I often get asked by other photographers how I digitize my film. Explaining the tools and my digitizing process would create too lengthy of a post, so I am going to start with what tools I use in this post and will share my process in a later post. The information I share about the tools I use is not meant to be a commercial for selling these products. If you do choose to purchase what I share in this article, I hope it is only after you have done your own product research. I will not talk in great length about the specifications of a product but will include the manufacturers web address or contact information so you can research the exact specifications from there. With all of that said, below is what my digitizing workstation looks like. I dedicated an office in my home for the storage of my film which has been stored in three-ring binders and Print File pages. I started storing film in this manner decades ago and it has proven to be a successful storage solution. The main equipment you will need to digitize film is a copy stand, a camera, a lens (a quality macro lens designed for 1:1 reproduction is best), a light source and film holders. A computer may or may not be necessary at time of digitizing depending upon your camera. Lets get started. Copy Stands
Before I talk about cameras, light sources and film holders, it is important to understand the necessity of a quality copy stand. This is an area I have seen other photographers not prioritize until after they have used whatever gizmo they created only to find nothing compares to the stability, precision and versatility a quality copy stand provides. I use two different copy stands, the Beseler CS-21 (pictured above) which is made for medium format cameras, and a lighter copy stand with a payload of 3.3 pounds, the Kaiser RS 2 XA. I use the Kaiser in my studio with my Fujifilm X-Pro3 for copying flat art and macro work. The Kaiser is probably one of the most popular copy stands on the market and it has served me well for many years. It is small, lightweight and handles all tasks I need it to do, except it could not handle my medium format cameras. On each copy stand I have placed a ball head to help in the squaring of my cameras. On the CS-21 a Kirk BH-3 has been installed, and on the Kaiser I use a Really Right Stuff BH-25. Both of these ball heads have been in my gear closet for years and work well in the squaring process that I will explain in the next post.
The Noritsu LS-600 is a 35mm film scanner designed for use in minilabs. Today, many photographers use it as a standalone scanner. This article reviews the LS-600 in depth and provides detailed instructions for putting it to work! The Noritsu LS-600, a competitor to the Kodak F135+? Cameras
At last I have cracked the problem of scanning, using a Nikon V 35mm scanner. It gives sharper results than the V700, but I never could master the art of stitching frames from the film scanner, working out spacing and using the offset control. I have now bought an FH 2 film holder, sold as an extra for single frames and damaged or curled film. Fuji Photo Film has been in the photo business since 1934, but only entered the single lens reflex camera (SLR) market at the beginning of the 70s. At that time, Pentax, Minolta, Nikon and Canon had been selling SLRs for more than 10 years. Fuji introduced important innovations - the Fujica ST701 was the first.
I recently acquired the Fuji X-Pro3 (shown in the Digitizing Station photo above) after using the X-Pro2 for a few years. I usually skip over next generation upgrades, but once I saw how the X-Pro3 screen was oriented, I thought it would operate perfect on a copy stand, and it does. I gave up my full frame cameras once I felt the Fujifilm APS-C sensors were good enough for my needs which currently is images for the web, blog postings, and fine art prints. If I need more pixels, I shoot my medium format tech cameras with a CFV-50c digital back or stitch with the X-Pro3. Stitching is a tremendous tool that I utilize when digitizing larger films. When copying with the digital back, I need to tether to a computer, and was able to bring back to life an old MacBook Pro I had not used in a couple of years. After replacing the MacBooks battery I purchased from Other World Computing, the old MacBook found its new home at my digitizing station. I tether the CFV-50c using Hasselblads Phocus software and save the files to a card. When my digitizing session is completed, I upload the files into Lightroom in my studios iMac workstation. I will talk about the various software and techniques I use in the next post. Lenses
The lenses I currently use for digitizing film with the Fuji X-Pro3 are the Zeiss Touit 2.8/50M macro lens for individual film frames and the Fujinon XF23/2 R WR for contact sheet making. When digitizing with my medium format cameras I use the Hasselblad 120/4 CFi Makro lens and the Schneider 120/5.6 Apo Digitar M lens for individual film frame digitizing. The X-Pro3 does not require the use of extension tubes when used in my workstation with the above mentioned lenses, however using the medium format cameras do require extension tubes and I will talk about that in the next post.
