Batch Scanning Film with a Digital Camera

An updated video for 2021 with my current workflow for batch digitisation of film using a digital camera, macro lens, and Negative Lab Pro. Getting good, consistent colours and an efficient workflow can be a struggle, so I've put this guide together to hopefully help you!
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Video Chapter Markers:
00:00 - Intro
00:43 - Equipment I use
02:20 - Tips on L116T LED
04:53 - Equipment (continued)
06:12 - The process
08:38 - Camera settings
10:02 - Some other tips
10:30 - Conversion in NLP
19:08 - Conclusion
#filmscanning #diyfilmscanning #35mmfilm

[@JohnKrill]

I copy my old film days process. I scan a complete roll at a time using a flatbed scanner. That gives me a contact sheet for each roll. I then print that roll and that gives me a contact sheet that goes into my storage box with the negatives. I then use a magnifier to review all the negatives. I then select all possible negatives and then scan those into high res images and print them. This method can saves me hours since I have never had more than maybe half a dozen negatives worth anything.

[@pushingfilm]

Love that, much like the traditional darkroom method. Even with colour rolls done by the lab, I'll often only rescan specific frames... since as you mentioned it's often usually a few shots on each roll that stand out. Thanks for sharing your process :-)

[@owenhaupt]

Great video! Love seeing different scanning workflows, excited to start DSLR scanning soon once the rest of my components arrive :)

[@revetastogne]

Wow!!!! Very cool trick with the mirror!!!

[@michaelwhite1322]

This is an extremely helpful video. I've had great results using a similar setup (Skier Sunray box, Sony A7III, and FE 90 macro lens). Your description of how to use NegativeLabPro is excellent! It really helped reduce the learning curve for me. Many thanks for posting this video!

[@lanterlog7052]

Great video! My process looks very similar to yours. Something I'd add to the "specific scene adjustments" is that it's also good to click "Sync Scene" on those. (I think) this is to correct the initial NLP conversion when it came up with different curves for almost identical photos, to give you a good consistent baseline for applying your settings.

[@romigoletto]

Perfect video and tips! You explain yourself very clearly. Cheers from Argentina!

[@pushingfilm]

Thanks very much!

[@GajanBalan]

That tip at 7:30 with the mirror is clutch! Nice work and great video.

[@pushingfilm]

Thanks Gajan!

[@ernestlew]

Tempted to try this process now!

[@Ricardo-SW]

Well done! Succinct and thorough. Thanks

[@bandrewes]

thank you so much for showing me the way that you batch edit with NLP! i have been doing it in very roundabout way and you have just saved me soooo much time going forward.

[@pushingfilm]

Glad it was helpful!

[@stigottesencreations]

Very, very helpful - Thanks!

[@_stefkas_]

Very usefuland concise. Learned a lot from your LR and NegativeLabPro moves!

[@pushingfilm]

Happy to hear!

[@tutzu4]

Very helpful and easy to understand

[@thomasz1543]

This video is EXTREMELY helpful. Thanks!!!

[@pushingfilm]

Glad it was helpful!

[@davidm3225]

Thanks for this, a really easy to follow tutorial, just what I was looking for

[@pushingfilm]

Appreciate the feedback! 🙂

[@pablojinko]

Love the trick of working with smaller batches using survey view. Great tip.

[@pushingfilm]

Glad it was helpful!

[@davidbanwell7728]

Good tutorial, I’m just starting out myself setting up the system to do my own negative scanning. Need to download negative pro in Lightroom. Thanks for the tips.

[@pushingfilm]

Glad it was helpful!

[@seabiscuit1207]

Nice work!

[@Will_i_art]

I got the Raleno and it’s perfect!

[@pushingfilm]

That's great!

[@AndyDay]

Thanks! Super useful.

[@pushingfilm]

Glad you thought so!

[@SkonrokkenTV]

Very useful!

[@Jon-Gardner]

Really helpful, thanks 🙏

[@pushingfilm]

Glad it was helpful!

[@frstesiste7670]

Great presentation/info! One option I'd use for camera-scanning and that's electronic shutter if available. Also, my camera has limited dynamic range and I'd set it to bracketing (at least for slide film). That will also help with over/under-exposed frames.

[@pushingfilm]

Good points! Yeah slide film can be a struggle with one shot for sure

[@F3N1X022]

Great video! Are you planning on doing a video tutorial for medium/large format scanning? Or maybe there's one already?

