View allAll Photos Tagged VueScan
Camera: Minolta XD7
Lens: Minolta MD 1:1.7/50mm
Film: Jessops Diamond 2 400 asa (expired)
Scan: Vuescan + Epson Perfection V330
Edit: Lightroom CC2015
Processed by My Photo, Plymouth
I'm slacking with film development, I've been super-busy for the last few months, which means I have quite a backlog of film to develop, scan and edit.
Here, I was driving around the countryside, sometime in February 2021 - village houses with typical and not-so-typical surroundings.
Taken with Honeywell Pentax Spotmatic F film camera, with Super-Multi-Coated Takumar 135mm F3.5 telephoto lens, on a roll of fresh Agfa APX 400 black and white film. Developed with Kodak Xtol, diluted to 1:1.
Scanned with Plustek OpticFilm 8100 dedicated 35mm film scanner, via VueScan x64 9.5.
Rolleiflex 2.8E, Planar 80mm f2.8; TMY +1 = ISO800 & Y2 filter; Developed at Mono Lab National, Jingumae, Tokyo; Driver: VueScan 9 (DNG duplication); Scanner: Epson GT-X980; Raw Editor: Capture One Pro 20 (positive conversion and retouch); Browser: Photo Mechanic 6 (selection, management and uploading)
These are the stairs that lead from part of the "Riverwalk" in downtown Chicago, IL back up to the bridges crossing the river (this bridge is in my photo stream too!) and they are elegant and dirty, beautiful and disgraced all at once. This part of the riverwalk often has makeshift box-and-tarp "homes" for the critically poor and homeless in our city, and so you can see the grime along with the lovely design.
Shot using HP5 developed (by me) in HC110 (dilution E if memory serves, basically half-strength dilution B) with my Mamiya RZ67 ProII in the early morning light. 1/90 @ f/11, developed for a bit more contrast by increasing agitation intensity. Scanned @ 6400dpi on an Epson V600 using VueScan Professional, brought into PS CC for spotting and a touch of Topaz Detail to reduce "ugly" grain where the scanner noise mixes with the film grain....then downsized to 3200dpi bicubic sharper, and tone, contrast, clarity, and some localized adjustments were made to bring out my vision of the scene.
This is NOT "HDR" or tonemapped at all...HP5 just has this much latitude!
Overall, this isn't more than 15% away from the raw scan, which just shows what a solid film and a big negative are capable of.
Enjoy.
-Jim Richards
Irresponsible Imaging
Somewhere in my neighborhood, using a Cokin red filter.
Mamiya RB 67 Pro S + Sekor C 180mm f4.5 + Kodak T-MAX 100
Expiry date: 2002
Exposure index: 100
Contrast adjusted and dust cleaned in Affinity Photo 2.
Scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
I had taken an image from the same location on Ilford HP5+ with the intent of coloring digitally as I don't have the tools and space to hand-color a silver print. (Triagonal Steel: flic.kr/p/sjfcua ) In any case, a comment written by Alex DB mentioned that I could've just shot Portra 400 and called it a day. Lively discussion ensued with my promising to shoot some Portra 400 and allow the photos to show themselves. The Portra is certainly more dramatic, whereas the colored HP5 is surreal and calm.
Shot with my Mamiya RZ67 and Sekor C 110mm f/2.8 around 1/250th @ f/11 using Portra 400 at box speed. Developed at home in C41 PressKit, then scanned by my Epson V600 @ 6400dpi via VueScan Professional.
I've gotten a few comments about the V600 not meeting the 6400dpi resolution (or even close!)....and they are true in general. I scan at the native resolution, and do my spotting/cloning, along with a round of Topaz Detail(to reduce ugly grain) before resizing to 3200dpi files....I then save a new 3200dpi file and work from that to create what you see.
As I travel to the coast, I drive along the highway, since that's the most efficient, the shortest way. But, there is an alternative - the old road connecting Zagreb and the northern coast, but that road takes literally three times as much time. Sooo, I won't be using it anytime soon!
Taken with Olympus OM-4 film camera, with Olympus F.Zuiko Auto-S 50mm F1.8 normal lens, on a roll of Fujicolor C100 film expired in 2010, rated at 64 ASA.
Scanned with Plustek OpticFilm 8100 dedicated 35mm film scanner, using VueScan 9.5.
