View allAll Photos Tagged VueScan
Nikon FM3A
Nikon 85mm f/1.4 D
AGFA Digibase CR200 PRO
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
The Singing Ringing Tree, with a little sunburst! One of the Lancashire Panopticons. Makes a wonderfully eerie sound when the wind blows.
Kodak Tri-X souped in Rodinal agitated gently for first 30 seconds then 3 times every 30 seconds. Scanned with Vuescan as it's less gritty than the Epson software but kills my poor old pooter.
A few more pictures from the trip to the Impossible Project Open-Day Factory Tour in Enschede, Netherlands.
These are from afterwards when we had a stupid amount of time (AND non-lovely weather) until the train home was scheduled to leave.
We strolled through Enschede a few hours and then took a train across the border to Gronau and walked around there a bit more. Also ate Pizza ;P
Camera: Minolta X-500
Lens: Minolta Rokkor 50mm F/1.7
Film: DM Paradies 400 @ ISO1600
Developer: Tetenal Colortec C41 Kit (after that batch this kit got 'retired')
Developed with Jobo autolab ATL 2200
Scanned with Epson V500 and Vuescan
Nikon FM3A
Nikon 85mm f/1.4 D @ f/2
Kodak Portra 400
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: ColorPerfect + Lightroom
Film: Bought at Beau Photo, Processed at The Lab
Silverfast (left) vs Vuescan(right), don't pay too much attention to the colors because the images here are not original results and I did not put much effort in adjusting the colors.
Negafix profile of 160NC was used in Silverfast.
Base color was locked in Vuescan.
It seems that both scanwares yield excellent details, however images out of Silverfast look a bit more clearn ... it might be due to I just learn to use Vuescan for two days ...
Olympus OM-2 + G.Zuiko Auto-S 50mm f/1.4 + Kodak Portra 800
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
I am testing between the canoscan software and vuescan. The cano retains highlight better default but the vue gets more shadows. Gotto learn this scanning thing~
Nikon FM3A
Nikon 85mm f/1.4 D @ f/2.8
Kodak Portra 400
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
Philips Medium Format Enlarger PCS 150.
Another route is to use Vuescan. This scanner program allows you to choose as source an image file instead of a scanner, very handy !
I used the same source (image 04 in this set), selected the crop area and clicked the button "scan".
The resulting image looks better, there is definetly more life in it.
Still a red shift but that would be easily corrected in a next shot of the negative.
Please don't look too much at the sharpness. I know that it is horrible !
Main goal was to see how the colors behaved.
My set-up was very amateuristic. Just remove the Enlarger lens, put the Nikon D40 on the easel and point it upwards. Autofocus was used, ISO set at 200 and Colorbalance at Tungsten (3000K).
A much better performance would be reached with one of the latest DSLR's with its super megapixels sensor and, very important, an excellent macro-lens.
Nikon FM3A
Nikon 28mm f/2.8 ais @ f/5.6
Fujifilm Provia 100
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
What is she tugging on? The car in the background...1940s?
I got a new toy! I picked up a scanner at a garage sale for $5 and it works great. Got it to work on Windows 7 x64 with Vuescan. Now I have a way to get some of these old prints scanned.
Cascais
Kodak TMax 100 film developed in Caffenol-C-L for 66mins at 19'C.
Recepie used: Anhydrous Washing Soda - 8g, Vitamin C powder - 5g, Potassium Bromide - 0.4g, Maxwell House Instant Coffee Powder - 19g, dissolved in 500mL deionised water.
Scanned using a Kodak RFS-2035 Plus film scanner using Vuescan software.
By doing this, I basically vindicated my Epson v500 scanning workflow. At the far left, VueScan's automatic settings, with digital ICE and 10 passes. At center, Epson Scan's automatic scan, with digital ICE. At right, my standard workflow of 10-pass scan with VueScan stored as RAW, with conversion to positive via ColorNeg plugin in PhotoShop. No sharpening has been applied. All are scans of the same Ferrania Solaris FG-Plus 100 negative, which appears properly exposed and was shot with an Olympus IS-3 DLX camera.
My take:
1: VueScan did a good job with color correction considering there is no channel for Ferrania Solaris. This was using an old 3M film channel, likely to be closest to the current Solaris film. Sky is a proper sky blue, the clouds are white. The curve is funny, though, as much of the pic looks overexposed, but the duck's head looks black. Noise is very low. Wouldn't make a very good print, but might be correctable if enough info is present in the 16-bit TIF.
2: I'm not pleased with Epson Scan's version of this. Exposure/curve was much better than VueScan, but there's a definite magenta cast. Because it made only two passes (one was ICE), noise is very high. Would make a passable 4x6 print for sure with some color correction, wouldn't make as good a big print as 8+ megapixels would normally indicate.
