the images more closely to eliminate the flaring you spoke of. Also, if you don't have a macro lens, extension tubes are cheap and allow very close focusing.
Love it Sean!
I always learn something from your videos and I find you material calming.
Thank you,
Steve aka The Talking Fly
The comment on slowing down because of film is so true. It's a problem of the photographer, not the medium.
Love the commentary at the end. I’ve always been a film guy- though I shoot a lot of digi also- and I’ve always struggled to explain why I love it so much. Loved your explanation. 👌
Sean,
In the future, try to use f8, and the lowest/base ISO (on Sony it's 100).
Set the camera to aperture priority on a 2 second self timer. This way, you have the cleanest possible image from the sensor you can get, with no risk of ISO noise. Aperture priority will obviously balance the exposure via changing shutter speed as necessary. Use exposure comp if needed, but I do the method I just explained on my Sony A600 and it's flawless.
I recently went back to shooting film I am 77 and it takes me back 50 years to when film was all we had and I had a dark room.
I enjoy the digital darkroom (Photoshop) it is quicker less messy and cheaper
I develope my film and scan it with my digital camera
I have been shooting digital for 20 years but going back to film is very rewarding
Thank you for sharing!
when comes to the curve stuff, wow, this man knows Magic！！
Using film makes you slow right down and consider what you are shooting. Can you make it better? Is that the look you want? Is my exposure correct? Rather than fire off a shot and check it on the screen on the back of the camera. I used to really enjoy the tension of waiting to get the film developed to see if you were correct and the image is what you wanted. I'm now getting back into photography thanks to Sean.