Hi Ralf, so I built a box and painted the inside white:
https://flic.kr/p/2ri4DVh
The hole at the bottom of the box is for the light source, in this case
a high CRI wafer light from a local lighting specialty supplier. The two
cleats attached to the sides are for the diffuser material. I had a
bunch of semi translucent sign plastic sitting around. Four layers of it
was sufficient, but I decided to separate them into two layers of two
for no reason other than I thought it was a good idea.
This is the box with the light source. It's a 6" 90CRI 1400 lumen wafer
light normally used as a home ceiling light. It's one of those
switchable among many hues, I set it to 5000k.
https://flic.kr/p/2rhXGtn
And this has the diffusers installed. I cut the sheets to fit, taped
them together and then held them in with thin slats and pin nails.
This is an overview of the box waiting for the top to be installed.
https://flic.kr/p/2ri2YyE
The top with a 4x5 neg carrier.
https://flic.kr/p/2ri4ck2
The finished product sitting on the floor of my messy workshop
https://flic.kr/p/2ri4DVC
The camera support was pirated from an old copy stand that I bought when
I was a teenager, so I've had it around for some 50 years. I purpose
bought it and put it away after that, so it's nice to have finally found
a use for it again.
I mounted the camera support on a cleat that I cut oversized slots into.
The cleat is held to the table with 3/8 inch carriage bolts, the slots
allow lateral movement and they are wide enough to allow
forward/backward motion to allow the entire camera platform to be moved
to allow the camera to be centered on the film. Once in place, wingnuts
are tightened down to keep it from shifting.
The black round thing in the picture is a Beseler 4x5 inch negative carrier.
For my medium and large format negs I am using the Fuji pixel shift
feature. It works somewhat like the Pentax emulation, but because of the
X-Trans sensor it takes 20 exposures per finished frame rather than 4.
The 20 frames are not combined in camera, unlike Pentax. Combining is
done in the computer using Fuji supplied software.
In operation, I have the camera tethered to the computer. I put a neg
into the carrier and push the button on the Fuji software so that I am
not near the camera. If there is even the slightest movement the
combiner job will fail. I tried using a wired release, but was getting a
high failure rate. Using the software to start the exposure is working
better.
So, the software imports the files to a directory, combines them and
outputs the finished 140mp file to another directory which is set as a
watched directory in Lightroom.
I expect for 35mm film I won't bother with the super resolution feature
but will, instead use the pixel shift in what Fuji calls accurate colour
mode where it outputs a 40mp file.
When the combined file appears, Lightroom grabs it and moves and imports
it to where I want it stored and adds it to the catalogue.
It's really slick and I can copy 3 4x5 negs per minute, or thereabouts.
bill
On 8/1/2025 10:58 AM, Ralf R Radermacher wrote:
Am 01.08.25 um 16:39 schrieb Bill:
So, I built myself a film scanning station based around the Fuji
X-T5. You can see what it looks like here:
https://flic.kr/p/2rimmKZ
Sounds interesting. But what is the light source and I see no such
thing as a negative carrier.
Ralf
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