View allAll Photos Tagged Digitization
This was taken on the shore of Lake Champlain. Taken with a Minolta Maxumm Film camera and a Tamron 28-200 Lens, Scanned in to digitize.
Camera: YASHICA MAT 124 G
Lense: Yashinon 80mm, F3.5
Film: Kodak Tri-X 400
Processing: Ilford MICROPHEN Stock, 09:00, 20°, PUSH ISO800, digitized with Epson V850 Pro
So you say you have a private call, Two major security groups are listening in, there are several scanners set to cell phones in Tulsa listening in, Facebook has your phone call, Google has your location, two street cameras have you, the building security camera has you, your credit card and smart phone was logged at the parking meter, you gave your car tag at the meter, I have you pixelated so there is nothing private with a phone call. You can delete it on your phone but it is on a server, smile you are digitized!
Digitized with Negative Lab Pro v2.1.0
Pentax K1000 | Pentax | Kodak Porta 400
Digitized with Epson V550 + Negative Lab Pro v2.1.0
Digitized with Negative Lab Pro v2.1.0
Yashika Mat 124 G | Kodak Tri X 400
Digitized with Epson V550 + Negative Lab Pro v2.1.0 | Lomography
Cinestill DF96
Digitized with Negative Lab Pro v2.1.0
Pentax K1000 | Ilford HP5 400
Digitized with Epson V550 + Negative Lab Pro v2.1.0 | Lomography
Iford DDX
Digitized images of past conductors and past performances scanned across the Disney Concert Hall in downtown Los Angeles, celebrating the 100th Anniversary of the L.A. Philharmonic .
Model: Karen
Photo by: Lloyd Thrap
Single FL 50 strobe on TTL cable.
Off camera shot with slight retouching.
© 2008 2020 Photo by Lloyd Thrap Photography
for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
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Albuquerque photographers. Artist and good guy. DIGITAL CAMERA
The Rodman Mountains in California contain cinder cones that are part of the Lavic Lake volcanic field, indicating volcanic activity in the area. The volcanic features include lava flows and cinder cones, with one notable cone located within the mountains. These ancient drawings etched in Stone were found near one of the Cinder Cones. You can see the tortured red and blue colors in the rocks of volcanic origin. These "rock art" engravings were put here by Native Americans over the past 12,000 years using stone tools.
Digitized from a 1992 film negative using a Canon R5 in 2025. The original film was Kodak Gold R-3 and was photographed with a Canon EOS Elan
Image - Copyright 2025 Alan Vernon
I.D.s 16 & 23985 photographed by John Ward on 1993-10-20 using a 35mm film camera producing a colour negative or print that has been scanned and digitized.
Eastern Metropolitan Bus Corporation (EMBC) Hino Bus NVU-549 No 640 heading for Baclaran in EDSA at Mandaluyong, Manila, Philippines.
Photo taken on backpack trip around Mt. Rainier in 1994.
This spot reminds me of Henry David Thoreau on his 200th birthday:
' I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived' -HDT Walden p.66
I have ridden past this tree for years. After many years of decay it has finally fallen.
RealitySoSubtle 6x17 | RealitySoSubtle | Kodak TMAX 100
Digitized with Canon EOS 5D Mark III + EF 100mm f/2.8 Macro | Kaiser Slimlite Plano | Digitaliza 120
Negative Lab Pro v2.3.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Highlight Hard | WB: Auto-Neutral | LUT: Frontier
1949. Kodachrome Transparency digitized using Canon EOS 5Diii with EOS 100mm f2.8L Macro Lens and JJC FDA-S1 Film Digitizing Adapter. Processed using Lightroom.
Vinyl LP (1980)
Label: Time-Life Records
Catalog No.: STL-J10
Monophonic / Stereo
out-of-print
Number of Discs: 3
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▶ Benny Carter (1907-2003) was a composer, arranger, big-band leader, and multi-instrumentalist, fluent on alto sax, tenor sax, trumpet, and clarinet. His instrumental tone was gorgeous; his chops, wicked good; his solos, logical yet inventively surprising. He was a great among greats, without, perhaps, as much renown as others.
▶ This album is one in the 3-LP set, Giants of Jazz: Benny Carter (1980) — itself one in a Time-Life series of jazz compilations— that provides a snapshot of his career, comprising 40 recordings from 1929 through 1977.
A wonderful find in a local thrift shop...and in good condition.
10 January 2020.
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▶ "No jazz musician has ever exceeded, and few have approached, Benny Carter in all-around achievement. If a jazz decathlon were held that included competition in alto saxophone, trumpet, clarinet, tenor saxophone, piano, and trombone performances, as well as arranging, composing, conducting, and instructing, Carter might not win every event, but his point total almost certainly would eclipse that of any conceivable rival."