Lemgo Marketplace December 2021
Analog photography after sunset
Blue hour
Slide film
#LongExposure overexposed
#LightStars
#MinoltaXD5
#28mmf2.8
#FujichromeSensia100
#ExpiredSlideFilm
#Plustek7500iScanner
#VueScan
Hasselblad 500C/M 100 Planar FP4+ Ultrafin liquid 1+10
Scanned with Nikon LS9000 + vuescan(linux) + darktable(linux)
Zeiss Ikon S312 Tessar 40mm f/2,8 VueScan CanoScan 2700F Konica Super XG100 Saluzzo Ottobre 2007
Secondo me il Tessar "dipinge" sulla pellicola come fosse sulla tela ciò che il fotografo vede: e non solo, ma restituisce anche le sensazioni e le emozioni provate in quel momento... tanto che quando si rivede la foto sembra di nuovo di essere li
Tra l'altro noto che le foto scattate con la S312 abbinata a questa pellicola (anche se qui non siamo in condizioni di alto contrasto, lo ammetto) hanno una gamma tonale molto estesa: dalle zone d'ombra fino alle alte luci... infatti è presente il dettaglio contemporaneamente nel sottotetto e nel bianco delle nuvole! E queste foto non sono pacioccate con Photoshop...
- Canon EOS 3000 and EF 35mm f/1.4L
- Kodak Ektar 100
- Scanned using Epson V600 and Vuescan
- Negative converted using Negative Lab Pro
Titled after the excellent Depeche Mode album, one of their best, certainly! I took inspiration from the album's artwork here: just a very minimal, high contrast shot of a rose, although the album cover had a light rose on a black background, I did it in reverse ;)
I have always loved Depeche Mode, just went to see them live earlier this year. It was an amazing experience to be sure! They are one of those bands which never make filler tracks. Especially their (late) 80s/90s work with its dark sound and themes speaks to me.
Mamiya RB 67 Pro S + Sekor 50mm f4.5 + Kodak T-MAX 100
Expiry date: 2004
Exposure index: 100
Dust cleaned in Affinity Photo 2.
Scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Leica M2
Voigtlander 35mm f/2 Ultron Aspherical
Fomapan 100 @ ISO 200 in Diafine (4+4)/Vuescan
-- It had been five years or so since we visited this site, an abandoned dormitory for sugar cane cutters. Much had changed since our last visit. As recently as the circa. 1980's, the sugar corporations of South Florida hired migrant workers, largely from from islands, to cut their sugar cane, housing them in this big dormitories that looked like chicken coops. A book was written about the practice in the late 1980's by Alec Wilkinson, and the outrage over the working/living conditions forced the corporations to develop the necessary machinery, ironically ending the need for the seasonal labor. We first visit this site in circa 2015, some twenty-five years after the dorms were closed, but the beds and mattresses remained neatly stacked and aligned. Not today; today the mattresses are scattered, cabinets are knocked over, and the washing/drying machine are toppled on their side. Someone or something had been there. The dorms now are just homes for owls and rodents.
Visiting a friend in a neighbouring country is always an opportunity to take a walk through the city and try to catch a few photos. Here's a view from one of the islands on Una River, with Captain's Tower and the tower of the Church of St. Anthony in Bihać in the background.
Taken with Pentax MZ-S film camera and smc Pentax-FA 28mm F2.8 AL wide-angle autofocus lens, on Kodak UltraMax 400 film.
Scanned with Plustek OpticFilm 8100 film scanner, using VueScan 9.5.
City Hall Hamburg, Germany
At the U3 Subway Station Rathaus.
Spring is coming - seeing the blue sky coming from the underground.
Could be beautiful when the lights turn on.
Leading lines.
Analog re-entry
Film is not dead
Expired Rossmann HR200 @ 100
Plustek 7500i
Vuescan
Minolta XD5
Minolta MD35-70 f/3.5
Mask from the collection of the “Afrika Museum” at Berg en Dal, near Nijmegen, The Netherlands.
Technical notes: Nikon F2 with 105mm F2.5 on Kodachrome slide film. Digitised with a Nikon Coolscan V Ed (LS-50) + VueScan.
Leica M5
Leitz Summaron 35mm f/3.5
Kodak Gold 200
Minolta Scan Dual III
VueScan -> dng + Negative Lab Pro
Cousins pictured whilst their Mums were taking part in the Worthing Christmas Cracker 10K run in December 2004. Shot on Fujifilm Superior 200. I couldn't decide whether to show the full frame or a closer crop (because I'd cut most of their feet off), so here are both.
