Scanning 4×5 Large Format Film

…using the Epson Expression 10000XL in the Visual Resource Center at UCCS.  The Epson software took a few minutes to set up but I suppose that it’s nice that once everything is calibrated I just hit the scan button and go off to do something else for about 20-30 minutes.  Or once a few images are done I’ve started working on those in Photoshop and backing everything up while I wait.  Also I’m writing this post (though as you read it it’s months later).

What do I think of the Epson Expression?  It’s as big a piece of crap as the V600 but at least it does 4×5 film.  It’s the only scanner on campus that can do large format.  Thanks to this site I found out that I could only do 2400dpi scans, but considering how long it takes to do those I don’t think I’d have the patience to let it do longer.  One thing I noticed, is that you must keep track of this:

(7 min. my ass…)
If the scanner isn’t making noise for a while, click that to get the damn thing working again; it’s like the scanner went out for a smoke break and needs to be kicked back into the building to do some work.

I’ve been printing some of these in the darkroom as well, but now that I have digital access to all my negatives I can see things I would have earlier, like where the dust has been caked in, just how bad my developing technique was starting out, how many times I missed focus (I think I should be using a loupe), things like that.  And the successes are quite successful, here’s an example:

Cowboy weaponry at the ready.  Kodak T-Max 400 pulled 1 stop.  

.

Two rolls of Ektachrome E100 (7294)

It looks like Kodak colors!  Over the summer I shot my first two rolls of the new Ektachrome in my Canon AE-1.  I have another roll that I haven’t shot yet.  I was planning on using my SPII for that but it seems to have developed a few shutter problems so maybe in my new Olympus Stylus Infinity.  It being October with the leaves changing color I should have got on that, however I missed my window, just so much else going on.  But here’s what I’ve shot between July and September, though I have to admit that after shooting Tri-X nearly exclusively since sometime last year, I’m a bit out of practice shooting color, but here goes:

I had these developed/scanned by Mike’s Camera, SOP is that I drop the rolls off at the Colorado Springs store so their courier can take to the Boulder store where the E6 processor is.  I asked high-res scans (only 3000×2000 now) on their Noritsu but to send the rolls back uncut so that they could be scanned on the Colorado Springs store’s Fuji Frontier scanner (I’m thinking if I do this enough I should be able to write up a comparison between Noritsu, Fuji, and Pakon scanners…haven’t gotten around to it yet).  Unfortunately, the Boulder store has no concept of how to follow directions and I received cut and mounted slides and the scans were a measly 1818×1228.  And they showed me the tickets, the directions were very saliently written so there’s absolutely no excuse for that to happen.  Thankfully the Colorado Springs store gave me rescans, though I don’t think it was on their Fuji Frontier; they must have some sort of Minolta or Nikon prosumer scanner for mounted slides but I don’t know which model; at least they’re a bit more high-res than what the Boulder store is offering, it’s about 2400dpi.  This gives me the opportunity to compare the Noritsu to what I’m calling right now the Mystery Scanner.


(there was some slight dodging the sunlight areas in this picture)

In nearly every instance I’d choose the Noritsu’s colors over the 2400dpi Mystery Scanner’s.  Nearly

It’s obvious that there’s more detail in the shadows on some of these (different cropping/framing too).  I’m not sure that the Mystery Scanner actually has a better D-Max than a Noritsu, but it does matter who they have operating the machineMike’s Camera in Boulder, you fucked up and I’m not happy.  Think I’ll ever go back?  Maybe someday.  This is the first time I’ve looked at the two scans side-by-side and the Mystery Scanner seems to have some sort of haze/fog as well as a slight color cast I didn’t pick up before.

As far as the film goes, I’m happy with the new Ektachrome.  Is it Provia or Velvia?  No, but when I heard that Fuji was discontinuing their 5-roll packs (which made the film $10-11 per roll), I bought 10 rolls of Velvia 100, stuck it in the freezer, and knew that when I’d shot all that I wouldn’t be buying any more.  I’ve said it before, I love Fuji’s colors.  But at least I know that a couple years from now, I’ll be able to still shoot Ektachrome and it’s actually a good price!  In 135 size that is.  As I write this, Ektachrome is being sold for $13 while Velvia 100 is $18 and Provia 100f is $16.  Ouch.  Considering Ektachrome is priced lower than either and it just came out, that’s great (and hopefully if my predictions are right regarding Fuji, we’ll see the price drop someday).  Now, $40 for a roll of the stuff in super 8, that’s pretty high.

The Rainbow of Death

If you’ll forgive the Vuescan watermarks.  I haven’t gotten around to buying the actual software yet.

Here’s why:
Phantom pic 1

Can you see it?  The lines are just below the tip of the nose cone.

Here’s a more visible version:
Phantom pic 2

And it’s still visible in black and white, too:
Scan-140424-0001

I’ll have to do more research to determine how to fix this, or if it’s even worth it (the scanner is 15 years old, after all).  I suppose, if nothing else, I could scan the image, flip the negative around, and scan it again!  Sounds like too much work.  What it means though, is that I’ve been taking my stuff back to the pros, and not worrying about it.