View allAll Photos Tagged VueScan
the big banana, coffs harbour, circa 1972. all rights reserved.
I'm picking that's an HR holden special on the right, and an HT Kingswood on the left.
it's still running today. I've been driving past it every trip over, for more than 20 years - must drop in and take a look myself.
agfacolor. scanned with vuescan, epson 4870 photo.
statbar1_scan0004_edit_web_1024_72dpi_ 2009-06-01
Sydney, above Drummoyne looking towards Balmain and the city, with cockatoo island in the foreground, left.
circa 1972
scanned with vuescan, epson 4870 photo.
I purchased a load of transparencies from a secondhand dealers. am working through some of the scanning... plenty of NZ in the 1960's, golf, trips... sad to think the lady who took them isn't connected to them any longer.
agfachrome professional
Scan-090603-0005_1200_72dpi
"Bessemer" "AL"
"Canon 7"
"CV 35/2.5 Color-Skopar"
"Kodak" "TX400"
"Thorntons Two Bath"
"Plustek 8100"
"Vuescan"
"Gimp"
Cascais - Lighthouse
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.
Olympus OM-4
Zuiko 50mm f/1.4
AGFA RSXII 50
Nikon 9000 ED
VueScan
Adobe Photoshop
ColorPerfect
Adobe Lightroom
"Lunch Walk"
"Birmingham, AL"
"Canon 7"
"CV 35/2.5 Color-Skopar"
"Fuji" "Acros"
"Thorntons Two Bath"
"Plustek 8100"
"Vuescan"
"Gimp"
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 105mm f/2.5 ais @ f/4
Fujifilm Superia 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/5.6
Fujifilm Provia 100
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
You've likely heard the term refer to our hottest summer days, those hot, humid ones filled with stagnant, sultry nights. The term, though,originated in southern Europe -- and has an astronomical link to it.
Way back in the ancient days, cultures that were “astronomically literate”, such as those along the Mediterranean Sea used to follow Sirius, which is the brightest star in the nighttime sky and part of the constellation known as "The Big Dog" (when translated to English.) Thus, it was known as "the dog star."
On July 23, the star rises and sets with the sun, and the ancients believed the star was so bright, it gave off heat and added to the sun's warmth to make the days even hotter. Thus, the term "Dog Days of Summer" came to mean the 20 days before and after this alignment -- July 3 to Aug. 11.
But I think climate change is definitely playing a part, because in the decade or so I've lived in Seattle, I've never known it to be so constantly warm and sunny, with little or no clouds or drizzling rain during this period. Hell, even using Ilford PanF 50 and an ND6 filter, I was still struggling to keep control of the exposure!
Leica M3 & 50mm Summicron DR
B+W ND6
Sekonic L-308S
Ilford PanF 50
Adox Adonal (1:100 - 60min Stand)
Plustek 7600i & Vuescan
Digitized with Negative Lab Pro v2.1.0
Leica M3 | Leica Elmarit 28mm f2.8 version IV | T-max 3200
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.2 | Lomography
Ilford DDX
On Friday, May 2nd 2014 the Impossible Project had it's Open-Day in the Factory in Enschede. My brother and i decided to attend.
Trainride from Hamburg was a bit long and only getting in for the 10am Tour meant i had to get up at around 2am :)
It was quite amazing to see where those films in my fridge come from and what is involved in making them. Seeing the drums of developerpaste kept reminding me of the Roger Rabbit movie ;)
Shot a roll of film while on the tour. Well... i think there are a few Kodak BW400cn pics in the Olympus AF Mini but that's not ready yet to develop.
Anyway... I hope you enjoy the pics although they are not that great and my chems where really on their last run.
Camera: Minolta X-500
Lens: Minolta 50mm F/1.7
Film: DM Paradies 400 @ 1600 (1-Stop Push)
Developer: Tetenal Colortec C41 Kit
Developed with Jobo autolab ATL 2200
Scanned with Epson V500 and Vuescan
Body: Canon T-90
Lens: Canon FDn 50mm f/1.4
Film: Fujifilm Velvia 100
Developed by: Fuji Steenbergen (HEMA)
Scanned with: Pacific Image PrimeFilmXA and Vuescan 9
Test Hypercat 1+200 con Parte B Potassio Carbonato
Kentmere 100
Pentax MX
Scansione diretta da negativo (VueScan)
Olympus XA + F-Zuiko 35mm f/2.8 + Kodak Pro Image 100
Digitised using Plustek OpticFilm 120 + Vuescan + ColorPerfect
Nikon F6
Voigtlander Nokton 58mm F1.4 SL-IIs
Kodak TMAX 100
Kodak HC-110 Dilution B
Vuescan, Negative Lab Pro, Nikon Coolscan 9000 ED
Film Stock: Kodak Advantix Ultra Zoom (APS)
Scanned as 64bit RAW TIF file using Canon Canoscan FS4000US and Vuescan software.