Really Sun Driver download . Find Sun Microsystems software downloads at CNET Download.com, the most comprehensive source for safe, trusted, and spyware-free downloads on the Web. DriverPack Solution, free download. Driver installer software for Windows: Driver management software that can download the latest drivers for a potential boost in system performance or troubleshooting errors, with a backup option. Includes tests and PC download for 32-bit/64-bit systems. K-SUN Windows Printer Drivers by Seagull True Windows printer Drivers by Seagull can be used with any true Windows program, including our BarTender software for label design, label printing, barcode printing, RFID encoding and card printing. Light Sources
There are a few options for a light source. From an inexpensive tracing lightbox to better and more costly options. Differences appear in output levels, color temperature and CRI (color rendering index) values, so do your homework if you want to know why one light source is more expensive or highly recommended over another. I initially began digitizing my film with a tracing lightbox and film holders from my Microtek ArtixScan 120tf, but the lightbox was not very bright, nor was the color temperature consistent. The film holders did well, but there was no option to digitize an entire uncut roll of film. I made contact sheets by digitizing my Print File pages on top the lightbox, but as I continue to shoot film, digitizing an entire roll of 120 at one sitting was appealing. If I can eliminate any extra steps without compromising quality, I will do it. Around 2018, digitizing film using a digital camera was finally being recognized as a high quality option within the photography community. It was now time for me to begin researching what other tools may be available. Skier Sunray Copy Box II/strong/h3n
After a bit of research, I found the Skier Sunray Copy Box/a was recommended by other photographers through a Facebook group I belong to. I waited a little while as I heard there was going to be an updated version, so when Skier announced their Sunray Copy Box II was in production, I went ahead and placed my order. Skier is located in Taiwan and delivery time was about six weeks. The company updated me via email to keep me informed of delays and delivery time. I felt doing business with Skier was overall a pleasant experience and would not hesitate to order from them again (customer service speaks LOUDLY to me).u00a0/span The advantages I have gained using the Sunray Copy Box is well worth its price. Going from a 1/2 second to a 1/60 of a second exposure does not sound like much, that is unless you are digitizing hundreds of film frames! Saving time in post-processing is always a winner in my book. Remember the drudgery of using a scanner and all the time it took to scan and then have to mess with the color balance? Do yourself a favor and get the best light source you can afford. Whether you decide to use a tracing lightbox or purchase a light source designed specifically for digitizing film, film holders will become an important deciding factor. My needs extend past typical 135 and 120 film, and with the Sunray Copy Box I am able to digitize all my film formats with the addition of scanner and enlarger film holders./span/p' Skier Sunray Copy Box II/strong/h3n
After a bit of research, I found the Skier Sunray Copy Box/a was recommended by other photographers through a Facebook group I belong to. I waited a little while as I heard there was going to be an updated version, so when Skier announced their Sunray Copy Box II was in production, I went ahead and placed my order. Skier is located in Taiwan and delivery time was about six weeks. The company updated me via email to keep me informed of delays and delivery time. I felt doing business with Skier was overall a pleasant experience and would not hesitate to order from them again (customer service speaks LOUDLY to me). /span The advantages I have gained using the Sunray Copy Box is well worth its price. Going from a 1/2 second to a 1/60 of a second exposure does not sound like much, that is unless you are digitizing hundreds of film frames! Saving time in post-processing is always a winner in my book. Remember the drudgery of using a scanner and all the time it took to scan and then have to mess with the color balance? Do yourself a favor and get the best light source you can afford. Whether you decide to use a tracing lightbox or purchase a light source designed specifically for digitizing film, film holders will become an important deciding factor. My needs extend past typical 135 and 120 film, and with the Sunray Copy Box I am able to digitize all my film formats with the addition of scanner and enlarger film holders./span/p' Skier Sunray Copy Box II
After a bit of research, I found the Skier Sunray Copy Box was recommended by other photographers through a Facebook group I belong to. I waited a little while as I heard there was going to be an updated version, so when Skier announced their Sunray Copy Box II was in production, I went ahead and placed my order. Skier is located in Taiwan and delivery time was about six weeks. The company updated me via email to keep me informed of delays and delivery time. I felt doing business with Skier was overall a pleasant experience and would not hesitate to order from them again (customer service speaks LOUDLY to me). The advantages I have gained using the Sunray Copy Box is well worth its price. Going from a 1/2 second to a 1/60 of a second exposure does not sound like much, that is unless you are digitizing hundreds of film frames! Saving time in post-processing is always a winner in my book. Remember the drudgery of using a scanner and all the time it took to scan and then have to mess with the color balance? Do yourself a favor and get the best light source you can afford. Whether you decide to use a tracing lightbox or purchase a light source designed specifically for digitizing film, film holders will become an important deciding factor. My needs extend past typical 135 and 120 film, and with the Sunray Copy Box I am able to digitize all my film formats with the addition of scanner and enlarger film holders. Film Holders
