Marc I have one of the earlier model Imacon Flextight scanners and they are awesome. I was paying a pro service bureau between $75-$100 for scans so scanning bills were adding up, within a few months it had paid for itself. I spent twelve years of working in pro labs in the dark it's so nice to be able to sit at my desk and scan, post porcess and print in daylight. Nothing quite like a Velvia 67 scanned to 170mb file, except maybe a 45
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News from Zeiss on Wednesday
- Thread starter dirk
- Start date
Marc, just to answer what you said.
I said my Apple does not like RAW, because I am using the old version of iPhoto, it does not accept RAW at all.
Thank you for your advices, this is my first few photos with my new scanner 5400, I still have a lot to learn and polish. I have changed now that scan with TIFF and manipulate with Photoshop.
After acquiring my new scanner, I found a new dimension in photography. In the past, with I old scanner Minolta
Elite ll, I did not like scanning at all because when I looked at scanned prints, it wasn't attractive at all. Once a higher quality scanner is used, the picture becomes completely different. I can see why there is still a future with film photography.
Here is another photo taken in Thailand using C-Y 28 2.8. It was filmed with HD200, scanned with low compression JPEG,converted to BW by iPhoto, enhanced by Photoshop.
This was done last week, this week I would be doing it with TIFF
I said my Apple does not like RAW, because I am using the old version of iPhoto, it does not accept RAW at all.
Thank you for your advices, this is my first few photos with my new scanner 5400, I still have a lot to learn and polish. I have changed now that scan with TIFF and manipulate with Photoshop.
After acquiring my new scanner, I found a new dimension in photography. In the past, with I old scanner Minolta
Elite ll, I did not like scanning at all because when I looked at scanned prints, it wasn't attractive at all. Once a higher quality scanner is used, the picture becomes completely different. I can see why there is still a future with film photography.
Here is another photo taken in Thailand using C-Y 28 2.8. It was filmed with HD200, scanned with low compression JPEG,converted to BW by iPhoto, enhanced by Photoshop.
This was done last week, this week I would be doing it with TIFF
Okay, now I understand what you are doing Joseph. You are scanning film with a Minolta 5400.
You do not need to save a RAW file. When you scan film, the corrections are made with the scan utility program, then saved as jpg or tiff for further work in PhotoShop. This is the same scanner I am now using for 35mm film scans.
Tell the scan utility to scan in 16 bit rather than 8 bit. And set 300 ppi. This will provide you with more data when opening a file in PhotoShop.
What version of PhotoShop are you using? You should not have to use iPhoto except to organize a lot of files, or to make slide shows. You should be working with the file browser in PhotoShop, or the Bridge in PhotoShop CS2. if you are not using PhotoShop 7, CS or CS2 you should seriously consider doing so... preferably CS2.
With the scanner, you can make more than one scan and marry them in PS using simple layers. So, with difficult negs with deep shadows and hot highlights, you can scan first for the shadow detail and then again to hold detail in the highlights. Once you layer these two together, placing the highlight version on top of the shadow one, you can erase the shadow areas to reveal the detail. Sounds like a lot of work, but it isn't really ... especially for special photos.
Have fun.
You do not need to save a RAW file. When you scan film, the corrections are made with the scan utility program, then saved as jpg or tiff for further work in PhotoShop. This is the same scanner I am now using for 35mm film scans.
Tell the scan utility to scan in 16 bit rather than 8 bit. And set 300 ppi. This will provide you with more data when opening a file in PhotoShop.
What version of PhotoShop are you using? You should not have to use iPhoto except to organize a lot of files, or to make slide shows. You should be working with the file browser in PhotoShop, or the Bridge in PhotoShop CS2. if you are not using PhotoShop 7, CS or CS2 you should seriously consider doing so... preferably CS2.
With the scanner, you can make more than one scan and marry them in PS using simple layers. So, with difficult negs with deep shadows and hot highlights, you can scan first for the shadow detail and then again to hold detail in the highlights. Once you layer these two together, placing the highlight version on top of the shadow one, you can erase the shadow areas to reveal the detail. Sounds like a lot of work, but it isn't really ... especially for special photos.
Have fun.
Thanks Marc for these invaluable advices.
Guess what the 3rd and 4th lenses of the ZF are ?
I looked at the photos shown in www.dpreview.com. The third one is definitely a macro lens. It does have the shape of Makro-Planar 60 2.8.
The forth one is a distagon. It has a big glass surface in front. It is very likely to be a Distagon 35mm 1.4. Marc, you like 35 1.4, don't you ?
The other possibilities of the forth one are 25mm 2.8 or 28 2.8 because the forth one is narrower than the makro lens.
Guess what the 3rd and 4th lenses of the ZF are ?
I looked at the photos shown in www.dpreview.com. The third one is definitely a macro lens. It does have the shape of Makro-Planar 60 2.8.
The forth one is a distagon. It has a big glass surface in front. It is very likely to be a Distagon 35mm 1.4. Marc, you like 35 1.4, don't you ?
The other possibilities of the forth one are 25mm 2.8 or 28 2.8 because the forth one is narrower than the makro lens.
According the two unknown lenses on the Zeiss pictures both have a largest aperture of F2 and one is a Distagon and one is a Makro-Planar. Someone at photo.net compared the DOF scales and draw the conclusion that the lenses could be a Distagon 28mm F2 and a Makro Planar with 50-60 mm focal length and F2. The DOF scale on the Makro-Planar is very similar to the DOF scale on my Micro-Nikkor 55mm F2.8.
I would buy 28 2 but not a Makro with f2.
It is unusual to have a macro lens with f2. The making of a lens to f2 rather than f2.8 will reduce its performance in all f nos. The emphasis in macro photography is clarity rather than large apertures like f2.
In fact, I have never seen a macro lens with f2.
If you like at the photo in dpreview. its appearance is very comparable with the current 60 2.8 C-Y. It looks even more like 60 2.8 C C-Y.
Which site do find you find the two lenses to have f2 ?
It is unusual to have a macro lens with f2. The making of a lens to f2 rather than f2.8 will reduce its performance in all f nos. The emphasis in macro photography is clarity rather than large apertures like f2.
In fact, I have never seen a macro lens with f2.
If you like at the photo in dpreview. its appearance is very comparable with the current 60 2.8 C-Y. It looks even more like 60 2.8 C C-Y.
Which site do find you find the two lenses to have f2 ?
ulisse2000
Active Member
Take a look here
http://www.zeiss.com/C12567A8003B8B6F/GraphikTitelIntern/09/$File/09.jpg
or http://tinyurl.com/csbl3
Regards,
Ulisse
http://www.zeiss.com/C12567A8003B8B6F/GraphikTitelIntern/09/$File/09.jpg
or http://tinyurl.com/csbl3
Regards,
Ulisse
"The making of a lens to f2 rather than f2.8 will reduce its performance in all f nos."
Can you explain why?
I have used leica lenses for the R systems. I have compared the Elmarit 90mm f/2.8 with the APO-Summicron 90mm f/2 ASPH and the latter is the better lens. Yes it has both APO correction and aspherical elements. Maybe Zeiss have some special elements in the new Makro-Planar design.
Can you explain why?
I have used leica lenses for the R systems. I have compared the Elmarit 90mm f/2.8 with the APO-Summicron 90mm f/2 ASPH and the latter is the better lens. Yes it has both APO correction and aspherical elements. Maybe Zeiss have some special elements in the new Makro-Planar design.