View allAll Photos Tagged VueScan
I'm in a CZJ Biometar mood. What a great lens for close up work and bokeh!
This photo is scanned with Vuescan, because my Silverfast is letting me down after the last upgrade. Vuescan takes some getting used to, as you may notice by the low-fi appearance of this image. However, the effect is quite pleasing to my eyes, so I'll share some of the Vuescanned pictures with you.
Please take a look at my most interesting photos Or take a look at my entire portfolio
My assistant handing me a roll of Tri-X. :)
..and then later:
www.youtube.com/watch?v=EMQUk2Nu8Og
After several hours of research and fiddling around, I've corrected the colour and infrared issues I had with Vuescan by downgrading from the 64-bit version to the 32-bit version. I posted a previous scan of this photo on Facebook a few hours ago. This new scan made with the 32-bit version of Vuescan is an improvement. I'm still not entirely happy. The first negatives were a bit underdeveloped so I'm increasing development time a bit for the next batch.
Leica M3 + Leica Summicron 50mm f/2 DR + Kodak Pro Image 100
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
This is Brian Busch. Brian helped to create the mythology surrounding Beardsgaard Barbers in Batavia, IL and is featured here as a more "real life" portrait than some of the others in the series.
Shot on my Mamiya RZ67ProII and Kodak Portra 400 at EI320 using the fantastic Sekor Z 110mm f2.8 glass wide open and getting just that razor thin slice of his eyes and hair/beard in focus. Soft light filtering through the Nordic Spruce in the area helped .
Developed at home with C41 Press Kit, Scanned at 3200dpi on my Epson V600 with VueScan. I kept the pastel tones of Portra intact and since there were active burns in the area we had a very hazy, low contrast background....magical!
See the shoot, backstory, and video here:
Makina 670 + Nikkor 80mm f/2.8 + Kodak Portra 160
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Forest, or at least the remnants of once pretty dense forest.
The severe storm levelled much of that forest in the late 2013., and then the snow and ice rain finished the trees off. Now, much of that forest is cleared.
Taken 15. 03. 2014.
Taken with Pentax MZ-S camera and Tamron Adaptall-2 24mm F2.5 wide-angle lens, 1/180s, ƒ/4.5, at 200ASA, on new stock of DM Paradies Universal 200 film.
Not bad, visibly better than previous stock - no more violet shadows. Also, this new film is visibly sharper, too...
Scanned with Canon CanoScan 8800F, with VueScan 9.2.
Leica M3 + Leica Summicron 50mm f/2 DR + Kodak Pro Image 100
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Braun Paxette Super II B + Carl Zeiss Tessar 50mm f/2.8 + Kodak Pro Image 100
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Rolleicord V Xenar 75mm f3.5; Ilford Delta 3200 EI1600 PO0 filter, Developed in Caffenol CL 20℃ 30min Semi Stand Development, No pre-soak, Mortensen agitation Method (1)agitation 1st 30 sec, (2) 3 gentle turns in every 30 secong for 5 minutes (3) stand for 20 min (4) 3 gentle turns in every minnute for 5 minutes; Stop Bath in tap wate (Ilford Rinsing Method, Ilford Rapid Fixer (Ilford Rinsing Method),: VueScan 9 (DNG duplication); Scanner: Epson GTX980; Raw Editor: Capture One Pro 21 (positive conversion and retouch); Browser: Photo Mechanic 6 (selection, management and uploading)
Tirage sur Dibond de 75x100 cm réalisé par le laboratoire Photoweb.
Horseman 4x5
Fuji 160 (dev C-41 maison)
Scanner V700 & vuescan
J'en ai vu des tirages mais celui ci est vraiment exceptionnel niveau rendu et netteté.
Esther shot with a Cambo studio camera.
210mm f5.6 Rodenstock Sironar lens.
Ilford HP5 sheet film, dev in Kodak D76 1+1.
