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Constructed in the village of Ridgeway, this new station replaced the original Bertie Station completed in 1864 by the Buffalo & Lake Huron Railway. Grand Trunk replaced that station with the current station in 1900. It continued to serve the village of Ridgeway until 1974 when it was moved to the Fort Erie Railway Museum and serves as their primary exhibit building.
Graflex Crown Graphic - Nikon Nikkor-W 1:5.6/180 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scaner: Epson V700
Editor: Adobe Photoshop CC
The Kingston Inner Station would be the flagship station for the Kingston & Pembroke Railway line. Despite the name, the K&P line only reached Renfrew due to financial difficulties and that Canada Central had already reached Pembroke. Completed in 1885, the handsome Inner Station provided easy access to rail services in the large railyard downtown and a branch line to bring locomotives from the Canadian Locomotive Company plant further along the shoreline. Canadian Pacific continued to operate the station in 1913 as an easy way for passengers to move to an outer station on the mainline. The post-war service began to decline until a final shutdown in 1966; the station was sold to the city for conversion into a tourist information booth in 1970 during the construction of Confederation Park.
Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
This small trade card is a bit smaller than 1 1/2 X 2 1/2 inches. On one side a die cut leaf advertising the studio of Moser of Chicago has been pasted. The leaf has a two color background that I now know is called a "Victorian Wash". Thanks Alan Mays!
The reverse has a image of a bearded man (Mosher?) being photographed by a cupid under a dark cloth and text extolling his merits. Among these is a line "Specialties - Memorial Portraits for the 2nd Centennial." Now I have to find the cabinet card in our collection that came from this project. Stay Tuned.....
Just after dawn.
flickr is a horrid display method for the 4x5 medium...this is meant to be viewed quite large, where you have to dive in deep and move your head around to see everything. Wrong tool for the job, but, oh well...:)
large on B l a c k M a g i c
or go to 'Original' and play 'find the object': a campfire, a tent, Greyhound Rock, a ladder, Highway 1, Pelican Rock, a sea arch, Ano Nuevo SP, the trail down to Waddell reefs, the entrance to another sea arch, and huge (painful) fields of poison oak to get here.
This is really rare, as the ocean was completely flat. The whitewater is from a 3" wave, rolling along over 15 seconds. Usually, there's either south or NW groundswell in the water or, at least for the summer months, choppy windswell from the incessant, fog-bearing NW wind. This is late July, and I've never seen this part of the coast dead calm.
1891 Rochester Optical Company Universal - Ilex Paragon 260mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
Graflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Agfa APX 100 @ ASA-100
Rollei Supergrain (1+15) 7:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Old Cemetery, Church of the Brethren, Floyd County, Virginia.
Horseman VH camera with Horseman roll film back, Fujinon 180mm Soft Focus lens at f/5.6 (wide open), 1/125th second, Ilford Ortho film developed in homemade FX-37 1:4 6 minutes in a NIkkor tank.
Picture above shows a Nikon D800E equipped with Phottix GPS and wireless RF trigger. The back of the camera is equipped with a Hoodman loupe to be able to critically focus using live view on LCD screen. The lens used is a Mamiya 645 Manual Focus A 150mm f/2.8. It is mounted on the camera via a PSA (Panorama Shift Adapter) from the company Zoerk (Zork) custom made to accommodate Mamiya 645 lenses on Nikon F body. The adapter has a tripod mount and can accommodate a L bracket shown here. The whole assembly is mounted via a Novoflex plate (QPL2 in blue color) on an Arca-Swiss compatible tripod head. I used here a clone of the Arca Swiss Cube for maximum flexibility and accuracy of positioning. In the picture above the lens is shifted horizontally to the left of the camera of approximately 10mm. This assembly is no longer a point & click camera but the digital equivalent of the old view camera, designed to meet or exceed the largest Digital medium format output.