3: Color is good, curves look properly chosen. ColorNeg has a channel for this film, and it was used. Sky is proper blue and smooth. Exposure looks correct, and noise is very low. Would make as good a print as this combination of scanner, film, and camera could do. Would certainly make a fine letter-sized print, especially with a little bit of unsharp mask. Easily the best of the three, and what I have been doing anyway.
Chandeliers in the Hall of Mirrors of the Palace of Versailles.
Taken with my lovely Canon AE1, 50mm 1.2L, on Fuji Provia400X, pro-lab developed.
Scanned with a Nikon LS5000, vuescan(linux) and processed for flickr with darktable (linux).
A test shot with the new Adox Silvermax 100 film taken at the 2013 Papa's Toy's Car Show in Cornelius, Oregon.
Leica M6 TTL, Leica 50mm Summicron f/2 (current version), Adox Silvermax 100 B&W film, Adox Silvermax Developer, Nikon Coolscan IV ED, VueScan 9.0.44
Vuescan seems to be able to nail more natural colours than Epson scan, though it is more time consuming to use. This scan reached nearly 30 MP at 4800 dpi resolution.
Minolta SR-7 | Fujicolor C200 film | Tamron 90mm f/2.5 SP Macro [52BB]
The train station in central Copenhagen. On this occasion I guessed the exposure with the sunny 16 rule.
I was sure I was gonna fail but it came out good, especially considering Velvias narrow latitude.
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Leica M3
Voightländer Heliar 15mm
Velvia 50
Scanned in Vuescan with IT8 calibrated target (Wold Faust)
Nikon FM3A
Nikon 28mm f/2.8 ais @ f/2.8
Kodak Portra 400
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
Nikon FM3A
Nikon 85mm f/1.4 D @ f/2.8
Kodak Portra 400
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: ColorPerfect + Lightroom
Film: Bought at Beau Photo, Processed at The Lab
Expired slide film is not the best medium to work with. But sometimes, the results are quite good, as in this photo. Green is green, the sky is blue, the clouds are white. Lovely weather in May 2018.
Taken with Pentax MZ-S camera and smc Pentax-FA 28–70mm F4 AL zoom lens on very expired Kodak Elite Chrome 200 film. 28mm, 1/350 exposure, at ƒ/6.7 and 200 ASA, shutter-priority mode.
Scanned with Plustek OpticFilm 8100 film scanner using VueScan 9.5.
Lisbon - Sé Catedral de Lisboa
Kodak TMax 100 film developed in Caffenol-C-L for 66mins at 19'C.
Recepie used: Anhydrous Washing Soda - 8g, Vitamin C powder - 5g, Potassium Bromide - 0.4g, Maxwell House Instant Coffee Powder - 19g, dissolved in 500mL deionised water.
Scanned using a Kodak RFS-2035 Plus film scanner using Vuescan software.
Nikon FM3A
Nikon 85mm f/1.4 D @ f/2.8
Fujifilm Provia 100
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
Bleach Bypass with FILM (not digital filters).
Another earlier edit. Trying to save the image while editing instead of just setting the balance on the raw scan in photoshop when I opened it....
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. 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.
Nikon FM3A
Nikon 85mm f/1.4 D @ f/2
Fujifilm Provia 100
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
Nikon FM3A
Nikon 85mm f/1.4 D @ f/1.4
Fujifilm Provia 100
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
frame #23 My dessert at the Barbican Arts Center FoodHall in London after viewing the Bauhaus exhibition there.
CAMERA: Ricoh 500GX (Black 1977)
FILM: ORWO N74 plus 400 (fresh)
DATE: 5/18/2012
DEVELOPMENT: Labeauratoire's Caffenol Concoction
15 min. - 24°c
SECOND USAGE!
Developed 2 rolls the previous night and 2 rolls this night. Re-using the same mixture.
SCANNER: HP Scanjet G4050 with VueScan Software
light sepia added in photoshop
What's in a name? Well, a lot, really, if you are trying to break into the pop scene in the Beatles-infused heady days of the mid-Sixties and you are going by the moniker of 'Dean Ford and the Gaylords'. The times may have been a-changing, as Bob Dylan would have it, but the name proved something of stigma to success for this working-class Glasgow-based quintet -- Dean Ford, Graham Knight, Pat Fairley, Junior Campbell and Ray Duffy -- who soon found fame and fortune with a swift 1967 name change over the breakfast table to 'Marmalade'.
It's said that they done for Scotland what 'The Beatles' did for England by putting their native country on the world's musical map - and it came with the cover version of a Lennon & McCartney reject of 'Ob La Di Ob La Da'. In 1968, it allowed them to become the first Scottish band to get a UK No.1 hit - and I well-remember them celebrating in style with a kilted shock appearance that week on Top of the Pops.
However, for a true Marmalade original, the boys hit gold again in 1970 with their timeless 'Reflections of my Life' that also to its credit knocked Rolf Harris's 'The Two Little Boys' off the number one spot. A great song with meaningful lyrics - and one that I found listening to again and again after discovering it being used right at the end of the great BBC Life on Mars time-travel-cum-cop-drama I recently binge watched on DVD.
