View allAll Photos Tagged digitization
Kiev 4, Jupiter 12, orange filter, Cinestill XX@250, HC-110/dil. B, 6 min. Digitized with Nikon D700/ES-2.
IMAGE INFO
- The viewpoint for this historic & rare image is looking south-south-west from the northern end of Coogee Beach.
- The "bathing machines" shown here were invented & produced by Mr Harry Greenfield from about March 1885 at the Vial & Sons coach factory, Castlereagh Street, Sydney. Though similar to others already in use in England & Europe, Mr Greenfield added an ingenious shark-proof cage mechanism that bathers could keep within, if they felt it necessary.
- The machines shown here would likely have first appeared at Coogee Beach sometime during September 1886, since Randwick Council gave approval for their immediate use on Coogee Beach on 31 August 1886. Not all councillors were in favor!
- The image is therefore dated September 1886.
******************************
SOURCE INFO
- Photographer is Henry King.
- The original silver gelatin dry plate glass negative (full plate) was digitized by the Museum of Applied Arts & Science & is available from the M.A.A.S. online collection here:
collection.maas.museum/object/31068#&gid=1&pid=1
******************************
CREDITS
- Henry King (photographer)
- Museum of Applied Arts & Sciences (aka Powerhouse Museum) New South Wales for their valuable work in digitizing, archiving & making available online this rare historical content.
******************************
COPYRIGHT STATUS
- The original image is no longer restricted by commercial Copyright, per advice -
"Out of Copyright
Reason for copyright status: Created/Published Date is Before 1955
Material type: Photograph
Government copyright ownership: No Government Copyright Ownership".
- As for my own work in creating this unique cropped & restored sepia duo-tone version, I have applied a Creative Commons "Attribution-NonCommercial-NoDerivative" Copyright.
*******************************
PROCESS INFO
- I downloaded a copy of the digitized original (large file size & very faded, with a lot of cracked emulsion damage).
- Using Adobe Photoshop CS Windows, I cropped out the worst blurred & damaged top & side sections, enlarged the resulting image, then repaired much of the remaining image, removing thousands of cracked emulsion artifacts, restoring contrast, sharpness & lastly applying an adjusted sepia duo-tone curve for much better dynamic range.
- I resisted attempting to remove the remaining thousands of cracking artifacts from the sand areas & some of the water areas, since they only become a bit annoying at full zoom (my mouse recorder tells me I had made over 25,000 clicks, 10,000 zoom scrolls clicks & covered 1 km already to get the image to this stage, so I wasn't about to expend that much again for a "more perfect" result!)
Original slide taken December 26th, 2023 on Kodak Elite Chrome 100, exposed at 80, expired 2007, which due to loss in sensitivity was underexposed about a stop. The camera was a Canon EOS Elan 7E, lens a Tamron 85mm f/1.8 DI VC USD, at f/4 and 1/60 with vibration control turned on. Home developed in Arista E-6 kit. Both images are roughly 80% crops of the 35mm frame. Both have had curves edited to my taste, though saturation was not changed.
The left image is an Epson 4490 scan at 2400 dpi, in 16-bits per channel with scanner autoexposure turned off. This is the practical upper limit of Epson flatbeds, higher dpi settings do not resolve more detail. I have read this is due to the quality of the scanner lens.
The right image is taken with a Pentax K-1 DSLR with Pixel Shift for 1.3 seconds at a 12 second timer with mirror lock up, with the SMC Pentax-D FA 50mm F2.8 Macro lens at f/8 and perhaps 1:1.3 magnification, on a DIY SmallRig copystand, using a white image on an iPhone 11 as the backlight, and a plastic snapping slide mount as a carrier, resting on top of a spare lens hood to provide distance between the light and film. This is an early alpha version of the rig I will set up when all parts arrive. The camera was secondhand and came with a battery that only holds a 5 minute charge, which has limited my testing so far. But even under these imperfect conditions it's showing resolution approaching a true 4800 dpi scan. Raw file was converted to TIF using RawTherapee and curves/rotation edits were made in GIMP. This image had a 0.5 degree rotation applied which resulted in a slight loss of detail.
Thanks to Wolfgang Kraus for doing the testing of the Pentax K-1 for film digitization work and publishing it for others to see. You can view his setup here: www.flickr.com/photos/6345-789/49572625458
Thanks also to forum user Shijan, you can view his DIY copy stand solution here: i.imgur.com/oyqjJWt.jpg
~ check out our “eat the pic“ picture albums at the iBook store for your iPad ~ Follow us on Facebook ~
What a spooky, rainy day today; no chance for a cool pic, so you get a selfie.
Captured with my Nikon Df and a Micro Nikkor 60mm ƒ1:2.8 with a gray filter, post processed in Photoshop and Silver Efex Pro2.
Minolta CLE | Leica Summicron 50 f.2 V. | Ilford FP4+ 125 @ 80
Digitized with Canon EOS 6D | Lighttable | Digitazia
Home developed in Adox FX39II 1/9 | 7,5 min / 20 gr C
Negative Lab Pro v2.2.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: None
Mainz / Germany
Voigtländer VM Color Skopar 35 2.5
@ Leica MP on Ilford XP2 400
Digitized with Kaiser FilmCopy
A Mini 1100, one of a near infinite variety of variations...
Ektachrome EPN100 35mm slide film, Olympus OM2SP.