Processed as TIF file using Vuescan software.
Edited (auto levels, HDR Toning (default setting) and cropping) using Adobe CS5 Photoshop
Converted to JPG file using Adobe CS5 Photoshop
Metadata edited using Exif Pilot software
Camera: Minolta X-500
Lens: Minolta Tele-Rokkor 135mm F/2.8
Film: AgfaPhoto APX 100
Developer: Adox Adonal 1:50
Developed with Jobo autolab ATL 2200
Scanned with Epson V500 and Vuescan
Route 66 Display, 2013 Clipsal 500.
I am trying to work out how to scan images properly - similar image to Black Corvette 1, but this one is basically straight out of Vuescan with PS only used to resize
Shot on Kodak Portra 400 with a Minolta XE-7 and a Rokkor 50mm F1.4.
Scanned with an Epson V700 and Vuescan
GN
Camera // Yashica Mat
Film // Kodak Portra 160
Developer // Tetenal C-41
Scan // Epson V850 (Vuescan and ColourPerfect)
Ginza, Tokyo, Japan
Nikon F6
Sigma Art 35mm F1.4
Kodak Portra 400
Plustek Opticfilm 120
Negative Lab Pro
now the question is, have I scanned this the right way round? not enough detaill on the boat to read the name. and I don't know sydney well enough to pick from the background... perhaps some of the locals and point out the background? I thought this was a fair guess, and assumed the photographer was on the CBD side of the harbour, and the hydrofoil was on its way to Manly.
scanned with vuescan, epson 4870 photo.
I purchased a load of transparencies from a secondhand dealers. am working through some of the scanning... plenty of NZ in the 1960's, golf, trips... sad to think the lady who took them isn't connected to them any longer.
agfachrome professional
Scan-090607-0005_1_1024_72dpi
Nikon FM3A
Nikon 85mm f/1.4 D @ f/2
Ilford HP5 Plus 400
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
Some local folks pulled a prank with this bronze statue.
Made by Gert Sennema, called "Zand erover"
Zou het bronzen kereltje het nou echt zo koud hebben?
Nikon F80 Sigma EX70-200 F2,8 HSM
Kodak Portra 160VC
Scanned with Vuescan on an Epson 4990
A first comparison of the betterscanning.com (www.betterscanning.com) negative holder with ANR-glas for Epson v600 and the standard Epson v600 holder with medium format film.
[edit] Follow up test of height adjustment of the holder can be found here:
www.flickr.com/photos/stephen_bjorck/15086102539
How I did: I made two separate scans at 3600 dpi with a Epson V600 and Vuescan of the same negative strip of three pictures taken with a Rolleiflex model F 2.8 Carl Zeiss Planar loaded with a medium format 120 roll of Kodak T-max 400 later developed in Rodinal 1+50 at home. The scans was made all in one take of the full strip and not as individual frames. The negative strip gave an arc of the negative in the Epson holder of about 0,5-1 mm most noticeable in the middle of the middle frame. I used the Epson black plastic card that comes with the holder at the end of the arcing strip to minimize the arcing (the Epson grand solution for arcing). The exposure was locked between scans to give the negative the same exposure during scan and then saved as a Vuescan raw-file. No infrared clean, restore of colors or fading, grain reduction or sharpening was used in Vuescan when scanning. The raw-files were then imported to Photoshop, merged as one image and then received as one image invert image, desaturation and curves for contrast and enhancing the details but no other cleaning up of the negatives or sharpening was done. The image was then resized to a manageable size as seen here in the original resolution
Impression: The betterscanning holder is much easier to work with and is sturdier. I think I will have less problem with more troublesome and arcing negatives but no big quality improvements of scans with rather flat medium format negatives. I don't know what I expected from the holder more than something sturdier than the lame Epson holders. So far the image quality in the scans are not that big of an improvement.