[@mikkelwarrer4531]

I would definitely recommend the aputure mc light. It is a little more expensive than the viltrox, but it has an built in battery, and the best color rendition of any light in this form factor. It lays flat and can be powered by usb-c if you’re scanning for several hours

[@pushingfilm]

Hey, thanks for the tip! This one wasn't on my radar yet, so I'm gonna look into it and consider it as an upgrade option.

[@GirdHerd]

I find your videos invaluable as I do more and more film development and DSLR scanning. Two questions: 1) Would you recommend wiping your film with a clean anti-static cloth before scanning to remove any dust and static?, and 2) Have you ever taken 2 scan shots of a 120 negative slightly off-set and merged as a pano in Lightroom to increase the resolution of the image for a large printed image?

[@pushingfilm]

Thank you! 1) I use a rocket blower, but I guess there's no harm using the cloth too. All in all, I find that prevention is the best cure when it comes to dust. 2) I have done this, and it produces great results (although I didn't print particularly big in those cases)

[@dantebellino5111]

I am just getting ready to start with DSLR scanning. I'm still putting together the materials needed, thanks for the list. I've been using the Epson V600 and that system is not up to par. Very good video and thanks for the list of the supplies and links. Hopefully, I won't run into to many complications.

[@pushingfilm]

Good luck with the process! You should notice a good jump in quality in 35mm scans especially :-)

[@JanneRanta]

I make it a point to use the rocket blower for each frame few times. It might slow the scanning but will save a ton of time in post.

[@etienneportail5122]

Cleaning the workspace with a duster a few minutes before you start also saves a lot of time later. I also clip 2 dusters and let the film go through it just at the beginning of the film holder

[@flaviamashphotography]

Hei, best video so far on this topic!! I am rewatching it for the 4th time and taking notes :) So on the Canon 5d Mark III you are using to scan the Canon EF 100mm f/2.8 Macro, right? Which other macro lenses would you recommend for the Canon 5D mark III? Flav

[@pushingfilm]

Glad it's helping! I use 5D IV with 100mm macro L lens. I would also recommend the 100mm non-L series for scanning film, or third party equivalents from Tamron etc

[@phil_aesthetics]

I tried the demo and I was not able to turn the pictures into positives so I ended up just reversing the curves and it works just as good.

[@cdaugherty7023]

Awesome video. Would be great to see a follow-up video a year or so later to see how you may have updated/revised your process ...or if you have kept it the same. Again, "awesome" video.

[@pushingfilm]

That's a good suggestion. I have a couple of other scanning related videos lined up, but something along the lines you're suggesting will hopefully come later down the line! I will have likely tweaked a few things by then.

[@smkunder1]

Very cool, did I miss, how to handle the focus?

[@sjmheron]

This is a really helpful workflow video. It's really interesting how different film photographers choose to make more/less edits using NLP vs. Lightroom (when the creation of the TIFF?JPEG happens in the workflow). Since most/all modern mirrorless cameras can tether easily my only comment might be that, if you can run a cable (or connect wirelessly) and touch your spacebar to take an image that appears directly in LR or on another folder on your computer, rather than triggering a remote and transferring files from an SD card, you may save some steps/time. The cost of the cable and adapter (if needed) would be less than the remote.

[@pushingfilm]

That is true! I have tethered sometimes, but haven't bothered to connect it yet in my current space. It would save some time though

[@inquireintothehigher]

Thanks for the very helpful video. I was wondering if you could give an approximate set up cost for this process, perhaps without the cost of a macro lens. Many thanks

[@IDaumI]

Thanks for giving all the details in your process. Have you tried shooting in aperture priority mode so the camera picks the shutter speed? Wonder if that makes a big difference from full manual.

[@pushingfilm]

Hey, thanks for watching! I have tried that, and mention it as an option in the written guide... what I sometimes find is that the exposure can around a little much between shots. This doesn't make a big difference to the final result though! So far, I do find a slight advantage in the consistency of batch conversions if the digital exposures aren't too far apart.