Neuer Zollhof
Frank O. Gehry architecture
Film is not dead
Expired Fujifilm Sensia
Slide Film
Scanned with Plustek 7500i and Vuescan
Minolta XD5
Minolta MD35-70 f/3.5
Voigtländer Bessamatic, Color Lanthar 50mm/2.8, Agfaphoto Vista Plus 200, Tetenal Colortec C41 - 30 Grad, Vuescan mit Reflecta CrystalScan 3600
If you want to go panoramic on film really on a budget, you can always grab one of those cameras from the late 1990s that have light baffles just in front of a film that crops standard photos to fake panoramic. While it is fully faked, with a proper wide-angle lens, the resulting photos can look not that bad!
Here, I did just that - I acquired Pentax MZ-5, one of those cameras with fake panoramic baffles. The good part is it crops even the viewfinder, the bad part is it's just a crop, you'd need a seriously wide-angle lens for a good effect - 19mm here helped.
My neighbourhoods - Utrina; New Zagreb, Croatia, May 2021.
Taken with Pentax MZ-5 film camera, with Cosina AF Zoom 19–35mm F3.5–4.5 ultra-wide angle zoom lens, on a roll of Agfa Vista+ 200 film. 1/60 exposure at ƒ/9.5, box speed, 200 ASA.
Scanned with my trusty Plustek OpticFilm 8100 dedicated film scanner, using VueScan 9.
Rolleiflex 2.8E Planar 80mm f2.8, Rolleinar 1; Kodak Ektar 100, Developed at Photo Ueno, Shibuya, Tokyo; Driver: VueScan 9(DNG duplication); Scanner: Epson GTX980; Raw Editor: Capture One Pro 20 (positive conversion and retouch); Browser: Photo Mechanic 6 (selection, management and uploading)
That apple tree was waning, through the last few years, but somehow, it rebounded this spring. Nice!
Taken with Pentax MZ-5 film camera and smc Pentax-M 50mm F2 lens, on KosmoFoto Agent Shadow 400ASA black & white film.
Developed in Adox Adonal, 1+50 dilution, at 22°C; details here.
Scanned with Plustek OpticFilm 8100 film scanner, using VueScan.
I met him during walking through the fence of the garden of someone`s house - 5:30 a.m.
Leica IIIf + Hektor 135mmF4.5
Kodak Tri-X : selfdeveloping Rodinal 1:25 20C EI400
vuescan / lightroom3
From the archives: lake Bundek under the snow. February 2014.
Taken with Honeywell Pentax Spotmatic F camera and SMC Takumar 50mm F1.4 lens, on Efke KB25 black & white film.
Developed in Fomadon R09 1+100 semi-stand process, 60 min stand development with one inversion at 30 min.
Scanned with Plustek OpticFilm 8100 film scanner via VueScan 9.
Olympus XA + F-Zuiko 35mm f/2.8 + Kodak Pro Image 100
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Camera Mamyia 6x7. ob 90mm 3,8f
Film: Fomapan 100 iso. 120
Dev. Ilford D3 dil 1+3 8',30" 18°
scan. Nikon coolscan 9000ED
software.VueScan
Fujifilm TX-1, Fomapan 100, Ilfosol 3.
Epson Perfection V850 with Vuescan, SmartConvert and Lightroom.
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When I shot this scene, I remember being struck by the sheer tranquility of the moment. The lone figure and their interaction with the shoreline caught my eye immediately. It wasn’t just the act of bending over—perhaps collecting shells or lost thoughts—but the way their movement felt perfectly at home within the vast, open space of the sea and sky. I wanted to capture that sense of harmony between the human and the natural.
Using the Fujifilm TX-1 was an intentional choice here. The panoramic frame gave me room to breathe with the composition, extending the horizon and allowing both the figure and the distant boat to sit comfortably within the scene without competing for attention. Fomapan 100 was another deliberate decision—I love its old-school rendering of tones, with just enough contrast to bring out the textures in the sand and seaweed while still keeping the highlights from becoming overpowering, particularly in the shimmering water.
I remember being especially mindful of the light that day. It wasn’t harsh, but it was crisp—perfect for black-and-white film. The glints of sunlight reflecting on the water were mesmerizing, and I wanted to ensure they translated well onto the negative. What really stood out to me when I developed the film later was how the grain interacted with those reflections, giving them a dreamy, almost pointillist quality. To me, this image feels like a quiet pause—a moment of reflection not just for the figure in the frame, but for the viewer as well.