The purpose of using a Mamiya lens on Nikon FF body is not just the latest fad to mount third party lenses on a Nikon body. Mamiya 645 lenses are excellent medium format lenses which have a diameter much superior to the 135 format lenses. It allows to take several photos shifted within the diameter of the lens optics. This is made possible because the 75mm diagonal of a 645 medium format lens gives 32mm of additional space (shift) compared to the 43mm diagonal of a 35mm format camera sensor. This is why we can take 3 photos shifted (one with no shit, one shifted left, and one shifted right) and still be within the diameter of the medium format lens. Using this technique the stitching is quasi perfect with no need to crop due to loss of coverage in the upper or lower section of the image, usually created by a a curvy horizon when panning/rotating with a non perfect leveling.
The resulting image that can be produced with this setup is the equivalent of a 80 Mpixel camera depending on the orientation of the D800E sensor vs the direction of shift! Superior resolution, higher ISO and less noise than all the current Digital medium format cameras sold $20000 and more! Yes, it is possible to do it with an investment inferior to $4000 if you count the purchase cost of the D800E. I will concede that the Mamiya 645 lenses, although excellent, will not quite match the performance of the Leica S lenses. Note however that a Leica S lens is usually > $6000 vs a used Mamiya 645 lens (55mm, 80mm) which can be found on ebay for $300 or less!
The German made Zoerk (Zork) adapter is unique as the Mamiya lens is fixed during the shifting: it is the body which moves behind the lens! Unlike most Panorama adapters allowing the rotation through a difficult to find nodal point , the Zork adaper eliminates any parallax issue since the lens is fixed vs the subject. This is particularly useful when you have a near and remote subject aligned with the camera: any rotation outside the nodal point will ruin the alignment and makes the stitching impossible. Therefore the Zork design results in a superior accuracy of the stitching of the photos where technically 2-3 pixels overlap is enough for a perfect stitch. Rotation based Panorama requires usually min 20% overlap to account for distortion/parallax issues, and the final image needs cropping due to curvature movement of the rotation if tripod head is not perfectly leveled.
Another huge benefit of the Zork adapter: it shifts horizontally 20mm with camera sensor in landscape mode. One limitation in vertical shift: the prism/flash housing of the D800 or D800E limits the vertical shift with sensor in landscape position (approx 14mm). It is better than the max shift of a Nikkor PC-E lens (approx 11 mm). With the camera in landscape mode and a vertical shift (up and down) or with the camera in portrait mode and a horizontal shift (left/right) you achieve the biggest file enlargement. With a Nikon PC-E lens a maximum 11mm shift will give you a 92% increase of the photo. With the Zork adapter a full 20mm shift (possible on Canon DLSR and Nikon pro bodies without built-in flash) will provide a 167% enlargement (yes 2.7 the original pixel size!). It means that a 36Mpixel camera like the D800 will provide a 96Mpixel file with the Zork adapter fully shifted. On Nikon bodies with built in flash like the D700 or D800 however the full shift of 20mm is not possible as the flash housing in on the path of the shift. It seems that the shift is limited to 14mm which provides an enlargement of 117% (x2.2 Mpixel increase).
For Panorama shots where the camera orientation must be the same as the direction of the shift (landscape/Horizontal shift or portrait/Vertical shift) the aspect ratio is spectacular but the Mpixel increase is less:
- On a traditional Nikon PC-E lens with 11mm shift, the Mpixel increase is 61% with aspect ratio of 2.4:1
- with the zork adapter using full 20mm shift (possible on all Canon and Nikon DSLR even with the D700/D800), the Mpixel increase is 111% with aspect ratio of 3:1! more information is available at the following link:
www.cambridgeincolour.com/tutorials/tilt-shift-lenses1.htm
Tilt movement is not possible with this adapter and in general with Mamiya 645 lenses tilt can be achieved but you lose the ability to focus at infinity as the registration distance between the rear of the lens and the sensor would be too long with the additional tilt movement.
Although a sturdy design that reflects German engineering, the finish (look) of the adapter looks as a hand made prototype. The demand is not high enough in the market to mass produce this custom made adapter (the model I purchased use only Mamiya 645 MF lenses but the manufacturer can sell you one adapte for Pentax 6x7 or Hasselblad lenses to be mounted on Nikon or Canon bodies).