— Morroe Berger (LP pamphlet)
▶ The sound of the set is very good. A crucial reason is its recording engineer: Frank Abbey (1922-2008). In 1951, he began working at Capitol Records, recording pop, jazz, classical, rock, broadway, and spoken word for nearly two decades. In 1968, he moved to CBS Records (later Sony Music) where he specialized in remastering —and then digital remastering. Abbey retired in 1988 but continued to freelance from his own New Jersey studio. In 1991, he received a Grammy for technical excellence for re-mastering the original recordings of bluesman Robert Johnson.
▶ The notes to the accompanying 52-page pamphlet —at times overly fulsome— were written by Morroe Berger (1918-1963): a sociology professor at Princeton University who wrote about jazz. The notes on the music —detailed and less florid— were written by Morroe's son, Edward "Ed" Berger (1949-2017), a longtime curator at the Institute of Jazz Studies at Rutgers University.
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▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
▶ Commercial use requires explicit permission, as per Creative Commons.
photos for the collage with Canon G12
in english language below
Wer heute - immer noch oder wieder – analog fotografiert, der steht oft vor dem Problem „wie bekomme ich das Foto auf den Computer, um es z.B. hier bei flickr zeigen zu können?“
Die schnellste und einfachste Lösung ist den Film in eine der großen Drogeriefilialen zu bringen und dort entwickeln zu lassen. Mit Foto-CD kostet ein 36er Film ca. 10€. Dieser Preis ist nur deshalb möglich, weil der gesamte Prozess mit modernster Technik vollautomatisch erfolgt.
An dieser Stelle will ich mit meinen Erfahrungen und meiner Lösung aufsetzen.
Der vollautomatische Prozess einer standardisierten C41 Filmentwicklung führt zu Resultaten, die ich mit einem C41 ChemieSet nicht besser und preiswerter hinbekäme. Zu einem anderen Ergebnis komme ich bei der automatischen Ausbelichtung von Negativen. Im besten Fall bekomme ich ein Ergebnis "state of the art" aktueller Scannertechnik.
Solche digitalisierten analogen Fotos sind damit hauptsächlich ein Resultat der eigesetzten Technik, vom "Klick" bis zum fertigen Foto. Ähnlich einem Digicamfoto im Automatikmodus, nur nicht so "gut".
Auch ein "Experte" wird anhand solcher Fotos nicht erkennen, ob mit einer Voigtländer CLR, Rollei 35, OM2 oder Leica fotografiert wurde.
Eine Eigenschaft von Automatiken ist, dass sie einen definierten Standard abdecken aber kaum Raum für Nuancen lassen. Letztere, sowie kleine charmante Fehler, werden nach vorgegebenen Parametern automatisch korrigiert.
Fazit: mein Beitrag zu einem "tollen Foto" ist übersichtlich gering. Er erschöpft sich in der Motivauswahl und einer rudimentären Bedienung der analogen Technik.
Dazu kommt, dass die niedrige Auflösung (ca. 1,5 MB je KB-Kleinbild Foto), kaum Spielraum für Korrekturen der automatischen Parameter, z.B. Tonwert, Farbe, Kontrast etc., bietet.
Absehbarer Frust für einen Sammler, der mit seinen „Schätzchen“ gerne auch mal fotografiert?
Muss nicht sein, wenn man den letzten Schritt des Laborprozesses, das Digitalisieren, selber macht.
Wie das einfach und sehr kostengünstig geht, will ich nachstehend aufzeigen.
Ich benötige also zunächst nur ein Negativ. Die Herstellung überlasse ich einem Großlabor, welches das viel besser und preiswerter kann als ich. Kosten dafür betragen ca. 2,50€, zusätzlich die obligatorischen Papierabzüge (im kleinsten Format). Gesamtkosten ca. 7,50€ je Film. Auf Erstellung einer Foto CD verzichte ich, weil ich ja selber scannen will.
Das Negativ scanne ich mit einem einfachen Photoscanner mit Durchlichteinheit im manuellen Modus mit der höchsten Auflösung (bei meinem scanner sind das 1600 dpi). Der Photoscanner ist dazu mit einem PC verbunden, der den Scanner steuert. Das Scan-Ergebnis bearbeite ich danach mit einer Bildbearbeitungssoftware. Fertig.
Soweit der Blick aus 10.000 Meter Höhe. Nachstehend eine kurze Beschreibung meines Equipment, welches sich aus meiner Vorliebe für Photoshop CS2 ergibt. Wieso das? CS2 ist ein professionelles Werkzeug von Adobe, das nichts mehr kostet aber „alles kann“, wenn man sich ausreichend mit dem Werkzeug beschäftigt.