[@jjaylad]

I use an old slide projector with a stack loader, into which I load a box of slides (24 - 36 slides). I remove the lens and lamp from the projector and place a 110v daylight lightbulb (in a wired socket) into where the halogen lamp was. Then, with a macro lens on it, I place the tripod mounted camera so it focuses on the backlit slide from the front, through the projector's lens hole and adjust until it fits right, manually focused. Then I just shoot using a remote trigger, and use the projector's control wand to advance to the next slide. 36 slides get copied in a couple of minutes and the camera is tethered to Lightroom, so from that part the editing works like yours. I didn't have many negatives, but if I did I'd make a little thingy to slide the filmstrip into where the slide goes, frame by frame. I've done some 6000 slides that way. Only "wish" I had is for a way to clean the slides as they loaded into the projector. Honestly I wrote this to document my process because I lost the Notepad file I'd made. I wouldn't doubt your system makes cleaner files than mine, but I just had so many to do I had to find a more automated method. I'm sure if you would come up with 'thingy' for feeding negative strips through if you tried an old slide projector. :)

[@jjaylad]

Actually, I just looked at that projector, and a negative strip can't go through because after the slide chamber, there's an obstruction., so my great invention won't work for negatives at all, unless they were cut and mounted in slide frames. I feel like Wiley Coyote ...just missed that Roadrunner again! 😮

[@yeohi]

Using the stack loader, did slides stick together or jam? What about dust?

[@jjaylad]

@yeohi A problem is that the projector fan can't be disconnected because the overall circuit it is on includes the "advance" function. The fan draws dust into the lamp area and consequently onto the slide. I ended up making a sort of 'box' out of an 8.5x11 sheet of print paper, to put in there, housing the lamp and reflecting its light as well as blocking off the air from the fan. That solved the 'new' dust, but many slides still have old dust. The slide surface is so delicate I just use spot removal in LrC. That tool can be dragged to cover many dust spots at once and works very well. I get the occasional slide snag but it's like one out of 60 or so, so not a big problem.

[@janfaed6602]

this will really help me, thanks! what kind of film did you use for the demonstration, the colors look so good.

[@pushingfilm]

I'm glad! That was a roll of Portra 400

[@elifan2523]

Great video, I have a Nikon D700 (my only full frame camera) would it make sense to use a 12 mp camera? Sold my V600 since it took forever to scan an entire roll

[@stansnowball6954]

Thanks for the comprehensive video! Do you convert the Canon camera raw files (*.CR2) to DNG before before importing into Lightroom? I'm also using a 5D Mk IV and 100mm macro lens, but can't import the resulting CR2 files into Lightroom (V6) which I've read does not support the format. I'd thought of trying to upgrade to a later version but Adobe have taken down the links on their website. In addition, I also believe NLP will only work with LR6. I'm probably missing something obvious, but any advice would be much appreciated!

[@pushingfilm]

Thanks! I don't convert to DNG. I do use Lightroom Classic though, and I know that NLP does work with the latest versions of Lightroom.

[@jtmateu]

Great video, I just want to start with the scanning but I do not use lightroom and I could not find options to use with Capture One or Affinity Photo, do you know any? Thanks in advance.

[@thmallik]

Thanks for the informative video, I wondering where can I get the essential negative holder. I live in Canada.

[@pushingfilm]

Glad it helped! You can use the link in the video description, it ships for free worldwide

[@brntgudn]

Have you done any stitching of frames for 120? I'd love to see your process on that. You can stitch in lightroom or photoshop and get massive sharp files for large prints. I usually scan with uncut rolls once then go back and capture multiple frames of select exposures. It offers the highest quality you can get out of a DSLR scan. Only downsides are that it eats up storage space and it's a time consuming process (under 10 minutes per frame). I also found color rendering is best when stitching with NLP, Lightroom will convert a pano as a DNG.

[@pushingfilm]

I have done stitching on 120 before! You're right, it does offer great quality. I generally find the 34MP single shot with the 5D to enough for my usage, and would only bother stitching for larger prints.

[@redcloth6073]

Thanks for this great tutorial. I noticed you cropped and left no border, right? Will the border buffer at 5% mess with the conversion when there is no border?

[@pushingfilm]

In my experience it hasn't ever messed with it, since it's just telling NLP to ignore the outer 5%. However, it does matter when you leave the border and don't set enough buffer on the other hand.

[@AlejandroGonzalez-AGS]

Very nice informative video as always… I have the Essentials ( on your recommendation) not used yet and the Nikon ES2 film kit holders that I have been using for 35mm negatives and slides working very well. I will give NLP a try also on your recommendation! My question to you…does it make a big (real noticeable) difference on using FF vs APS-C, both 24MP cameras? I’m digitizing (starting) mainly 35mm now, but I will and at some point my 120 films. Thanks for sharing. Be safe man…Cheers!

[@pushingfilm]

Hi Alejandro, I'm glad to help! I don't think FF vs crop will make any important quality difference. The age/resolution of the sensor will probably make more difference in fact. It would be a slight advantage also for 35mm scanning if your crop sensor is 3:2 ratio, as opposed to something like 4:3 (that way you can fill the frame) but again, not too important!