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test per lo sviluppo Thornton a 2 bagni, per vedere la resa dei bianchi e delle zone in ombra, sol A 4', sol B 3',30", con filtro giallo e arancio. Soddisfatto della resa.
Camera: Nikon F100
Lens(s): Nikkor AF-S 24/70 f 2,8 ED
Film: Foma 100
Filter: Giallo e arancio
Dev: Thorton, sol A 4 ‘, sol B 3,30’
Stop Bath: Fomacitro
Fix: Fomafix
Scan: Nikon supercoolscan 9000ED,
Vuescan softwear
Rolleiflex 2.8F, Shangai GP3 100.
Epson Perfection V850 with Vuescan, SmartConvert and Lightroom.
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This photograph holds a quiet melancholy, an exploration of texture, light, and human presence amidst urban decay. Taken with the Rolleiflex 2.8F Planar, I sought to highlight the incredible resolving power of this lens while embracing the softer tonal characteristics of Shanghai GP3 100 film. The choice of film was intentional—it has just enough contrast to emphasize the peeling paint and graffiti, but with a slightly muted grain that keeps the scene feeling organic and reflective. The wide tonal range in this shot is one of the things I love about medium format, especially when working with natural light.
I remember being struck by the geometry of this scene—the harsh diagonals of the shadows, the wires tangled above, and the almost skeletal ironwork on the broken windows. The old, dilapidated sign, with its faded lettering and broken light fixture, became the centerpiece of the frame. It felt like a relic of a different time, echoing the stories of what this street must have once been.
The man walking into the light added an unplanned but deeply human element to the composition. His posture—slightly hunched, hands relaxed at his sides—creates a sense of quiet resignation, as though he is part of the fabric of this aging neighborhood. I loved how his shadow merged with the graffiti on the wall, blending his presence into the decay around him. Timing was critical here; waiting for him to step into just the right place, where the light carved him out against the textured backdrop, was what gave this moment its quiet strength.
Technically, I aimed to balance the highlights and shadows so that nothing felt overexposed, but still allowed the light to feel harsh and directional. The Rolleiflex’s square format forced me to think carefully about how every element worked within the frame, and in the end, I think it captures not just a place but a mood—a fleeting moment of stillness within a city weathered by time.
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Outside Bloor Street Fitness & Boxing Club, Dundas Street West, Toronto.
Who says you need a Leica or a Nikon to shoot street photography? The little plastic point-and-shoot camera used for this shot was bought at Value Village last spring for $7.95.
Minolta AF-S
Minolta 35mm f/2.8
TMax 400, D76 1:1
Epson V600/VueScan
► All my images are my own real photography, not fake AI fraudography.
■ Please don't use my images for any purpose, including on websites or blogs, without my explicit permission.
■ S.V.P ne pas utiliser cette photo sur un site web, blog ou tout autre média sans ma permission explicite.
© Tom Freda / All rights reserved - Tous droits réservés
Town Hall of the Peace of Westphalia
Rathaus des Westfälischen Friedens.
Ilford Delta 100
Scanned with Plustek 7500i and Vuescan
Minolta XD5
Minolta MD50mm f/1.7
Film is not dead
Una sorta di tipologia di questa merda di razza umana: 38. Depresso dalla monotonia.
Fuji GA645Zi ⎟ Kodak Ektar 100 ⎟ Epson V700
Summer 2018, a completely different time, a completely different world - pre-pandemic, pre-everything.
Here's a car ferry, on a pier in Tkon, Croatia. The rain stopped not that long ago, the sky was still cloudy.
Taken with Pentax 645 medium format film camera, and smc Pentax-A 645 45mm F2.8 wide-angle lens, on Ilford Delta 100 film.
Developed in Adox FX-39 II, 1+9 dilution, for 9:30 min at 20.5°C.
Scanned with Canon CanoScan 8800F flatbed scanner, using VueScan.
Somehow, the film backing paper texture transferred to the film, that's the "texture" I tried to minimize, but couldn't remove entirely.
one of straycants in the park.
... Presence
心の裏を見透かしているのかも知れない。
Flexaret IV
/ Fuji Reala Ace
- selfdeveloping / vuescan
catch you up later, my friends.