Because I shoot multiple film formats, I need to digitize different sizes of film and require various types of film holders. I digitize single frames, film strips, entire rolls, mounted and unmounted slides, and create contact sheets. My personal film archive goes back forty years and I have a family film collection that is over eighty years old that contains odd sizes of film. Since I continue to shoot 120 film in the 612 and 617 formats, and an occasional 45 project, I require film holders for these sizes as well. The Sunray Copy Box comes with 120 and 135 film holders that work well for film up to 69. For 45 film I use a film holder from an enlarger and find it works better than what came with my Epson V700 scanner, and the multi-format film holder from my Microtek scanner works well for my most difficult format to digitize, the 617. All of my film holders fit over the Sunboxs light source. For contact sheet creation, I continue to use the tracing lightbox. The Sunray Copy Boxs 120 film holder includes an adjustable gate that holds 120 film in 645, 66 and 69 formats snuggly. Running film strips and rolls through both of Skiers film holders does a good job as well. If you are running high production long roll digitizing, the Negative Supply Film Carriers/a 120 and 35 might be a better option, but you would still need a light source. When you reverse the Sunray film holders, they have areas designed to hold mounted slides. I find this not only a convenient way to save space so as not to have another set of film holders, but also well designed to hold the slides flat. The only slide mount that I have found that does not work with the Sunray film holder is the Polaroid 135 slide mount/a. When I encounter slide film that has been re-mounted (not original) in one of these, I simply remove it and run it through the 135 film holder using a scrap piece of film problem solved! I get asked about film flatness and will say I do not have a problem with the majority of my film, but when I do it is with 617 film. I find some film is simply curlier than others and will explain how I deal with this occurrence and how I use the tools outlined here in Part 2/a./p','tablet':'
The Sunray Copy Box' s= 120= film= holder= includes= an= adjustable= gate= that= holds= 120= film= in= 645,= 6x6= and= 6x9= formats= snuggly.= running= film= strips= and= rolls= through= both= of= skier's= film= holders= does= a= good= job= as= well.= if= you= are= running= high= production= long= roll= digitizing,= the= negative= supply= film= carriers/a= 120= and= 35= might= be= a= better= option,= but= you= would= still= need= a= light= source.= when= you= reverse= the= sunray= film= holders,= they= have= areas= designed= to= hold= mounted= slides.= i= find= this= not= only= a= convenient= way= to= save= space= so= as= not= to= have= another= set= of= film= holders,= but= also= well= designed= to= hold= the= slides= flat.= the= only= slide= mount= that= i= have= found= that= does= not= work= with= the= sunray= film= holder= is= the= polaroid= 135= slide= mount/a.= when= i= encounter= slide= film= that= has= been= re-mounted= (not= original)= in= one= of= these,= i= simply= remove= it= and= run= it= through= the= 135= film= holder= using= a= scrap= piece= of= film= -= problem= solved!= i= get= asked= about= film= flatness= and= will= say= i= do= not= have= a= problem= with= the= majority= of= my= film,= but= when= i= do= it= is= with= 6x17= film.= i= find= some= film= is= simply= curlier= than= others= and= will= explain= how= i= deal= with= this= occurrence= and= how= i= use= the= tools= outlined= here= in= my= next=
The Sunray Copy Boxs 120 film holder includes an adjustable gate that holds 120 film in 645, 66 and 69 formats snuggly. Running film strips and rolls through both of Skiers film holders does a good job as well. If you are running high production long roll digitizing, the Negative Supply Film Carriers 120 and 35 might be a better option, but you would still need a light source. When you reverse the Sunray film holders, they have areas designed to hold mounted slides. I find this not only a convenient way to save space so as not to have another set of film holders, but also well designed to hold the slides flat. The only slide mount that I have found that does not work with the Sunray film holder is the Polaroid 135 slide mount. When I encounter slide film that has been re-mounted (not original) in one of these, I simply remove it and run it through the 135 film holder using a scrap piece of film problem solved! I get asked about film flatness and will say I do not have a problem with the majority of my film, but when I do it is with 617 film. I find some film is simply curlier than others and will explain how I deal with this occurrence and how I use the tools outlined here in Part 2.
Fuji Photo Film has been in the photo business since 1934, but only entered the single lens reflex camera (SLR) market at the beginning of the 70s. At that time, Pentax, Minolta, Nikon and Canon had been selling SLRs for more than 10 years. Single Frame Film Scanner Vendor Cameras Best Buy
Fuji introduced important innovations the Fujica ST701 was the first SLR using a silicon photo-diode for exposure metering, and in 1974, the ST901 was the first camera to use numerical LEDs to show the selected shutter speed in the viewfinder.
But Fuji bet on the wrong lens mount their first SLR had a universal m42 screw mount that only supported stop down metering at a time when the market was already demanding full aperture metering. They rapidly had to create a proprietary derivative of the universal mount to support it. Their implementation (a protruding tab on the outside of the aperture ring to transmit aperture information to the camera) was clever and maintained the inter-compatibility of the lenses with the cameras of other vendors (I tested Fujinon lenses on Pentax and Yashica cameras and there was no problem).
In 1979, Fuji was the last major vendor to abandon the screw mount, and finally launched a brand new proprietary bayonet, the X mount, supporting all types of auto-exposure modes.
Switching to a new lens mount is always a difficult exercise for a camera manufacturer, as its a powerful signal sent to its installed base that the investment theyve made in the lenses of the brand is going to be worthless; at some point, the photographer will need a new camera to replace the existing one, and that day, he/she will also have to buy a whole new set of lenses. But if you have to buy everything anew, why stay with the brand that betrayed you?