[@AlejandroGonzalez-AGS]

@@pushingfilm Right on. I’m using a Nikon d7500 w/Nikon DX35mm f/1.8G lens that covers about 98% using the ES2 kit. I have this setup already fixed, leveled and square on a working table. The 3:2 ratio is important…good point! Will see if works the same for 120 film. I have my a7riii as an alternative for larger sizes if needed. The Essentials is a very nice kit, well built and will most likely use it for 120! Thanks, be safe…Cheers!

[@pushingfilm]

@@AlejandroGonzalez-AGS Sounds like you've got a great setup! No worries, and enjoy!

[@Bussmicke2305]

Nice, i hope you cane make a new video with NLP 3.0

[@pushingfilm]

Thanks! I hope to upgrade and try it sometime

[@H2o3G2a]

Hello, I have two questions. What do you think of using a canon 80d, it's around 23 megapixles. Also the essential film holder looks amazing but it's slightly out of my budget, are there any cheaper alternatives?

[@pushingfilm]

Hi Hideo, the 80D will be fine! There are cheaper options such as the Pixl-latr, or the Valoi standalone holder (without the advancer or diffuser). Just make sure your light is well diffused if you use a holder without a diffuser.

[@riyazg4654]

I use ef50 1.8 with extension tube. How to avoid flickering of LED?

[@ogmike6444]

when I scan with camera on something that has a lot of black, there seems to be a golden orange glow coming thru from the border, how can I identify and stop this?

[@tomgao7574]

May I use Laowa 60mm micro lens?

[@lordlukeatyoutubable]

Thanks for the indepth video. Do you use max brightness from your light source? Also, my problem is trying to capture 35mm slides in one shot. But it seems impossible unless I use bracketing: exposing for the highlights then exposing for the shadows then exposing for mids. Do you have a single-shot solution that captures an image from highlights through the shadows without loosing information? Thanks

[@pushingfilm]

Hey no worries! I do use max brightness. I have a similar problem with slides, depending on how contrasty they are. My usual solution is to push up the shadows in post. I've tried experimenting with different light strengths, temperatures, and exposure times, but none of those made a worthwhile difference (as compared to multi-shot, etc)

[@deepskypics]

If you used a piece of clear glass to flatten the image (if you don’t have holder) could you see it scratching the film as you move negatives/slides?

[@pushingfilm]

It's quite possible

[@rommertschrijver]

Hi! im considering either the Villtrox or the Raleno light. The Raleno is damn sexy with its slim back, but also quite a bit larger in its dimensions. is this not troubling since you dont need such a big surface of light? in terms of leaks and masking… thank you!!! love your videos!

[@pushingfilm]

Hey, thanks very much! I imagine it would a bit troubling if you won't ever need all that real estate, but at the same time it should be pretty easy to just cut out a mask from black card or similar to use for scanning, which you could then remove when using it as a video light etc.

[@rommertschrijver]

@@pushingfilm makes sense! thank you

[@lanterlog7052]

Do you have any tips on scanning slides? I scanned some 6x6 Ektachrome and encountered two problems: 1) The absolute dynamic range (unless there's a better term for it) of that thing is really large, unlike in a negative where all the tones are compressed in a small range of the histogram in my camera. I needed to set my exposure to look really really dark in order to not clip the whites. I ended up doing a HDR merge of a couple exposure bracketed shots which came out quite well, but maybe there's a better/faster way? 2) Light spill. With bright areas, they are almost transparent, which leads to similar light spill as when you don't cover your sprocket holes. And the bright areas are often much bigger. I managed to move my film a bit further away from the light source and it helped a bit but I'm not sure if I'm satisfied.

[@pushingfilm]

Hey, I plan to make a video on this specifically, after I solve those exact problems you mentioned! I experience the same issue, and even trying to do the HDR merge doesn't look as good as the actual slide (I suppose a scan never will, but it's still not an ideal workflow). I'm experimenting currently with different ways of lighting positives, to see if I can come to an effective method.

[@Floppyrom]

@@pushingfilm Did you figured it out?

[@MarkSmith-el3bh]

Are you shooting tethered? How do you deal with focus?

[@pushingfilm]

I shoot untethered. I focus once on the first frame and leave it set at that distance.

[@puleddu]

Would a light with a higher CRI (99 for example) yield noticeably better results? Is it something it would be noticeable side by side? Would be worth the effort going 99 (as opposed to 95) with a specialised light table or by building one using some 99 CRI LED stripes? I wonder if anybody has already done such a test. Thanks for the video and the valuable information you shared.