Epson scan (V850 Vuescan)
Kodak Retina IIF + Schneider-Kreuznach Retina-Xenar f:2.8 45mm + yellow filter + Kodak Tmax 400
Digitised using Plustek 120 + Vuescan
extinct film - first frames of Kodak Ektachrome 100D8 motion picture reversal 16mm wide film before being split into double 8mm
fresh back from Niagara Custom Lab [niagaracustomlab.baremetal.com]
sent out for 2k raw telecine at [www.filmrescue.com]
--
shot with Bolex P1 D8 Reflex Double 8mm film camera
Som Berthiot Pan-Cinor f1.9 8-42mm zoom lens
--
Northern Ontario drive previewed in VueScan with Epson Perfection V500
Leica M3 + Nikkor-H.C 5cm f/2 + Kodak Tmax 100 + Zeiss red filter
Digitised using Plustek OpticFilm 120 + Vuescan
Shot box speed, despite being 23 years expired and having an unknown storage history.
Physical slides are very dark, and even with a high exposure setting in VueScan they were each pulled up another 1.5 to 2 stops in processing.
Color balance for mids and highs lead to significant magenta hue in shadows which was corrected for in some but not all of these.
Cinestill Cs6 3-bath kit with D9 DynamicChrome first dev (1+2 dilution, 11min)
Testing my Daughter's HP Envy 5540 Scanner with my Vuescan . I did darkroom Prints on Kentmere Grade 1 Glossy Bromide processed in Home-Made Ilford PQ Print formula 1+9 with my Durst M305 + 50mm f2.8 El-Nikkor lens. The Film came out dense as I found there is a 'sticky aperture' and it is slow to Stop Down. Film was KB200 processed in ID11 1+1 for 11 mins.
The New 'Homeless Man' in Brentwood High Street with his Festive Tent -- f1.4 used
Leica M3 + Nikkor-H.C 5cm f/2 + Kodak Tmax 100 + Zeiss red filter
Digitised using Plustek OpticFilm 120 + Vuescan
This forest isn't there, anymore. It has been devastated by the storm in late autumn 2013, then severe snow and ice finished what was left of it at the beginning of 2014, and finally, it has been cleared completely. This photo is taken on 22nd March 2014, while there still were some trees left.
Taken with Pentax MX camera and smc Pentax-M 28mm F2.8 lens, on Fuji Neopan 100 film.
Scanned with Canon CanoScan 8800F using VueScan 9.
Leica M3 + Leica Summicron 50mm f/2 DR + Kodak Pro Image 100
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Siamo in autunno...
Non è proprio come vedere la dia originale, ma ci si avvicina molto: merito di VueScan!
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Oggi scendevo dalla montagna con il quad per portarlo giù per l'inverno, e mentre viaggiavo mi riempivo gli occhi e la mente dei colori degli alberi, e li ammiravo uno per uno, come se volessi "conoscerli" personalmente, tanto sono diversi l'uno dall'altro, tanto ognuno faceva sfoggio dei suoi colori nella sua forma più bella - incommensurabilmente bella - non solo nelle varietà, ma anche perché ogni "individuo" è diverso dai suoi simili, per portamento, altezza, età, dimensione, sviluppo, posizione, esposizione, quota,
e poi... se è un individuo isolato o se è raggruppato in un bosco della stessa essenza,
e poi, quali piante ha vicino, ecc
ogni singolo albero avrebbe meritato una fotografia: avrebbe meritato che gli girassi intorno per fotografarlo da più punti di vista diversi, con obiettivi diversi, con prospettive diverse, con una luce e una direzione diversa
ecco perchè dico "conoscerli"...
e nel frattempo pensavo: non è vero che un albero quando viene tagliato dall'uomo muore, perché la sua bellezza rimarrà per sempre - penso ad es alle venature e ai colori del legno, lavorato, che diventa un parquet o un mobile o un serramento, e lo si può ammirare a lungo... gli alberi sono da sempre una risorsa insostituibile e da preservare...
Twin VMD towers, the taller on still under construction. One late spring day in June 2014., on my way to the office.
(A year later, my office moved to that tower in the back)
Taken with Canon EOS 1000FN camera, Canon EF 35–80mm F4–5.6 USM Mk I lens, on DM Paradies 200 film. Scanned with Canon CanoScan 8800F via VueScan 9.