The m42 bodies (Fujica ST 701, 705, 801, 901) were technically innovative and were praised by the press, but the bayonet mount cameras (Fujica STX, AX-1, AX-3, AX-5) were nice but unremarkable me-too products that never found much traction on a market place dominated by Canon and Minolta. When Minolta launched the first modern autofocus SLR, the Maxxum 7000, in 1985, Fuji was already folding down its SLR business, and did not even try to launch its own line of autofocus SLRs. They left the market for good in 1987.
Today, some of the Fujica screw mount cameras are highly regarded by the supporters of the m42 Universal mount. They were very modern when they were launched, and are far more pleasant to use than cameras of the same generation such as the Pentax Spotmatic.
I would avoid all cameras requiring Mercury batteries (ST 701, ST601) as they are not compatible with the silver oxide batteries that most other cameras of the same vintage accept (as does the Pentax Spotmatic, for instance).
The ST901 is an interesting curiosity (the first camera with a numeric LED display in the viewfinder), but its 1.0 implementation of the feature and the camera only has an aperture priority auto exposure mode (no semi-auto exposure control).
The AZ-1 is a derivative of the ST901, without the numeric display in the viewfinder, and was the first SLR from a major vendor to be equipped with a zoom as its standard lens. But it does not constitute a reason to buy an AZ-1 now, as it offers very little control of the exposure parameters to the photographer (the exposure metering only works in the automatic exposure mode there is no semi-automatic mode, its automatic or fully manual).
Fujica AZ-1 and Fujinon-X f/3.5-4.5 43mm-75mm zoom the AZ-1 was the first mass market SLR bundled with a zoom instead of the standard 50mm lens.
It leaves us with the ST801 and ST705 (both semi-auto cameras with full aperture metering), and the ST605 (an entry level semi-auto camera with stopped down metering and a slower shutter).
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the ST 801 boasts a silicon diode cell for metering, LEDs in the viewfinder, silver oxide batteries, 1/2000 shutter, and a very bright viewfinder. It was produced from 1972 to 1978. Its still perfectly usable today and can be found at reasonable prices (less than $50.00) if you are patient and wait for a good opportunity.
The ST605 is really abundant and cheap ($10 to $30), but is very limited (slow shutter and stopped down metering). The ST705, which looks like a good compromise on paper, was only produced for two years, just before the launch of the Fujica X mount cameras. As a result, its much more difficult to find. Single Frame Film Scanner Vendor Cameras Wireless
Fujinon lenses have an excellent reputation in the world of m42 lenses and apart from the 50 or 55mm lenses which are abundant, they are pretty rare. As the result, theyre probably the most expensive m42 screw mount lenses you can find on eBay. In particular, they are significantly more expensive than equivalent (and similarly highly rated) Pentax screw mount lenses.
Tamron used to sell an Adaptall 2 ring specifically designed for Fujicas full aperture metering system. Tamron Adaptall lenses are more abundant than Fujicas, and are an interesting option if you dont want to spend $500.00 on a Fujica EBC Wide Angle lens (for instance).
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The ST801 was the top of the line of Fujica in the seventies it was significantly more expensive (maybe 25 more) than the Pentax Spotmatic F which would have been its closest competitor in the word of screw mount cameras, and was probably in the same price bracket as Nikons Nikkormat. Single Frame Film Scanner Vendor Cameras Nikon
The ST801 had a long career (1972-1978) and no real successor in the Fujica line up. The Fujica AX cameras that followed benefited from multiple automatic exposure modes and could be fitted with a winder, but their shutters and viewfinders were not as good as the ST801s.
Its modern metering system was distinguishing the ST801 from its competitors (silicon metering cell, LEDs in the viewfinder no fragile galvanometer- , Silver Oxide batteries). The ST801 aged well in that regard.
Its a very pleasant camera to use the viewfinder is very bright and clear, the eye relief is OK for a camera launched in 1972. Its easy to compose and focus, the commands are few and logical, and the camera is relatively small and light.
It works at full aperture with Fujinon lenses. Full aperture metering really makes a difference in ease of use. If possible, buy Fujinon lenses, or if you cant find them, Tamron Adaptall lenses with the specific Fujica mount.
It meters stopped down with non-Fuji 42mm screw mount lenses. Its a bit acrobatics as usual press simultaneously Depth of Field lever to stop down the lens and the shutter release half way for metering it works but there is an issue: when the DOF lever is pressed, the shutter release becomes over-sensitive and its very easy to take a picture inadvertently while trying to do a metering.
No motor drive not an issue today but could have been in the mid seventies.
It has a reputation for being a delicate camera I dont know if its justified Olympus OM-1 cameras were also shunned by press photographers because they were fragile. It could have been a reaction from people used to the large and heavy Nikon cameras of that time so solid that you could (supposedly) use them to drive nails in a wall.
