I use a similar set up with a Sony a6000 on the end. The Sony has the same aspect ratio so no cropping or wasted frame you get with m4/3.
All my copies are Kodachrome and later Velvia slides.For those of you using your ILC + Macro, has anyone tried Negative Lab Pro yet? @The Grumpy Snapper @Andy H. @Bytesmiths
A friend and I are scanning as many of the negatives/slides as we can get our hands on from a youth group we traveled with 25+ years ago. So far between the two of us we're past 20,000 images. We're not looking for the best possible quality, and I've quite satisfied with the Epson v550. It does pretty well on the cost-vs-volume-vs-quality ven diagram.
https://www.rangefinderforum.com/forums/showthread.php?threadid=161028For those of you using your ILC + Macro, has anyone tried Negative Lab Pro yet? @The Grumpy Snapper @Andy H. @Bytesmiths
A friend and I are scanning as many of the negatives/slides as we can get our hands on from a youth group we traveled with 25+ years ago. So far between the two of us we're past 20,000 images. We're not looking for the best possible quality, and I'm satisfied with the Epson v550. It does pretty well on the cost-vs-volume-vs-quality ven diagram.
That was both interesting and a little disappointing. I have been "camera scanning" negatives recently. I was tempted to buy NLP, and that thread makes it sound great. But also I learned it requires LR6 and I only have LR4 so no deal :-(https://www.rangefinderforum.com/forums/showthread.php?threadid=161028
look at last 3-4 pages
My junkyard build for a few rolls I needed to "scan" recently was similar, using the 60mm macro at f/7, and the home-made film carrier mounted on the end of an internally flocked tube which was then slid over the lens and taped in place. I kept the bounce surface for the lighting about half a meter away, and used a camera-mounted flash for the light source. Stacking some cyan Wratten gels on the flash can really help to balance the orange mask enough to get the RGB channels in the same exposure ballpark (since you can't vary the exposure-per-channel the way a film scanner would). Results were great (much better than any flatbed+transparency adapter I've ever used) but I wouldn't want to do hundreds of rolls that way...K.I.S.S. The ShotCopy works great with my GX85 / 30mm Macro combo!
Yeah, there's always going to be work to do in software, probably more than just invert+WB... I spent a little time using the RGB curves in darktable to adjust each film type to taste (it helps if you have a good variety of scenes to check against). In my case the idea was to get the best capture possible for further processing, not so much to "get it right in-camera". Adjusting the light source to approximately balance the orange mask allows you to get all channels conservatively exposed towards the right, rather than having to carefully spread the dynamic range between a strongly exposed red channel and a weakly exposed blue one. This probably becomes a little more worth thinking about when using a small-ish sensor with a base 200 ISO. I'm sure somebody out there with old-school darkroom skills has probably taken this further, but I'm a software monkey and was happy with "good enough data to work with".Do you get it sort of close IRL on an unexposed and developed negative then do a white balance to get it the rest of the way there? The orange mask has always confounded me.
Double check, but I'm pretty sure the v550's actual optical resolution tops out at 4800dpi.I got an Epson V550 on a great deal (I think it was $139 refurbished on Adorama), and it's pretty good. I expect I am losing some crispness from what a pro level drum scanner could do, but I scan the files at very high definition (9600 DPI, most likely complete overkill) and they take tweaking contrast and sharpness really well.