Leica M3 + Leitz Wetzlar Summicron 50mm f/2 DR + B+W ND 4x + Kodak Portra 400
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Citroen Treffen in Haberpoint September 2020
Shot with Praktisix on Foma RETROPAN 320. Developed in Foma RETRO SPECIAL for 5 minutes at 20°C. Scanned with VueScan on an old HP Scanjet 4800
Yubari, Hokkaido.Canon AV-1,NFD 28mm F2.8, Fujiflm Minicopy HR2, exposed as ISO 40, developed with H&W control ( 20 Deg.C. 14 minutes ), scanned with Plustek OpticFilm8100 + VueScan at 7200 dpi, edited with GIMP.
Bigger sizes: www.flickr.com/photos/threepinner/53582360478/sizes/l/> , the original 9444 × 6798 pixels compatible. Learn DIY development and upgrade to film !
Yamanashi prefecture. Mamiya M645, Sekor 80mm F2.8, negative ISO 100 from Fuji, laboratory development, stored on a book shelf, scanned with Plustek OpticFilm120 +VueScan yesterday, edited with GIMP. No sign of deterioration. I don't know how to store digital images without effort more than forty years.
Minolta XD7
Minolta MD W.Rokkor 28mm f/2.8
Makinon Orange G filter
Fomapan 400 (metered @250)
Fomadon R09, 1+100 1-hour (semi-)stand at 20 C
Canon CanoScan 4200F
VueScan 9 x64 (9.5.80) RAW scan processed in Lightroom & Photoshop
Holiday lights and light stars on a night in November 2021
Film photography
Lippegarten
EKG
Long exposure using a star filter
Slide film
Sensia100 expired
#MinoltaXD5
#28mmf2.8
#FujifilmSensia100
#ExpiredSlideFilm
#Plustek7500iScanner
#VueScan
Dia positive slide: KODAK EKTACHROME P800/1600 EES, (1600 ISO) Canon A-1 & 70-210/f3.5 Vivitar series One.
Scanned using a Plustek 8200i Ai with Vuescan
Citroen Treffen in Haberpoint September 2020
Shot with Praktisix on Foma RETROPAN 320. Developed in Foma RETRO SPECIAL for 5 minutes at 20°C. Scanned with VueScan on an old HP Scanjet 4800
everyone (at least, everyone who has visited the empire state building) has one of these shots, right?
cold? bollock-frozen after five minutes on the observation deck, there'd have been about five other people out there. NYC in February, yeehah. mutiple layers, enough to keep one warm on mt ruapehu in winter - no match for a cool manhattan breeze at that height. I wonder if that's a cocktail?
Scanned from my original print on fujicolour paper from fuji G-200 print film, using vuescan and Epson V700. shot on my OM1.
Empire State Building
350 5th Ave
New York
NY 10001
Feb 1995_NYC_Empire
Leica M5 + Nikkor-P 10.5cm f/2.5 + Kodak Portra 160
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Body: Canon A-1
Lens: Canon FDn 50mm 1.4
Film: Portra 160
Developed: HEMA (Fuji Steenbergen)
Scanned with: Pacific Image PrimeFilmXA and Vuescan
Locomotive: Cockerill 3979/1963 ex NMBS/SNCB 230.134 (9144)
Location: Raeren(B) Railyard
Mamiya 645 super
Sekor C 55mm lens
Ektar 100
Sunny 16 rule
Plustek opticfilm 120
Vuescan (ektar100 2nd gen colour grading)
Camera: Mamiya RB67 Pro-S
Lens(s): Mamiya Sekor C 180mm f/4,5 90mm f3,8
Film: Ilford FP4
Dev:D76 stock
Scan: Nikon supercoolscan 9000ED, Vuescan softwear
The Castle of the Teutonic Order in Malbork (Polish: zamek w Malborku; German: Ordensburg Marienburg) is the largest castle in the world by surface area. It was built in Prussia by the Teutonic Knights, a German Roman Catholic religious order of crusaders, in a form of an Ordensburg fortress. The Order named it Marienburg (Mary's Castle). The town which grew around it was also named Marienburg.
The castle is a classic example of a medieval fortress and, on its completion in 1406, was the world's largest brick castle. UNESCO designated the "Castle of the Teutonic Order in Malbork" and the Malbork Castle Museum a World Heritage Site in December 1997.
Read more about Malbork Castle on Wikipedia. :)
Taken during our road-trip through part of Poland, in June 2013.