Conclusion for a camera of the early 70s, the Fujica ST801 is much more usable than equivalent models from Nikon or Canon. The viewfinder is brighter, the metering system is modern and reactive, and the body is comparatively smaller and lighter. The contrast with the Pentax models of the same era (Spotmatic) is also striking. Maybe its because of the sorry state of most of the copies of the Spotmatic you can find today, but a Pentax feels really clunky compared to the ST801. The Fujica is much more satisfying to use.
In my opinion, the ST801 is the best screw mount Fujica camera, and arguably the best 42mm screw mount semi-automatic camera to reach the mass market. Ever.
Before I talk about cameras, light sources and film holders, it is important to understand the necessity of a quality copy stand. This is an area I have seen other photographers not prioritize until after they have used whatever gizmo they created only to find nothing compares to the stability, precision and versatility a quality copy stand provides. I use two different copy stands, the Beseler CS-21 (pictured above) which is made for medium format cameras, and a lighter copy stand with a payload of 3.3 pounds, the Kaiser RS 2 XA. I use the Kaiser in my studio with my Fujifilm X-Pro3 for copying flat art and macro work. The Kaiser is probably one of the most popular copy stands on the market and it has served me well for many years. It is small, lightweight and handles all tasks I need it to do, except it could not handle my medium format cameras. On each copy stand I have placed a ball head to help in the squaring of my cameras. On the CS-21 a Kirk BH-3 has been installed, and on the Kaiser I use a Really Right Stuff BH-25. Both of these ball heads have been in my gear closet for years and work well in the squaring process that I will explain in the next post.
The Noritsu LS-600 is a 35mm film scanner designed for use in minilabs. Today, many photographers use it as a standalone scanner. This article reviews the LS-600 in depth and provides detailed instructions for putting it to work! The Noritsu LS-600, a competitor to the Kodak F135+? Cameras
At last I have cracked the problem of scanning, using a Nikon V 35mm scanner. It gives sharper results than the V700, but I never could master the art of stitching frames from the film scanner, working out spacing and using the offset control. I have now bought an FH 2 film holder, sold as an extra for single frames and damaged or curled film. Fuji Photo Film has been in the photo business since 1934, but only entered the single lens reflex camera (SLR) market at the beginning of the 70s. At that time, Pentax, Minolta, Nikon and Canon had been selling SLRs for more than 10 years. Fuji introduced important innovations - the Fujica ST701 was the first.
I recently acquired the Fuji X-Pro3 (shown in the Digitizing Station photo above) after using the X-Pro2 for a few years. I usually skip over next generation upgrades, but once I saw how the X-Pro3 screen was oriented, I thought it would operate perfect on a copy stand, and it does. I gave up my full frame cameras once I felt the Fujifilm APS-C sensors were good enough for my needs which currently is images for the web, blog postings, and fine art prints. If I need more pixels, I shoot my medium format tech cameras with a CFV-50c digital back or stitch with the X-Pro3. Stitching is a tremendous tool that I utilize when digitizing larger films. When copying with the digital back, I need to tether to a computer, and was able to bring back to life an old MacBook Pro I had not used in a couple of years. After replacing the MacBooks battery I purchased from Other World Computing, the old MacBook found its new home at my digitizing station. I tether the CFV-50c using Hasselblads Phocus software and save the files to a card. When my digitizing session is completed, I upload the files into Lightroom in my studios iMac workstation. I will talk about the various software and techniques I use in the next post. Lenses
The lenses I currently use for digitizing film with the Fuji X-Pro3 are the Zeiss Touit 2.8/50M macro lens for individual film frames and the Fujinon XF23/2 R WR for contact sheet making. When digitizing with my medium format cameras I use the Hasselblad 120/4 CFi Makro lens and the Schneider 120/5.6 Apo Digitar M lens for individual film frame digitizing. The X-Pro3 does not require the use of extension tubes when used in my workstation with the above mentioned lenses, however using the medium format cameras do require extension tubes and I will talk about that in the next post.