Die erforderlichen Geräte setzen sich wie folgt zusammen: Ein alter Computer Latitude D520 mit Windows XP und Photoshop CS2, verbunden mit einem ebenso alten „Epson Perfection 1660 Photo“. Das Ergebnis sind scans mit >10 MB 2282x1550 pixel (je KB-Kleinbild Foto). Diese TIF-Dateien bieten ausreichend Potenzial für eine abschließende Bildkorrektur.
Der Arbeitsplatz ist nur beispielhaft. Entscheidend ist ausschließlich, dass alle Komponenten (Rechner, Scanner, Bildbearbeitungs-SW) von einem Betriebssystem unterstützt werden. Bei älterem Equipment ist Windows XP oft eine sehr gute Lösung. Prozessortakt und RAM sind eher nebensächlich.
Auch Photoshop CS2 muss nicht sein. Es gibt genügend andere Freeware, die gute Leistungen bei der Bild-Nachbearbeitung erbringen und einen Scanner ansteuern können.
Ein paar Anmerkungen zum scannen. Ich habe die Erfahrung gemacht, dass es für die Bildqualität egal ist, ob beim scannen die Emulsion oder die glatte Schicht des Negativs oben ist. Ggf. muss das Foto bei der Nachbearbeitung noch horizontal gespiegelt werden. Wichtiger ist, dass beim Einschieben in die Negativschablone eine Planlage verbogener oder gewölbter Negative erreicht wird. Ansonsten ergeben sich Unschärfen, die digital nicht korrigiert werden können.
Das scannen übernimmt die Scanner-eigene SW. Ich wähle dazu den manuellen Modus mit automatischer Belichtung, weil ich danach sowieso korrigiere. Ziel des scans ist nicht ein fertiges Bild, sondern eine Datei mit vielen BildInformationen. Deshalb wähle ich die höchste Dpi-Stufe und das Dateiformat TIF.
Abschließend noch ein paar Anmerkungen zur Bildbearbeitung. Die Anpassungen sind erforderlich, weil ich – wie oben beschrieben - die Scanner-Software (Twain) auf "Automatik" eingestellt habe. Damit passen erste wichtige Parameter wie z.B. die Helligkeit zumindest bei meinem Scanner einigermaßen.
Ab jetzt erfolgt der Prozess, den ich keiner Automatik der Welt überlasse und auch keinem kleinen professionellen scan-Service mit tollen Mitarbeitern. Denn "ich will eigene Ergebnisse".
Der erste Schritt ist ein Aufruf der „Gradationskurven“. Bei CS2 werden dort – neben den Kurven – 3 Pipetten gezeigt. Die rechte davon korrigiert das Foto auf Basis „weiß“. Gehen Sie an eine Stelle des Bildes, die eigentlich weiß sein soll, z.B. Sommerwolken. Dort anklicken und – wenn Sie ein Sonntagskind sind – haben Sie mit einem Klick ein wunderbar ausgeglichenes Bild. Ansonsten mehrmals ausprobieren oder den üblichen Feinschliff von Tonwert, Kontrast, Farbe etc. schrittweise durchführen.
Bei CS2 lassen sich die grundlegenden Anpassungen im Menue unter „Bild anpassen“ im oberen Block unter Tonwertkorrektur, Auto-Tonwertkorrekt usw. durchführen.
Das so entstandene digitale Foto trägt somit schon einmal meine "Handschrift". Der Grad einer eigenen "Handschrift" lässt sich unbegrenzt steigern. Grenzen setzten lediglich die eigene Phantasie und die Virtualität mit der man "auf dem Klavier", sorry der Software, spielen kann.
Übrigens, den oben beschriebenen Arbeitsplatz nutze ich nur zum scannen, denn für die digitale Nachbearbeitung ist deutlich mehr Rechnerleistung erforderlich. Die Kosten für die gebrauchten Geräte eines solchen Scan-Arbeitsplatzes sollten 50€ nicht übersteigen.
Gutes Gelingen, Alex
Anyone who takes analog photos today - still or again - is often faced with the problem "how do I get the photo onto the computer so that I can show it here at flickr, for example?
The fastest and easiest solution is to take the film to one of the large drugstore branches and have it developed there. With photo CD a 36 film costs about 10€. This price is only possible because the entire process is fully automated using the latest technology.
This is where I want to start with my experience and my solution.
The fully automatic process of a standardized C41 film development leads to results which I could not achieve better and cheaper with a C41 chemistry set. I come to a different result with the automatic exposure of negatives. In the best case I get a result "state of the art" of current scanner technology.
Such digitised analogue photos are thus mainly the result of the applied technique, from the "click" to the finished photo. Similar to a digicam photo in automatic mode, only not so "good".
Even an "expert" will not be able to tell from such photos whether a Voigtländer CLR, Rollei 35, OM2 or Leica was used.