[@pushingfilm]

Hey! I'm not confident enough to say how much of a difference moving from 95 to 99 CRI would make, but I think it would be at least noticeable. I would recommend checking out the NLP Forums, or their Facebook page. I've noticed over the years that some resourceful people have been sharing test results including the differences between LEDS and so one that could be a lot of help to you. One of the users is named Richard Karrash (not sure if I'm spelling that right) who has made a lot of useful tests, and posted results there.

[@puleddu]

@@pushingfilm Thanks for taking the time to answer my question. I did in fact explore the NLP Forum extensively and finally posted a question there as well, but no definitive answer so far. I'll keep skimming through the discussions in case I missed something. Cheers!

[@sebastianfichtner1876]

Someone please tell me why I never tried bulk-converting...!?!?!?! It's sooo obvious and makes converting sooo much faster. Feels like I wasted too many hours simply because I was "not smart" enough...oh boy...

[@Sloot786]

Have you found any benefit to taking multiple bracketed shots and creating an HDR from them?

[@pushingfilm]

I haven't tried that personally, since the camera's sensor can resolve more dynamic range than is in the negative

[@tonyhayes9827]

I have a Nikon and so for Nikon users I use the ES 2 film digitizer adapter set. It means I don't have to worry about alignment of sensor plane and film plane. It also means it doesn't matter if the camera moves because the film moves with it and so the image is still sharp. I don't need a copy stand I can just hand hold the whole set up and point it at a light source. This only works for 35mm of course. Then I import from the card into lightroom and convert to black and white in Photoshop by inverting the tone curve. This is my weak point I think. Should I be converting the negative using some other software like Negative Lab Pro?

[@pushingfilm]

Nice, that ES2 does look pretty convenient. Before NLP I would do something similar with inverting the curved manually, but now I would definitely say the results and time saving make NLP worth it. If you're only scanning the occasional frame, manual inversion is probably fine. Also there are some alternatives to Negative Lab Pro to come out in the last few years, but I haven't tried any of them.

[@tonyhayes9827]

@@pushingfilm Thanks for response and for your channel Hashim; you do such good work. Yes I am on NLP's emailing list and I think I'll start using it for the individual attention you can pay each image. I use the digitalizer for medium format and scan it on the epson flatbed. O.K. results and if I get one I want beautifully scanned I'll send it in to 'Image Science' a film and printing lab, here in West Melbourne just around the corner from the Melbourne market and get Jeremy (who runs the place) to do it for me. A friend of mine uses the Epson flatbed for scanning 35 mm and medium format just with Epson's film holders and gets excellent result out of it that I cant seem to match.

[@mrsusan893]

Hi. I'm just getting into shooting film and have been looking into digital scanning with my Z7. I'll need to buy the ES2 adapter set along with an s mount macro lens that would cost me about $1000. Are you getting good results with this process? Does the film sit perfectly flat in the holder?. My alternative is the get an Epson v850 but I've read that if your just scanning 35mm film, the digital camera scanning gives slightly better results.

[@tonyhayes9827]

@@mrsusan893 Yes but that's a big outlay. I use my `old" D850 and my `old' 60mm f 2.8 AFD micro. I'm not sure if this old micro will work on your Z7 with the FTZ to digitize a negative, but it certainly wont autofocus and that would be a deal breaker for me. You can manually focus

[@stigottesencreations]

Maybe a simple question: When converting B&W via Negative Lab Pro, do you want to color balance first as with color negatives ?

[@williamburkholder769]

No. It does nothing for B&W. I've tried it both ways. But custom white balancing in LrC with the eyedropper is required to remove the orange mask from color negative films. After that, you still need to color balance in NLP with its controls.

[@pushingfilm]

Hey, as William mentioned it doesn't matter with black and white. A few times I found myself doing it as a reflex or habit, but either way works fine!

[@lumacamanty6627]

Which are the odd laying the film directly on the light table if the table have enought diffusing light? Like the Kayser for example....?

[@pushingfilm]

It can work with a diffused panel like the kaiser. Some panels aren't evenly diffused and have the dots of light showing.

[@Floppyrom]

Based on your experience do you think I could use the Essential Film Holder with an Ipad Air M1 with a full white page and full luminosity as the light source?

[@pushingfilm]

Answered your same comment on my other video.

[@antoniomargaretti4201]

Could you tell me please, can I do dslr scan method, if I have fujifilm x-t30 and 18-55 not macro lens? And just what focal length better need to do this?