Really Sun Driver download . Find Sun Microsystems software downloads at CNET Download.com, the most comprehensive source for safe, trusted, and spyware-free downloads on the Web. DriverPack Solution, free download. Driver installer software for Windows: Driver management software that can download the latest drivers for a potential boost in system performance or troubleshooting errors, with a backup option. Includes tests and PC download for 32-bit/64-bit systems. K-SUN Windows Printer Drivers by Seagull True Windows printer Drivers by Seagull can be used with any true Windows program, including our BarTender software for label design, label printing, barcode printing, RFID encoding and card printing. Light Sources
There are a few options for a light source. From an inexpensive tracing lightbox to better and more costly options. Differences appear in output levels, color temperature and CRI (color rendering index) values, so do your homework if you want to know why one light source is more expensive or highly recommended over another. I initially began digitizing my film with a tracing lightbox and film holders from my Microtek ArtixScan 120tf, but the lightbox was not very bright, nor was the color temperature consistent. The film holders did well, but there was no option to digitize an entire uncut roll of film. I made contact sheets by digitizing my Print File pages on top the lightbox, but as I continue to shoot film, digitizing an entire roll of 120 at one sitting was appealing. If I can eliminate any extra steps without compromising quality, I will do it. Around 2018, digitizing film using a digital camera was finally being recognized as a high quality option within the photography community. It was now time for me to begin researching what other tools may be available. Skier Sunray Copy Box II/strong/h3n
After a bit of research, I found the Skier Sunray Copy Box/a was recommended by other photographers through a Facebook group I belong to. I waited a little while as I heard there was going to be an updated version, so when Skier announced their Sunray Copy Box II was in production, I went ahead and placed my order. Skier is located in Taiwan and delivery time was about six weeks. The company updated me via email to keep me informed of delays and delivery time. I felt doing business with Skier was overall a pleasant experience and would not hesitate to order from them again (customer service speaks LOUDLY to me).u00a0/span The advantages I have gained using the Sunray Copy Box is well worth its price. Going from a 1/2 second to a 1/60 of a second exposure does not sound like much, that is unless you are digitizing hundreds of film frames! Saving time in post-processing is always a winner in my book. Remember the drudgery of using a scanner and all the time it took to scan and then have to mess with the color balance? Do yourself a favor and get the best light source you can afford. Whether you decide to use a tracing lightbox or purchase a light source designed specifically for digitizing film, film holders will become an important deciding factor. My needs extend past typical 135 and 120 film, and with the Sunray Copy Box I am able to digitize all my film formats with the addition of scanner and enlarger film holders./span/p' Skier Sunray Copy Box II/strong/h3n
After a bit of research, I found the Skier Sunray Copy Box/a was recommended by other photographers through a Facebook group I belong to. I waited a little while as I heard there was going to be an updated version, so when Skier announced their Sunray Copy Box II was in production, I went ahead and placed my order. Skier is located in Taiwan and delivery time was about six weeks. The company updated me via email to keep me informed of delays and delivery time. I felt doing business with Skier was overall a pleasant experience and would not hesitate to order from them again (customer service speaks LOUDLY to me). /span The advantages I have gained using the Sunray Copy Box is well worth its price. Going from a 1/2 second to a 1/60 of a second exposure does not sound like much, that is unless you are digitizing hundreds of film frames! Saving time in post-processing is always a winner in my book. Remember the drudgery of using a scanner and all the time it took to scan and then have to mess with the color balance? Do yourself a favor and get the best light source you can afford. Whether you decide to use a tracing lightbox or purchase a light source designed specifically for digitizing film, film holders will become an important deciding factor. My needs extend past typical 135 and 120 film, and with the Sunray Copy Box I am able to digitize all my film formats with the addition of scanner and enlarger film holders./span/p' Skier Sunray Copy Box II
After a bit of research, I found the Skier Sunray Copy Box was recommended by other photographers through a Facebook group I belong to. I waited a little while as I heard there was going to be an updated version, so when Skier announced their Sunray Copy Box II was in production, I went ahead and placed my order. Skier is located in Taiwan and delivery time was about six weeks. The company updated me via email to keep me informed of delays and delivery time. I felt doing business with Skier was overall a pleasant experience and would not hesitate to order from them again (customer service speaks LOUDLY to me). The advantages I have gained using the Sunray Copy Box is well worth its price. Going from a 1/2 second to a 1/60 of a second exposure does not sound like much, that is unless you are digitizing hundreds of film frames! Saving time in post-processing is always a winner in my book. Remember the drudgery of using a scanner and all the time it took to scan and then have to mess with the color balance? Do yourself a favor and get the best light source you can afford. Whether you decide to use a tracing lightbox or purchase a light source designed specifically for digitizing film, film holders will become an important deciding factor. My needs extend past typical 135 and 120 film, and with the Sunray Copy Box I am able to digitize all my film formats with the addition of scanner and enlarger film holders. Film Holders