Cost $750 including the L bracket that allows the adapter to be mounted with flexibility in any position on a tripod head.
more information can be found on the manufacturer website:
I have put a lot of effort to research and understand the Tilt and Shift world which was new to me, and although there are a few books on view cameras, T&S lenses and the Scheimpflug principle, I could not find any practical information on using T&S adapters like Mirex and Zork on Digital cameras, using large diameter Medium Format lenses. Forums seem to provide some partial information with little experience with Nikon DSLR which are less friendly to shifting in the direction of the built-in flash. So I decided to gather all the information I have learned and summarize it in this single post, which you can bookmark or save as a favorite for future reference.
An example of a photo taken with this set-up with explanations how to use Photoshop for Panorama stitching and focus stacking is given in the comments area of this link:
www.flickr.com/photos/episa/8603934110/in/photostream
Final question you may ask and which I already asked myself since I own the Nikkor Micro PC-E 45/2.8: why not use a simple dedicated Tilt and shift lens from Nikon?
It turns out that using a dedicated Nikon PC-E lens is not any easier and still requires to manually focus and fix the exposure manually. A the same time it costs $2000 to get a single T&S lens. With the set-up described in this posting the investment is limited to the adapter ($750) and the Mamiya lens ($300 on ebay for each focal length like 55mm f/2.8N, 80mm f/2.8N, A 150mm f/2.8). Investing in a Nikon PC-E lens makes sense if you use the tilting function for creative effect or as a landscape photographer. But I would argue that using Focus stacking you can achieve an ever better effect than with a Tilt lens if your goal is to achieve maximum depth of field in a landscape or in a macro shot. The real advantage of the PC-E lens remains when you need to reduce the depth of field and create special effects (like miniature rendering, or tilted plane of focus). This becomes a very narrow application mostly for professional photographers who need to sell a unique look in their pictures.
I hope that you found this compilation of data instructive, even eye opening. Let me know if you appreciate the sharing.
1897 Ak-sar-ben Camera - Eskofot Ultragon 305mm - f/64 - Fomapan 200 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
While it looks peaceful, the snow was rather wet and gross. But at least it looks good!
Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200
Ilford Ilfotec DD-X (1+4) 7:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Bought this new about 1994, added a 4x5 reducing back the next year and a 4x10 back & bellows about 2000. Reasonably light (6 pounds), compact and versatile. I rarely use wide-angle lenses but enjoy the longer focal lengths; this has 25 inches of bellows draw. Made in Arizona by Keith Canham.
Canadian National 4803 is a rare surviving example of an EMP GP7 in a high-nose configuration. The GP7 saw production between 1949 and 1954, 4803 rolled out of the General Motors Diesel plant in 1953. As a Road-Switcher, the locomotive saw action both as a switcher in yards and on CNR mainlines in the early days of the move from steam to diesel motive power. Powered by a 16-cylinder two-cycle diesel eclectic engine which has the capacity of delivering 1600HP and 600V generator. CN 4803 is also equipped with an electrodynamic braking system and a single engineer can drive up to eight similar units. CN 4803 operated across Canada until retirement in 1984 and was donated to the Toronto Railway Museum where it was restored to its pre-1960 green/yellow paint scheme.
Graflex Crown Graphic - Nikon Nikkor-W 180mm 1:5.6 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
This was the first time I'd worked with a 4x5 cambo view camera. The venue was an old abandoned textile factory. The people who had owned the factory also lived in their factory. The image here is what was left of their living quarters.
This viewcamera was a cumbersome thing. For one, I just could not make out a clear crisp image on the groundglass due to the low light visibility inside the factory. Most of the time the only thing I could see on the groundglass was my own reflection.
Often dismissed as being too large to be practical outside the studio, the Fuji GX680 III (far right) when compared to other camera that feature movements is not all that much larger. The all metal Toyo 45a, a favorite field camera is only 3 pounds lighter, by the time you add a lens and four or five film holders, then it's a wash. The Arca is much lighter, but the ungainly view camera shape make it difficult to carry without breaking down the camera into it's components, making set-up time more laborious than the pretty much instantly ready Fuji.