And the opportunity, with the 'Marmalade Originals' sign in the background was just too good to miss, and well worthy of the $2 contributed to ask for a rendition of 'Reflections of my Life' from the talented busker Nick Moyer, who ply's his trade at streets and stations across America, where he simultaneously plays accordion, trumpet, tambourine, and suitcase-drum: an instrument on every limb! You can read about him here: untappedcities.com/2011/05/30/the-busker-of-morningside-h...
Leica M4 & 50mm Zeiss Planar
B+W Yellow Filter
Sekonic L-308S
Ilford FP4+ (@125)
HC-110 (Dil. H - 10min)
Plustek 7600i & Vuescan
Nikon FM3A
Nikon 50mm f/1.8D @ f/2.8 - 1/2000
Kodak Portra 400
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
One of the distinctive downtown skyscrapers and a perennial favorite of Seattle Architecture Tours is the Rainier Tower, designed by Minoru Yamasaki, the Seattle-born architect best known for designing the infamous twin towers of the World Trade Center in New York City.
It has an unusual appearance, being built atop an 11-storey, 37 m (121 ft) concrete pedestal base that tapers towards ground level, like an inverted pyramid - it doesn't look the safest place to be when the Big One hits, methinks.
Leica M4 & 21mm f4 Super-Angulon
B&W ND Filter (6-stop)
Sekonic L-308S
Tri-X (@100)
HC-110 (Dil.H - 1:63@10min)
Plustek 7600i & Vuescan
Leica M3 + Leitz Wetzlar Summicron 50mm f/2 DR + B+W ND 4x + Kodak Portra 400
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Nikon FM3A
Nikon 85mm f/1.4 D @ f/2
Nikon MD-12
Kodak Portra 400
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
I thought my Vuescan was not working well but it turns out my Canoscan 8800F has failed me. My new Epson V700 will be my go to scanner now. Just waiting for the 35mm film hardware. This was 4x5 film. Amazes me how close the dying scanner and then a new V700 became available.
Olympus OM-2 + G.Zuiko Auto-S 50mm f/1.4 + Kodak Portra 800
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Rolleiflex 2.8GX, CineStill DXX, Ilfosol3.
Epson Perfection V850 with Vuescan, SmartConvert and Lightroom.
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The juxtaposition in this frame still hits me. That chunky old stone pillar with carved capitals just oozes texture — you can almost feel the centuries in that surface — and then bam, you've got the modern plastic world bleeding in through the glass: "REBAJAS" signs, heaters, and knockoff sneakers. It’s like a conversation between eras.
Also, CineStill DXX was a solid choice here. The way it handles midtones really brings out the detail in both the stone and the reflections inside the shop. I must’ve metered for the highlights on the stone — you can see how it’s holding detail without blowing out, and the shadows tucked in the shop still hang on without going full mud.
If we’re sharing this somewhere, want a casual caption with a little poetic flair? Or more of a geeky breakdown for the analog heads?
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Canon NewF1, 200 Marco, 4sec f22, Ilford Delta100 Tmax1+4
self-scanned with Nikon LS9000 + vuescan(linux) + darktable (linux)
Bleach Bypass with FILM (not digital filters).
This was hard to balance.
I think there is too much on one color palette.
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. 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.
Olympus OM-2 + G.Zuiko Auto-S 50mm f/1.4 + Kodak Portra 800
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Nikon FM3A
Nikon 85mm f/1.4 D @ f/2
Nikon MD-12
Kodak Portra 400
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
Nikon FM3A
Nikon 28mm f/2.8 ais @ f/4
Manfrotto Tripod
Kodak Portra 400
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
Fall Colors 2015
Shot on 10/31/2015 on a rainy day as I was driving around. I saw this lovely little park and happened to have my camera with me and have wanted to get some nice shots of the fall colors on film. Scanned on my Epson V600 with VueScan Professional, and EXIF edited to show the actual exposure information and camera model. The four shots are a series meant to be viewed as a group.
Mamiya RZ67 Pro II, Sekor C 110mm f/2.8 lens, Kodak Portra 160 @ EI120
Austin 7
Camera // Yashica Mat
Film // Kodak Portra 160
Developer // Tetenal C-41
Scan // Epson V850 (Vuescan and ColourPerfect)
With a bit different approach to scanning than my usual routine, I might be on a track to a good result. Still not there, however I managed to overcome some issues I've been struggling with till now.
I'm guessing few plug-ins to PS6 could do the trick and make things easier with a better output than this one.
Hasselblad 500C/M, Carl Zeiss Planar 2.8/80mm on a Kodak Portra 160, scanned RAW in VueScan (locked film base) with emulsion applied through Alien Skin Exposure and a few tweaks in PS6... using exclusively my faded memory of the scene as a reference.