Because I shoot multiple film formats, I need to digitize different sizes of film and require various types of film holders. I digitize single frames, film strips, entire rolls, mounted and unmounted slides, and create contact sheets. My personal film archive goes back forty years and I have a family film collection that is over eighty years old that contains odd sizes of film. Since I continue to shoot 120 film in the 612 and 617 formats, and an occasional 45 project, I require film holders for these sizes as well. The Sunray Copy Box comes with 120 and 135 film holders that work well for film up to 69. For 45 film I use a film holder from an enlarger and find it works better than what came with my Epson V700 scanner, and the multi-format film holder from my Microtek scanner works well for my most difficult format to digitize, the 617. All of my film holders fit over the Sunboxs light source. For contact sheet creation, I continue to use the tracing lightbox. The Sunray Copy Boxs 120 film holder includes an adjustable gate that holds 120 film in 645, 66 and 69 formats snuggly. Running film strips and rolls through both of Skiers film holders does a good job as well. If you are running high production long roll digitizing, the Negative Supply Film Carriers/a 120 and 35 might be a better option, but you would still need a light source. When you reverse the Sunray film holders, they have areas designed to hold mounted slides. I find this not only a convenient way to save space so as not to have another set of film holders, but also well designed to hold the slides flat. The only slide mount that I have found that does not work with the Sunray film holder is the Polaroid 135 slide mount/a. When I encounter slide film that has been re-mounted (not original) in one of these, I simply remove it and run it through the 135 film holder using a scrap piece of film problem solved! I get asked about film flatness and will say I do not have a problem with the majority of my film, but when I do it is with 617 film. I find some film is simply curlier than others and will explain how I deal with this occurrence and how I use the tools outlined here in Part 2/a./p','tablet':'
The Sunray Copy Box' s= 120= film= holder= includes= an= adjustable= gate= that= holds= 120= film= in= 645,= 6x6= and= 6x9= formats= snuggly.= running= film= strips= and= rolls= through= both= of= skier's= film= holders= does= a= good= job= as= well.= if= you= are= running= high= production= long= roll= digitizing,= the= negative= supply= film= carriers/a= 120= and= 35= might= be= a= better= option,= but= you= would= still= need= a= light= source.= when= you= reverse= the= sunray= film= holders,= they= have= areas= designed= to= hold= mounted= slides.= i= find= this= not= only= a= convenient= way= to= save= space= so= as= not= to= have= another= set= of= film= holders,= but= also= well= designed= to= hold= the= slides= flat.= the= only= slide= mount= that= i= have= found= that= does= not= work= with= the= sunray= film= holder= is= the= polaroid= 135= slide= mount/a.= when= i= encounter= slide= film= that= has= been= re-mounted= (not= original)= in= one= of= these,= i= simply= remove= it= and= run= it= through= the= 135= film= holder= using= a= scrap= piece= of= film= -= problem= solved!= i= get= asked= about= film= flatness= and= will= say= i= do= not= have= a= problem= with= the= majority= of= my= film,= but= when= i= do= it= is= with= 6x17= film.= i= find= some= film= is= simply= curlier= than= others= and= will= explain= how= i= deal= with= this= occurrence= and= how= i= use= the= tools= outlined= here= in= my= next=
The Sunray Copy Boxs 120 film holder includes an adjustable gate that holds 120 film in 645, 66 and 69 formats snuggly. Running film strips and rolls through both of Skiers film holders does a good job as well. If you are running high production long roll digitizing, the Negative Supply Film Carriers 120 and 35 might be a better option, but you would still need a light source. When you reverse the Sunray film holders, they have areas designed to hold mounted slides. I find this not only a convenient way to save space so as not to have another set of film holders, but also well designed to hold the slides flat. The only slide mount that I have found that does not work with the Sunray film holder is the Polaroid 135 slide mount. When I encounter slide film that has been re-mounted (not original) in one of these, I simply remove it and run it through the 135 film holder using a scrap piece of film problem solved! I get asked about film flatness and will say I do not have a problem with the majority of my film, but when I do it is with 617 film. I find some film is simply curlier than others and will explain how I deal with this occurrence and how I use the tools outlined here in Part 2.
Fuji Photo Film has been in the photo business since 1934, but only entered the single lens reflex camera (SLR) market at the beginning of the 70s. At that time, Pentax, Minolta, Nikon and Canon had been selling SLRs for more than 10 years. Single Frame Film Scanner Vendor Cameras Best Buy
Fuji introduced important innovations the Fujica ST701 was the first SLR using a silicon photo-diode for exposure metering, and in 1974, the ST901 was the first camera to use numerical LEDs to show the selected shutter speed in the viewfinder.
But Fuji bet on the wrong lens mount their first SLR had a universal m42 screw mount that only supported stop down metering at a time when the market was already demanding full aperture metering. They rapidly had to create a proprietary derivative of the universal mount to support it. Their implementation (a protruding tab on the outside of the aperture ring to transmit aperture information to the camera) was clever and maintained the inter-compatibility of the lenses with the cameras of other vendors (I tested Fujinon lenses on Pentax and Yashica cameras and there was no problem).
In 1979, Fuji was the last major vendor to abandon the screw mount, and finally launched a brand new proprietary bayonet, the X mount, supporting all types of auto-exposure modes.
Switching to a new lens mount is always a difficult exercise for a camera manufacturer, as its a powerful signal sent to its installed base that the investment theyve made in the lenses of the brand is going to be worthless; at some point, the photographer will need a new camera to replace the existing one, and that day, he/she will also have to buy a whole new set of lenses. But if you have to buy everything anew, why stay with the brand that betrayed you?
The m42 bodies (Fujica ST 701, 705, 801, 901) were technically innovative and were praised by the press, but the bayonet mount cameras (Fujica STX, AX-1, AX-3, AX-5) were nice but unremarkable me-too products that never found much traction on a market place dominated by Canon and Minolta. When Minolta launched the first modern autofocus SLR, the Maxxum 7000, in 1985, Fuji was already folding down its SLR business, and did not even try to launch its own line of autofocus SLRs. They left the market for good in 1987.
