![]() ![]() Everybody’s always telling me I’m wrong, but I prefer a normal-focal-length macro lens that lets me use a sturdier, more-compact setup. One thing to keep in mind in your choice of a macro lens is that if you pick a longer focal length (like all the wildlife guys are always telling everyone to do) your capture setup will have to place the camera farther from the film holder, making alignment more difficult and making the whole business more rickety. Then I have to blend them in post-production, but that’s really no worse than the desperate gyrations required to print the same negative in a traditional darkroom! Once in a while you might get a problem negative (typically a black-and-white negative that has been both overexposed and overdeveloped, resulting in very dense highlights) but I usually handle those by capturing twice, once at an exposure tailored to the thinner areas and again at an exposure tailored to the denser areas. That means a negative is almost never going to use the full dynamic range of any of the cameras on your list. However, I’ve never used the camera’s you list, maybe some other users have some experience here.ĭigitizer is right, of course: One of the jobs films are designed to do is flatten out the dynamic range of a scene so it fits within the limitations of the printing or viewing process. There’s no standard size or crop factor for a crop sensorit varies among brands. The extent of this crop is called the crop factor. A crop sensor is smaller, which means it crops the edges of your photo to produce a tighter field of view. This is quite important since, sometimes you may run into posterization issues. A full-frame sensor is a digital sensor that replicates the size of classic 35mm film cameras (36 x 24mm). In terms of dynamic range, here you may see some differences between the newer and the older sensors and the FF sensor may outperform the others. ![]() But since all your cameras are similar in resolution I wouldn’t worry too much about this. I’m assuming you are not listing the file size in bytes, but instead in mega-pixels, right? For me, 20ish Mpx is good enough, I know that some films may deserve a bit more resolution, but i’m not too much of a pixel peeper. Stay away from extension tubes or close-up lenses if possible since they amplify glare which in turn makes color corrections more troublesome. After you figure out the difference between a crop sensor and a full frame sensor, you’ll need to decide which one suits your needs. See if this distance is something comfortable. Full Frame Sensor vs Crop Sensor: Choosing Which is Right For You. Have a look at the possible macro lenses that you would be willing to buy, then estimate at what distance your negative would be filling your sensor. When using a crop sensor, the camera should be placed a bit farther away, which your mounting setup may or may not be able to handle. It gives me a reasonable distance between the negs and the camera to work with. Lately, I’m loving my 100mm macro (max magnification 1:1) which works better on the full-frame for 135 film. However, it changes a lot which lens I prefer to use. Personally, I’ve scanned with a Canon 80D and a Canon 5DII, and both work fine (regarding your question about crop sensor or full-frame). What are you scanning mostly? 110, 120, 135, large format?
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