To do: This is my second day with the betterscaning holder and I have used it as it came out of the box. I have not yet tried to optimize the result by tweaking the holder hight to the scanner and only used it with the default 1 mm hight from the scanner.
Conclusion: Do I like the betterscan holder? The answer is yes. Does the holder make much of a image quality improvement in general? No not much with a Epson v600 what I have discovered so far. But will work better with more troublesome and curly negatives. Am I happy with the holder? Yes. Do I think it's worth the price? I'm not sure. Will I keep using it? Definitely yes as almost any holder given a any thought and effort might be better than the standard Epson holder in my book. Will I keep looking after other alternatives? Most likely as I want to use what's best for me but until then I will keep using this betterscanning holder.
"I remember when rock was young, Me and Suzie had so much fun," as Elton John and Bernie Taupin would have it in their 1972 hit Crocodile Rock. And for many, many years now in Seattle, if you mentioned "Crocodile Rock", then the place you are heading to for fun is the legendary Crocodile Cafe on 2nd & Blanchard, less than a block from my apartment.
It's said that if Seattle is the record, then the Croc is the turntable. The club undeniably has the best sound and hosts most of the best bands. It has become to Seattle what CBGB's was to New York back in the day - this is the place where the likes of Kurt Cobain and Nirvana, REM and Pearl Jam all cut their teeth as embryonic rockers.
And it's always a special night when you catch a good live band at the Croc - last I saw rocking the rafters there was the timeless Robyn Hitchcock and the Venus 3, featuring Pete Buck.
Nikon FE & Nikon 1.8/50mm E Series
B+W Circular Polarizer
Ilford Delta 100
HC-110 (Dil. H - 1:63 - 8min)
Plustek 7600i & Vuescan
Dunham Massey
Camera // Yashica Mat
Film // Kodak Portra 400
Developer // Tetenal C-41
Scan // Epson V850 (Vuescan and ColourPerfect)
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
Bronica S2A, Nikkor-OC 50mm f/2.8, Fuji Pro 400H, developed by Samy's Camera of Pasadena, CA; scanned with Epson V850 Pro and Vuescan, converted with Negative Lab Pro
Zwei Stunden Zeit für einen schnellen Fotowalk durch die Speicherstadt Hamburg; Landungsbrücken und Fischmarkt.
Praktica B100 / Praktikar 2.8/28mm
Ilford Delta 400 / Ultrafine Plus
CanoScan 8800F / Vuescan
Lavinio - Lazio - Italy
Zenza Bronica EC-TL
Zenzanon 50mm f/2,8
Fujifilm Pro400H @200ISO
Vuescan + Gimp
Nikon FE
Nikon 28mm f/2.8 ais @ f/4
Nikon MD-12
Kodak TMAX 400
Scanned with Pacific Image PrimeFilm XE and Vuescan
Post: Lightroom
Film: Bought at Beau Photo, Processed at The Lab
Hasselblad 500CM
Carl Zeiss 80mm F2.8
Kodak Portra 160VC
Vusescan/Nikon Coolscan 9000 ED
Negative Lab Pro
I have just discovered VueScan – software that helps one’s scanner to produce good results from photos.
Using my Epson Perfection V500, I have never had any problems in uploading slides to the computer, but copying colour prints has been a different matter (as is well known), partly because of the orange cast that tends to permeate colour negatives. Fortunately, VueScan automatically removes the cast, and reproduces the colour balance of the colour prints. To get quite acceptable results, all you need do is to use VueScan, which walks you through the process, and then tweak things to your liking in your image manipulation software.
Here are two “curiosities” – copies of colour prints (almost certainly taken on Kodak Gold 200 ASA) dating from a visit to Trieste that we made in the early 1990s (I guess).
The first shows an array of empty wine flagons on a cart, a scene that I stumbled across in the backyard of a rural restaurant in Friuli, when I went looking for their outside loo. A grainy image, certainly, but an interesting one, perhaps.
Both this photo and the next one were taken using a Canon Sure Shot XL Zoom 35mm film camera, with a built-in high quality 39 – 85 mm zoom lens, given to me as a present by Maryam around 1990. I used it until 2005, when I bought my first digital camera, and found it highly tolerant of rough treatment and thoroughly reliable, and capable of surprisingly good results. The model is nowadays something of a collectors’ item, and is not easy to find on auction sites such as e-Bay.