Atmosphere from VSCC Loton Park Hillclimb - 2016
MG Kayne
Camera // Yashica Mat
Film // Kodak Portra 160
Developer // Tetenal C-41
Scan // Epson V850 (Vuescan and ColourPerfect)
Bleach Bypass with FILM (no digital filters).
Another candid shot... and a better crop.
Eastman Kodak expired Vision2 250D. Shot at 250 with Bessa T and toy M mount body cap pancake lens with fixed focus F/10. There seems to be a sweet spot around 10 to 20 feet with the lens. "pre developed" (still looking for a good term). in PA Rodinal 1:100 for 10 minutes and then cross processed in Kodak Flexicolor C-41 for 3:15 minutes, skip bleach / bypass 2 minute wash, then fixed for 8 minutes continuous agitation in Ilford Hypam rapid fix 1:4.
The raw scan comes up very bronze with some rich earth tone colors, definitely not monochrome. Very reminiscent of RedScale and would probably pass. Obviously, the color can be rebalanced in post processing to bring back the original, or better colors. This is fairly easy to do in photoshop and I learned to just let VueScan do it's job and adjust the raw scan image.
The images may be a bit flatter but I find a VERY wide range of saturation to play with when a normal color negative would tip over of blow out. There are some unique "looks" to be had here. The shadows don't bunch up so quickly and it is possible that running it through a B&W developer automatically pushes the film a bit. I usually shoot this film at 125 or so and here it is doing well at 250 for a 20 odd year old roll.
Nice daylight is a still not-so abundant commodity in early February, and at that time, I got just what I asked for - I got lazy, only to realize I'll run out of light, and went out to take a few photos in the last moment. Also, that lens got some serious issues, it looks like it has/had water damage on glass elements, but otherwise, it works just fine.
Pre-pandemic February 2020. What a time to be alive!
Taken with Pentax SF1 film camera and smc Pentax-F Zoom 35–70mm F3.5–4.5 autofocus zoom lens, on expired DM Paradies Action 400 film.
Scanned with Plustek OpticFilm 8100 dedicated film scanner, via VueScan x64 9.5.
Kamifurano, Hokkaido.
Canon AV-1, NFD 28mm F2.8, Kodak Technicalpan, exposed as ISO40,developed with H&W control ( phenidone 2X ) 27 Deg.C. 10 minutes, scanned with Plustek OpticFilm8100 + VueScan, edited with GIMP. Bigger sizes: www.flickr.com/photos/threepinner/53117446128/sizes/ up to 10000 × 6678 pixels compatible. Learn DIY development and upgrade to film !
Hasselblad SWC Delta400 ID11 stock
Delta400, Self-developed ID11 (stock), self-scanned with vuescan (linux)
21-09-2024
Camera: Nikon F 80
Lens: Sigma 24-105/4.0
Film: Type-42L (Тип-42л) by Tasma
developer Agfa-12 (Стандартный N 2), dilution (1 + 3), 20 degrees Celsius, time 25 minutes as ISO 400
Scanned by Minolta Dimage ScanElite 5400 by VueScan
Nice daylight is a still not-so abundant commodity in early February, and at that time, I got just what I asked for - I got lazy, only to realize I'll run out of light, and went out to take a few photos in the last moment. Also, that lens got some serious issues, it looks like it has/had water damage on glass elements, but otherwise, it works just fine.
Pre-pandemic February 2020. What a time to be alive!
Taken with Pentax SF1 film camera and smc Pentax-M Zoom 75–150mm F4 manual focus zoom lens, on expired DM Paradies Action 400 film. Scanned with Plustek OpticFilm 8100 dedicated film scanner, via VueScan x64 9.5.
Fontana dei quattro fiumi by Bernini - Rome - Piazza Navona.
Technical notes: Minolta CLE + Voigtlander Nokton 40mm MC F1.4 on film. Digitised with a Nikon Coolscan V Ed (LS-50) + VueScan.
In 2012, I did a film - digital comparison using this car as a test subject.
To me, the digital images looked too clinically sharp. I prefer this film version, myself. It just looks more natural.
The link is in the first comment. Feel free to let me know which is your preference.
Nikon F80
AF-Nikkor 50mm f/1.8D
Fujichrome Provia 100F
Nikon Super Coolscan 8000 ED
VueScan
■ Please don't use my images for any purpose, including on websites or blogs, without my explicit permission.
■ S.V.P ne pas utiliser cette photo sur un site web, blog ou tout autre média sans ma permission explicite.
© Tom Freda / All rights reserved - Tous droits réservés