Some early images of Oakville Harbour at the mouth of 16 Mile Creek can be found here.
images.oakville.halinet.on.ca/15/Exhibit/4
Shot with an Eastman View Camera No. 2, Manufactured by Eastman Kodak Co., Rochester, N.Y., U.S.A. #16924
8x10 View Camera + Schneider-Kreuznach G-Claron 210mm F9.0 Lens
Shot @ F64 / 1/2 sec
8x10 Negative Scan
Arista EDU 100 @ 25 ISO + HC-110 H @ 8 mins
IG: @vladyurkov
Kodak E100 4x5
Chamonix 45f2
135mm f35 2s
Tiffen 812 filter
I wasn't entirely sure what was going on with this thin layer of pond ice, but I knew I liked it. I was initially planning on shooting a tighter more abstract scene, but eventually decided including the frost bitten shoreline gave some context and grounded the composition.
The scene was in full shade so I used an 812 warming filter. There was a mild glare from the sky near the top of the scene that was approaching +2EV, but I had confidence Kodak Ektachrome could handle it with ease.
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
Near the Sennett Hole on the ENO river
1897 Ak-sar-ben Camera - Schneider G-Claron 240mm - f/45 - Shanghai 100 - 8x10 Film - HC 110 1+100 - Unaltered Negative Scan
Taken last week at a limestone pavement on the Burren, Co Clare.
Calumet cc402 - Wide Field Camera
120mm Schneider Angulon
f22 for 1/2 second
Fomapan 100 rated at 80 iso
Developed in Rodinal 1:100 for 30 mins semi stand
After leaving Zion National Park, I was thinking of heading down to Death Valley. But Bryce Canyon had a coat of snow, and was less than two hours away. I'd never been to Bryce before, and seeing it in winter had been on my bucket list for years, so I decided to go. Timing the weather forecast was essential, as the temperatures had been absolutely frigid, with nighttime lows hanging at double digits below zero. Camping in the cold wasn't as big of a deal as I'd thought it would be, as I sleep inside my 4Runner and have three 28F sleeping bags that I layer inside one another for warmth, plus a small tent-safe propane heater, which I didn't end up needing.
When I hiked the Navajo Loop trail, I found the trail closed at the beginning of the famed "Wall Street" section of the Bryce Canyon narrows, but this one area with the famous gateway cedars was open. I stood there for probably almost 2 hours staring up at the hoodoo walls and trees looking for a composition, trying my different lenses and moving the camera around checking different compositions. I did not want the same image I saw other photographers making over and over again, the one looking almost straight up with a wide-angle lens. I've seen tons of those. So I finally settled on a near-telephoto comp, looking across the alcove and up with some front rise at this pair of cedars. I like the image because it says Bryce Canyon in winter with the snow on the famed hoodoos and the juxtaposition of cedars against the desert sandstone. It also has strong metaphorical significance with the living trees surviving in the desert, one seeming to nurture and protect the other like a father and son standing tall together.
@intrepidcameraco 4x5
Fuji Provia 100F
Fujinon W 180mm ƒ/5.6
1s @ ƒ/28, front rise
Taken south of Big Pine, California in the Owens Valley.
The image is slightly soft, which is a big problem with the Plustek OpticFilm 120 scanner. I would not recommend this scanner until they offer a way to adjust the focus.
Linhof Technika V, 125mm Fujinon SW lens.
Horseman 6x12 Rollfilm holder
f/32 at 1/4 second
Fuji Provia 120 film developed using a Tetenal E6 kit in a Jobo Processor
The Liaison Office of the Central People's Government in Hong Kong, captured during the blue hour on a Sunday night in March 2014. Beyond Victoria Harbour, you can also spot Stonecutters Bridge in the far distance.
This is my very first (trial) shot ever taken with my new large format Chamonix 045F1 view camera.
Given I'm more into wide angle, I actually just wanted to get a slower f/6.8 lens, but it would have taken more than six months delivery to Hong Kong and Tin Cheung made me a good cash offer for a Rodenstock Grandagon-N 4.5/90 mm. Ultimately, I'm very pleased with a large aperture as it quite eases composing in the dark.
My own scanner stops at medium format, so I had Hong Kong Imaging do the job for me who work on a Hasselblad Flextight X5. I'm blown away by the result. A proper white balance and the look is almost HDR like, yet, what you see is simply some good old Fuji Provia 100F. I've pulled the highlights to -100 and significantly reduced both white and black point. Other than that and a small crop, no major adjustments.