Standard consumer E6 chemicals, processed at home.
Digitized using a Nikon D7000 dslr, Nikkor 40mm lens, JJC ES-2 adapter.
RAW file edited in Photoshop Elements 11.
Digitized with Negative Lab Pro v2.1.2
Fuji GSW690iii | Fuji 65mm F5.6 | Kodak TriX 400
Digitized with Negative Lab Pro v2.1.2
Minolta CLE | Minolta M-Rokkor 40 mm | Iford Delta 100
Digitized with Canon EOS 6D | Lighttable | Digitazia
Home developed in Adox FX39II 1/9 | 7,5 min / 20 gr C
Negative Lab Pro v2.2.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: None
Autumn portrait in a park with Ylva. Shot handheld with Mamiya rz67 mounted with a Sekor 210mm APO lens on Ilford HP5+ pushed to iso800. Home developed in Kodak Xtol 1+1. The negative is digitized with my DSLR.
I’m fairly new to the development of film negatives & positives/slides into digital format. If anyone has a process or articles etc. regarding digitization of film, I appreciate any feedback/input. So far Wolverine Digitizers transfer fairly well. Light Boxes (made to view slides) is another way in which you are able to take a “picture of the picture” with your digital camera. Appreciate all of your support & comments. ✌❤️…
Digitized 35mm slide from my first of many trips to Mabry Mill on the Blue Ridge Parkway in Virginia.
Original photo shot with Fujica ST-801 and 55mm Fujinon lens. Digitized using a Canon EOS 5Diii with EOS 100mm f2.8L Macro Lens and a JJC FDA-S1 Film Digitizing Adapter. Processed using Lightroom. No record of the film used.
On the left, an optical image from the Digitized Sky Survey shows Cygnus X-1, outlined in a red box. Cygnus X-1 is located near large active regions of star formation in the Milky Way, as seen in this image that spans some 700 light years across. An artist's illustration on the right depicts what astronomers think is happening within the Cygnus X-1 system. Cygnus X-1 is a so-called stellar-mass black hole, a class of black holes that comes from the collapse of a massive star. The black hole pulls material from a massive, blue companion star toward it. This material forms a disk (shown in red and orange) that rotates around the black hole before falling into it or being redirected away from the black hole in the form of powerful jets.
A trio of papers with data from radio, optical and X-ray telescopes, including NASA's Chandra X-ray Observatory, has revealed new details about the birth of this famous black hole that took place millions of years ago. Using X-ray data from Chandra, the Rossi X-ray Timing Explorer, and the Advanced Satellite for Cosmology and Astrophysics, scientists were able to determine the spin of Cygnus X-1 with unprecedented accuracy, showing that the black hole is spinning at very close to its maximum rate. Its event horizon -- the point of no return for material falling towards a black hole -- is spinning around more than 800 times a second.
Using optical observations of the companion star and its motion around its unseen companion, the team also made the most precise determination ever for the mass of Cygnus X-1, of 14.8 times the mass of the Sun. It was likely to have been almost this massive at birth, because of lack of time for it to grow appreciably.
The researchers also announced that they have made the most accurate distance estimate yet of Cygnus X-1 using the National Radio Observatory's Very Long Baseline Array (VLBA). The new distance is about 6,070 light years from Earth. This accurate distance was a crucial ingredient for making the precise mass and spin determinations.
Credit: X-ray: NASA/CXC; Optical: Digitized Sky Survey
Read entire caption/view more images: chandra.harvard.edu/photo/2011/cygx1/
Caption credit: Harvard-Smithsonian Center for Astrophysics
Read more about Chandra:
p.s. You can see all of our Chandra photos in the Chandra Group in Flickr at: www.flickr.com/groups/chandranasa/ We'd love to have you as a member!
_____________________________________________
These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
Mexican woman. Original print was photographed/digitized using Sony RX100. Restored using CS5 and android photo apps.
Glencoe, Scotland
1pm, 1/11/17
Linhof Technikardan S45
Schneider Apo-Symmar MC 150mm f/5.6
Fujichrome Velvia 50
1” f/32
9º front tilt, 9mm front rise
Lee 0.3 Hard GND
Exposed during large format workshop with Tim Parkin and Richard Childs.
The better of two sheets: as we discovered, the first, shot at f/22, had insufficient depth to cope with the falling away of the scene. We also had to wait for 10 minutes while a bright red Royal Mail lorry pulled off the road in the laybay which is directly in the middle of the green triangle in the mid-distance just to the left of the boulder. I've also discovered two walkers in red raincoats in the scene - where's Wally...!
Digitized with 4-frame stitch on lightbox with D800E/85PC-E
Historic Charles Bridge, Prague, Czech Republic, 1991.
The Charles Bridge crosses the Vltava river (Moldau River) in Prague and was build from 1357 to about 1401. It is nowadays a foot bridge.
Monolta X-500, Tokina 28-70 mm, Fuji slide 1991, digitized with Nikon Coolscan 5000 ED in 2006, processed by Snapseed 2015.
Change Creek near Snoqualmie Pass in Washington State. Finally got around to digitizing some old slide shots I took when living just outside Seattle, WA. This shot was originally taken using a Cannon EOS A2E using Fuji Velvia 50.
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
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€.
Translated with www.DeepL.com/Translator (free version)