Pentax MZ-S camera and Tamron Adaptall-2 24mm F2.5 01BB wide-angle lens. Aperture priority mode, 1/125 exposure, matrix metering (as per film-imprinted EXIF). Fujicolor Pro 160C film, expired a few years ago. Scanned with Plustek OpticFilm 8100 scanner using VueScan 9.2.
Voigtländer Bergheil 9x12 with Heliar 15 cm, 1:4,5 in older Compur-Shutter
Adox CHS 100 II sheetfilm in ORWO A49 stock (5:30 min., 20° C rotation)
Negativscan with Heidelberg Linoscan 1450, Hamrick VueScan Professional.
Postprocessing with Adobe Photoshop CC and Lightroom CC classic.
20180408_Wik 01
Ilford XP2 Super in PaRodinal 1+25
Kiev 88 - Zodiak 3B - 645 back
Ilford XP2 Super C41 film @ iso 400
PaRodinal 1+25 18'00"
Epson V500 -Vuescan
Senkakuji Shrine, Shinagawa, Tokyo, Japan
Fujifilm GA645
Ilford PANF 50
Ilford DDX
Plustek Opticfilm 120
Vuescan
The light at the end of the South Pier at St. Joseph Michigan.
Photographed with Efke 25 film followed by DR5 reversal processing. The slide was scanned with Nikon Coolscan 5000ED using Vuescan. Post processing was a collaborative effort with Flickr User Longbowsnyper.
Camera: Mamiya RB67 Pro-S
Lens(s): Mamiya Sekor C 180mm f/4,5 90mm f3,8
Film: Ilford FP4
Dev:D76 stock
Scan: Nikon supercoolscan 9000ED, Vuescan softwear
"ICCD 2016"
"Slossfield Community Center"
"Birmingham, AL"
"Kiev IIa"
"Jupiter 12 35/2.8"
"Kodak" "TX400"
"Thorntons Two Bath"
"Plustek 8100"
"Vuescan"
"Gimp"
Bleach Bypass with FILM (not digital filters). PA Rodinal prebath.
This is what these look like edited. It is difficult to decide exactly what look goes.
This would be my "production" shot.
Eastman Kodak expired Vision2 250D. Shot at 250 with Bessa T and plastic 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. 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. My other posts of just bleach bypass have a thinner look and the shadows are lost pretty quick. More to explore.
In the end of the 19th century, railroads were built to connect remote places, mining projects etc... to the "outer world" With this, prosperity came to these places. In the Harz, there were many railroads, because of the many mines and quarries. 1899 the railroad from Walkenried to Braunlage was completed and opened. Built by the "AG Südharz-Bahngesellschaft", it was also connected to the "Harzquerbahn" (which still exists and even prospers until today!!) at Tanne.
When the Iron curtain was built, the line Brunnenbachsmühle–Tanne was interrupted, closed and forgotten. Eventually the rails were removed, all except a small portion, inside the border zone itself. The old railway bridge and the track bed is now an overgrown path, but at some places the rails are still visible... Ironically, EXACTLY on the border crossing itself....
Bronica ETRS-I + Zenzanon 150mm. I used the thin DoF of the medium format system to bring the rails forward, whilst still retaining a global view.
Filmdata:
Fujifilm Reala 100 scanned on Epson Perfection 4990 with Vuescan professional, colour processing with Colorperfect 2,1
This is my first experience with large format photography! A good friend of mine lent me his monorail, and I set this up as a "learning experience".
This is a bit over 1:1 on 4x5 film...definitely a macro shot even though you can see the entire flower....same magnification on a 35mm camera and we'd see just part of the center!
Shot with a Sinar F 4x5 monorail view camera and Rodenstock 210mm lens on Ilford HP5+. Shot at ISO400, 1/30th @ f/5.6 with some movements applied (front drop, rear rise, both slight) and developed in Photographer's Formulary FA-1027 for 9:30 (30 second push) at 68 degrees F.
Scanned on an Epson V700 @ 3200dpi via VueScan Professional and brought into Lightroom as a "raw" dng. fairly minor corrections applied, crop to square, and some dust-spotting clone work....that's it.
Hope you enjoy!
-Jim
(PS: Thank you Michael Barton of www.michaelbartonart.com)