This inauguration image is dedicated to Hugo Zhang, the Chinese architect of this beautiful camera.
90 mm
240 sec at f/16
Fuji Provia 100F
As I explored a familiar canyon in the high country of Zion National Park, I came across these two maples completely covered in a thick blanket of fresh snow. The snow was so deep in this spot that I had to set my backpack in over a foot of powder and carefully extract each item of my camera gear one at a time without dropping anything into the deep white fluff, lest it disappear. I love the delicate nature of the Maples paired with the elegant purity of the snow, and the vivid red of the canyon wall really creates a strong contrast which isolates the trees. I’d visited these two trees only a month prior and found them covered in vivid red leaves at that time. It is amazing to experience these special places during different seasons and see how the season completely transforms them, creating a starkly different atmosphere during each distinct time of year. In the winter, the rugged yet delicate landscape seems to be in deep slumber under a thick blanket of pure white.
@intrepidcameraco 4x5
Fuji Provia 100F
Fujinon W 180mm ƒ/5.6
2s @ ƒ/22
4:56pm 12/27/2016
Domingo Milella, Kodak Portra 160 NC 8x10".
Drum Scan by CastorScan
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CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
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Il servizio offerto da CastorScan è completamente orientato
a fornire la massima qualità di scansione e postproduzione sul
mercato internazionale.
Lavoriamo con artisti, fotografi, agenzie e laboratori che richiedono
una qualità allo Stato dell'Arte a prezzi ragionevoli.
Il nostro flusso di lavoro è completamente manuale ed estremamente meticoloso
in ogni sua fase.
Abbiamo sviluppato workflows e sistemi di profilatura esclusivi che ci consentono
di ottenere risultati impareggiabili dai nostri scanners, non raggiungibili
attraverso workflows semiautomatici e/o convenzionali.
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CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
It was constructed for Canadian Pacific Railway by the Canadian Locomotive Company in Kingston. Canadian Pacific 1095 is a class D10h, a 4-6-0 "Ten-Wheeler" designed for mixed service. CP 1095 started its career in 1913, stationed out of Winnipeg before transferring to Southern Ontario and ending in Montreal. Throughout its service, the locomotive provided branch-line passenger service, freight service and ultimately yard switching duties. Retired in 1960, it underwent restoration before arriving in Kingston in 1967 as a display piece in Confederation Park. Restoration efforts started in 2006, with work being completed between 2010-2013; today, 1095 retains the name "Spirit of Sir John A" and is a popular tourist attraction in downtown Kingston.
Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
A little messy on this one, but I'm rather pleased with all the detail of some overgrowth rocks.
Graflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Agfa APX 100 @ ASA-100
Blazinal (1+50) 10:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
This white wooden frame church is the only surviving congregation in the former village of Hornby. St. Stephens is built upon land donated to the Anglican church by John Cowin. This Gothic Revival structure was completed entirely by volunteer labour and material and when the congregation is in the Sanctuary faces east making the church building at an odd angle to the property line. The congregation continues to worship in the original building although it has gone through many renovations and updates through the years.
Graflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Adox CHS 100 II @ ASA-100
Adox Atomal 49 (Stock) 5:45 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
If there is one place that anchors me to Oakville, it is Sheridan College. When I was at the end of my time in High School, Sheridan stood out as the college I wanted to pursue my further education. And I'm glad I picked the Trafalgar Campus, as it has become my second home. The college itself had a humble beginning in an old Brampton HS but found its course in Oakville.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Arista EDU.Ultra 400 @ ASA-200
Ilford Ilfotec HC (1+47) 7:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
Even if they haven't the wonderful rangefinder of the M series Leicas, one has to admit that Nikon rangefinders are a joy to use... nearly as much as they are a joy to see and to touch.
I truly think that Nikons are the pinnacle of rangefinder camera design. Besides, they have the finish of a Japanese camera from the fifties, which is the same to say that they are simply as well finished as a camera can be. The only other cameras that could match them are Leica M3/M2, Contax II/III and IIa/IIIa.