The character of automatics is that they cover a defined standard but leave hardly any room for nuances. The latter and small charming errors are automatically corrected or ironed out according to predefined parameters. Conclusion: my contribution to a "great photo" is clearly small. It is exhausted in the choice of motifs and a rudimentary handling of the old analog treasures.
In addition, the low resolution (approx. 1.5 MB per KB small picture photo) offers hardly any leeway for corrections of the automatic parameters, e.g. tone value, color, contrast etc.
Predictable frustration for a collector who likes to take pictures with his "sweethearts"?
Not necessarily, if you do the last step of the laboratory process, the digitizing, yourself.
How this can be done simply and very inexpensively is shown below.
So I only need a negative first. I leave the production to the industrial laboratory, who are much better at it than I am. Costs for this are about 2,50€, plus the obligatory paper prints (in the smallest format). I do without the photo CD. Total costs about 7,50€ per film.
I scan the negative with a simple photo scanner with a transparency unit in manual mode with the highest resolution (in my scanner this is 1600 dpi) in manual mode. The photoscanner is connected to a PC, which controls the scanner. I then process the scan result with an image processing software. Done.
So much for the view from a height of 10.000 meters. The following is a short description of my equipment, which results from my preference for Photoshop CS2. Why is that? CS2 is a professional tool from Adobe, which doesn't cost anything more but "can do everything" if you spend enough time with the tool.
The rest of my tool is composed as follows: An old computer Latitude D520 with Windows XP and Photoshop CS2, connected to an equally old "Epson Perfection 1660 Photo". The result are scans with >10 MB 2282x1550 pixel (each KB small picture photo). These TIF files offer enough potential for a final image correction.
The workplace is only exemplary. The only decisive factor is that all components (computer, scanner, image processing software) are supported by an operating system. In case of older equipment, Windows XP is often a very good solution. Processor clock and RAM are rather unimportant.
Also Photoshop CS2 is not necessary. There are enough other freeware that can perform well in image post-processing and can control a scanner.
And a few more remarks about scanning. I made the experience that it doesn't matter for the image quality if the emulsion or the smooth layer of the negative is on top when scanning. You may have to flip the photo horizontally during post-processing. It is more important that a flatness of bent or curved negatives is achieved when inserting them into the negative stencil. Otherwise, blurriness will result which cannot be corrected digitally.
The scanning is done by the scanner's own SW. I choose the manual mode with automatic exposure, because I correct afterwards anyway. The goal of the scan is a file with a lot of image information. Therefore I choose the highest Dpi level and the file format TIF.
Finally a few remarks about image processing. The adjustments are necessary because - as described above - I set the scanner software (Twain) to "automatic". Thus first important parameters like e.g. the brightness fit at least with my scanner to some extent.
From now on, the process, which I don't leave to any automatic system in the world and also to a small professional scan service with great employees, will be done. Because "I want my own results".
My first step is to call up the "gradation curves". In CS2, 3 pipettes are shown there - besides the curves. The one on the right corrects the photo on basis "white". Go to a part of the image that should actually be white, e.g. summer clouds. Click there and - if you are a Sunday child - you will have a wonderfully balanced picture with just one click. Otherwise try it out several times or do the usual fine tuning of tonal value, contrast, colour etc. step by step.
With CS2, the basic adjustments can be made in the menu under "Adjust Image" in the upper block under Tone Value Correction, Auto Tone Correct etc.
The resulting digital photo will therefore already bear my "signature". The degree of your own "handwriting" can be increased indefinitely. The only limits are your own imagination and the virtuality on which you can play "on the piano", sorry software.
By the way, I only use the workplace described above for scanning, as for the digital post-processing significantly more computer power is required. The costs for the used equipment of such a scan workstation should not exceed 50€.
my photos overview
Lathkill Dale, Derbyshire Peak District
11:15am 4th April 2018
Linhof Technikardan S45
Fujinon T 400mm f/8
Fujichrome Velvia 50 5x4, 1/4" f/22
Lee landscape polariser
300mm bellows extension
7º front tilt, 17mm front rise
(spot-metered with water at +1.3 - Sekonic L-758D)
Home-developed with Jobo CPE-3 and Tetenal E6 (FD 7mins 10secs)
Digitized with 4-frame stitch on lightbox with D800E/85PC-E
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slide digitized , 1985
as I proclaimed earlier I am not a baby photo aficionado by any stretch as I am not into baby things full stop, in fact one of the worst things that can be caught on film (metaphorically speaking as film is no more) is those shots of puffy baby feet/toes in daddy's hand , oh no no no! yukety yuk! but I digress, so I wouldn't inflict a baby photo on public unless it had some merit beyond being a bay photo and I just have a feeling this one does , so there.