Today, some of the Fujica screw mount cameras are highly regarded by the supporters of the m42 Universal mount. They were very modern when they were launched, and are far more pleasant to use than cameras of the same generation such as the Pentax Spotmatic.
I would avoid all cameras requiring Mercury batteries (ST 701, ST601) as they are not compatible with the silver oxide batteries that most other cameras of the same vintage accept (as does the Pentax Spotmatic, for instance).
The ST901 is an interesting curiosity (the first camera with a numeric LED display in the viewfinder), but its 1.0 implementation of the feature and the camera only has an aperture priority auto exposure mode (no semi-auto exposure control).
The AZ-1 is a derivative of the ST901, without the numeric display in the viewfinder, and was the first SLR from a major vendor to be equipped with a zoom as its standard lens. But it does not constitute a reason to buy an AZ-1 now, as it offers very little control of the exposure parameters to the photographer (the exposure metering only works in the automatic exposure mode there is no semi-automatic mode, its automatic or fully manual).
Fujica AZ-1 and Fujinon-X f/3.5-4.5 43mm-75mm zoom the AZ-1 was the first mass market SLR bundled with a zoom instead of the standard 50mm lens.
It leaves us with the ST801 and ST705 (both semi-auto cameras with full aperture metering), and the ST605 (an entry level semi-auto camera with stopped down metering and a slower shutter).
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the ST 801 boasts a silicon diode cell for metering, LEDs in the viewfinder, silver oxide batteries, 1/2000 shutter, and a very bright viewfinder. It was produced from 1972 to 1978. Its still perfectly usable today and can be found at reasonable prices (less than $50.00) if you are patient and wait for a good opportunity.
The ST605 is really abundant and cheap ($10 to $30), but is very limited (slow shutter and stopped down metering). The ST705, which looks like a good compromise on paper, was only produced for two years, just before the launch of the Fujica X mount cameras. As a result, its much more difficult to find. Single Frame Film Scanner Vendor Cameras Wireless
Fujinon lenses have an excellent reputation in the world of m42 lenses and apart from the 50 or 55mm lenses which are abundant, they are pretty rare. As the result, theyre probably the most expensive m42 screw mount lenses you can find on eBay. In particular, they are significantly more expensive than equivalent (and similarly highly rated) Pentax screw mount lenses.
Tamron used to sell an Adaptall 2 ring specifically designed for Fujicas full aperture metering system. Tamron Adaptall lenses are more abundant than Fujicas, and are an interesting option if you dont want to spend $500.00 on a Fujica EBC Wide Angle lens (for instance).
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The ST801 was the top of the line of Fujica in the seventies it was significantly more expensive (maybe 25 more) than the Pentax Spotmatic F which would have been its closest competitor in the word of screw mount cameras, and was probably in the same price bracket as Nikons Nikkormat. Single Frame Film Scanner Vendor Cameras Nikon
The ST801 had a long career (1972-1978) and no real successor in the Fujica line up. The Fujica AX cameras that followed benefited from multiple automatic exposure modes and could be fitted with a winder, but their shutters and viewfinders were not as good as the ST801s.
Its modern metering system was distinguishing the ST801 from its competitors (silicon metering cell, LEDs in the viewfinder no fragile galvanometer- , Silver Oxide batteries). The ST801 aged well in that regard.
Its a very pleasant camera to use the viewfinder is very bright and clear, the eye relief is OK for a camera launched in 1972. Its easy to compose and focus, the commands are few and logical, and the camera is relatively small and light.
It works at full aperture with Fujinon lenses. Full aperture metering really makes a difference in ease of use. If possible, buy Fujinon lenses, or if you cant find them, Tamron Adaptall lenses with the specific Fujica mount.
It meters stopped down with non-Fuji 42mm screw mount lenses. Its a bit acrobatics as usual press simultaneously Depth of Field lever to stop down the lens and the shutter release half way for metering it works but there is an issue: when the DOF lever is pressed, the shutter release becomes over-sensitive and its very easy to take a picture inadvertently while trying to do a metering.
No motor drive not an issue today but could have been in the mid seventies.
It has a reputation for being a delicate camera I dont know if its justified Olympus OM-1 cameras were also shunned by press photographers because they were fragile. It could have been a reaction from people used to the large and heavy Nikon cameras of that time so solid that you could (supposedly) use them to drive nails in a wall.
Conclusion for a camera of the early 70s, the Fujica ST801 is much more usable than equivalent models from Nikon or Canon. The viewfinder is brighter, the metering system is modern and reactive, and the body is comparatively smaller and lighter. The contrast with the Pentax models of the same era (Spotmatic) is also striking. Maybe its because of the sorry state of most of the copies of the Spotmatic you can find today, but a Pentax feels really clunky compared to the ST801. The Fujica is much more satisfying to use.
In my opinion, the ST801 is the best screw mount Fujica camera, and arguably the best 42mm screw mount semi-automatic camera to reach the mass market. Ever.