[@pushingfilm]

Hey, I saw that you also messaged on instagram so I answered there already

[@davidwalker575]

Any thoughts on using a flash instead of a light box?

[@pushingfilm]

Something I've wanted to try for a while, but haven't yet

[@mich8261]

What about mirror lockup for those of us still using SLRs?

[@pushingfilm]

Generally you'll have live-view, meaning the mirror is already locked up before exposure.

[@Grondwurm]

Is dslr scanning better quality then a Frontier or a noritsu scanner?

[@pushingfilm]

It can be! but it depends on your setup and you have to spend more time and effort... especially with colours

[@redcloth6073]

It's definetly cheaper but yea, it depends of your gear, knowledge and workflow, both give great results

[@erichstocker8358]

When you take shot with the emulsion side up, doesn't you photo end up backwards? Do you then reorient it correctly when scanning.

[@pushingfilm]

That's right, I simply flip them all at once horizontally in lightroom

[@erichstocker4173]

@@pushingfilm Do you find that flipping them in software impacts the sharpness of the scan. I know as a programmer that bits are just being moved around and no "altering" of the bits go on. However, the orientation does change and I'm wondering that the physical bit move changes the view relationship in some manner. Because of that worry I have always avoided scanning emulsion side up although many people recommend it.

[@pushingfilm]

I don't find that, at least with my trials. I've tested side by side scans (black and white, colour, 120, 135) captured both ways around and the emulsion side up was slightly sharper, with the grain showing a little more.

[@erichstocker4173]

@@pushingfilm Thanks! Good to know.

[@FANTAZ3RO]

How does the scan quality compare to a epson scanner? I‘m currently using the v600 and I‘m really unsatisfied with the details.

[@pushingfilm]

I had a V800 and was much more pleased with the camera scans, so I sold the Epson

[@FANTAZ3RO]

@@pushingfilm guess I do the same. Thanks

[@monkeysausage2404]

Almost identical to the way I do it although I have a home made film holder and I shoot tethered into capture one. Another thing I do is us a bubble level to get holder and camera on the same plain. I did use one of those light box things used for tracing but could never get colours right. That all changed when I switched to a high CRI video light.

[@pushingfilm]

Nice, what are you using in capture one to invert?

[@andredunn-johnston846]

@@pushingfilm For me I use the curves tool in Capture One to invert, and save it to a preset. Sometimes use a S-curve to control contrast, then I use the auto-adjust tool on levels to colour balance/fix colour shifts, and if needed colour wheel to tweak colour shifts in shadows/mids/highlights (if needed).

[@ruudgarst6718]

wow amazing video! just what i needed. I have some trouble scanning 120/4x5 color negatives. i get this really weird intense red blur in the middle of the photo. any idea of what i'am doing wrong? i tried everything but my photo's turn out useless unfortunally.

[@pushingfilm]

Hey, Thank you! That's unusual, my first guess would be something to do with the mounting or lighting... But I can't know for sure. If you can DM on instagram with a sample I can have a look. Better yet, post on the Pushing Film Discord server and someone else there might recognize the issue.

[@jweatherly26]

You may not see this comment, have you noticed any light bleed from the sprocket holes? in a lot of my photos that include a solid blue sky I can see yellowish streaks bleeding into the photo coming from the sprocket holes, covering them alleviate the issue but then i cannot scan with sprocket holes in the scan..

[@pushingfilm]

I've only experienced this with the full borders mask that allows you to scan with the sprockets on the EFH.

[@hungdo7162]

Merci !

[@pushingfilm]

Thanks very much! 🙂

[@Ericbjohnston5150]

Wrong. Use highend flatbed wetscan 1200 dpi scan with silverfast software. Better yet, get a drum scan.

[@pushingfilm]

Go for it

[@SuperSuperka]

Why on Earth so many people name this "Scanning"? Scanning - is specific process of examining/recording point by point or row by row, but your digitazing has nothing common with scanning.

[@DPImageCapturing]

I do not even use NLP! I do everything manually, take less than 1 minute and and I did a comparison and they came out EXACTLY the same! I am not wasting $100USD! I also manufactured my own film holder for 35 & 120 on the same holder!

[@GeorgeStar]

How do you file & store uncut rolls of film?

[@pushingfilm]

Uncut rolls usually come to be from the lab in long plastic tube/sleeves- so I leave them in there or in Ziploc bags if I've developed myself until I cut them and use Print File archival sleeves (linked in the description) and Besfile negative binders from B&H