50MP is marginally, but better. Film resolution comes from the grain - so the better you capture it, the better the camera scan. If that's a look too strong, you can always play with "noise" reduction. But capturing ALL there is on film is important.
Nice video! Regarding the 12 vs 24mp comparison: seems obvious that the diiference is less with a 35mm negative (the photo with the helmet). This is logical, too: a 6x6 negative holds more information, which is why you used the format in the first place. I did my 35mm color slide conversion with a Nikon D90 and Sigma 70mm/2.8, which is 13mp. My guess is: if you distinguish the grains of the original, you are probably maxing out the camera sensor! because all of my color and BW negative material is 35mm, I probably stick with the D90. A higher resolution will only result in larger files, not better ones. One thing I would like some opinion on: the light source. I have used a setup with a professional copy stand (heavy, stable) and I use a flash unit (a Nikon SB400 connected to the hot shoe by a SC17 cable). All very old stuff, but it doesn’t fail. The flash output is soft (bounced, ofcourse) of constant light temperature and there is no vibration due to the very short duration. The camera is triggered using an IR remote, no me touching the camera! Do you think this is good setup?
My F100 has developed the cursed loose diopter lens fault This is the first time any of my dozen or so Nikons has developed a serious fault in nearly 45 years of my using Nikons.
I got an F6 imported from Japan a few years ago, but sadly the film advance didn't work, and I had to return it. I then bought 3 F100s from eBay, one by one, and the first two had problems OOTB, and had to be returned. The last one worked for a few months but then broke and no local store could repair it, so I bought a 4th one, which is still working (fingers crossed). eBay is full of F100s that sell with the rear panel broken. That, and it develops a sticky back (mine hasn't yet), and the film advance issue, it's very flimsy compared to the F6 which is built like a tank. Of course, the F6 costs 4x as much, so you get what you pay for. I also have a Leica M6 but I primarily shoot the F100 simply because I've more F-mount glass.
I think iso 100 can get up to like 60 something megapixel equivalent, the higher the sensitivity the larger the grain and lower the resolution. But its also subject to the optics used.
Thank you for your review and information, is very valuable... I am starting to use Film Photography again since the 90's... I do have a Nikon FG from 1982 with a good collection of Nikkor lenses and have my trusty Nikon D750 24mp Full Frame.... So I am having a lot of fun doing my beloved B&W film and digitized them with my Nikon D750 and the 60mm f2.8 Macro.... So is good to confirm that what I was doing is the right way to do!!!! Thanks.
I have this and man! I enjoy using it every time im using it. Now I saw a good deal for F5 and bought it. F6 is still too expensive, so im settling with the F5 for now as I have abused my F100 too much.
Thanks a bunch for the mention, Darryl! I am humbled to have your support 💯🙏🏽. I really want to get my hands on that lens. The images look really good and the form factor is really appealing. It will make the M11-P nice and pocketable. Great insight as always my friend! 🎯📸
From the wild wintry weather of New Zealand, to the humid heat of Japan. Hahahahaha! I know which I'd prefer. Oh, cool lens by-the-way. I am waiting for the ThyPoch 50mm collapsible to be released. I want that one.
I think you make a great point about shooting street and being noticed here - I find people often stop thinking they'll get in the way of my shot, which is kinda funny Scott
I had an F3, sold and picked an almost new F100. The mais reason: AF becomes a friend as we age :) A great trusty camera, loved it! Secondary reason: I'v a D700 and moving from one camera to the other is a breeze. Third reason: I've many AI/AI-S lenses and I use them on both cameras plus my beloved F2A. My AF lenses - two - are D series, as they have aperture rings that allow the use on the F2 and I find their micro contrast better on film and the D700 sensor. Thanks for the video!
Thank God for this video. I've been looking for a color palette comparison of orthochromatic and panchromatic film. specifically ilford ortho plus for months. And I can now see that this film favors blues over greens. :)
IMHO, the larger the negative the faster you reach the limit of any 'scanning' camera.. especially if you are 6X9 or large format .. as its always the same resolution irrespective of the negative size .. however I can agree that there is a theoretical max dpi for each film
Got my R-07 a few weeks ago and already put it through the paces on a number of video productions. First one was in the orchestra pit for a dance recital. I was very pleased with the fidelity of the recording, especially since the board feed lacked any footwork audio (like tap dancing). I even compared it to a boundary mic taped to center stage, which had great percussive capture, but terrible fidelity for anything else. I then tried it out in a very loud club-like environment in "Loud Music" scene mode, with the limiter on. It was about arms length from the PA, and even though I had to drop the input level down to 5, I didn't hear clipping. I believe Rode uses hybrid analog/digital limiters, and they worked a treat. I own a bunch of Zoom recorders and accessories, including the Mid-side capsule, but I have to say that the low-end on the Rode is superior than anything I've gotten from Zoom. The only caveat is that with outdoor recordings, you'll really want to knock out any wind with a thick foam cap or (better yet) a fur muff.
24mp works fine for me with 35mm, can print good at about 16"x20". When scanning medium format I'll take 4 scans and stitch em together for around 70mp result. Hey I think I use the same lens for scanning! Love that lens. If you want a good laugh, I just posted a silly youtube short showing how I do camera scanning. Anyway my fellow film tuber. SUBBED! Have a happy snapping day!
yes, I can recommend a few things, a 'PRO shade', USE a hood or this shade ALWAYS, esp. if there is a lot of light, aka summer in Australia, with the 'ev' scale on the lens at 15 and over, GLARE is a real issue {no, or early lens coatings}, so, keep asa low (acros 100 or Kodak Gold 200); and use the m-up mode, and a tripod, as ALL lenses for this camera are Telephotos when converted to 35mm format, so motion blur is an issue, also if in doubt use a LOW aperture setting, to increase depth of field, esp. when shooting people, as this shoots like the fashion images in Harpes Bazaar [shallow dof, with pronounced subject separation], so if you need a deep dof, use f 11/16, macro lenses go down to f 32 so one set at f 11 is WAY further from the diffraction limit than on 35 format lenses\cameras.
yes, at 3:25 you MUST do it slowly, and with care, Not as much of a problem with 500's but on the 200/2000 focal plane bodies, there is NO baffle, it's the SHUTTER itself!, so don't want to ding it!!!
So 20mpx and higher does well to scan a 35mm film slide at 1:1? For larger formats, you increase the rez by multiple shots and stichting - I guess. The grain thing I dont buy. If the noisy slide looks better by scanning it low rez, then you can downsample it or denoise it or such I am sure. The reason I summarise here is - there is no real option for a true 4x6 digital camera. So shooting MF on film and scanning by digital camera I think can be an option, in stead of making panoramic stitched images. You get the shot in one go, and you get the DOF and body movement effects.
