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For anyone who has shot colour neg but not tried the new Portra 160 and Portra 400 - you haven't experienced what is possible yet. Here is an example shot on Portra 400 which I did almost no post processing too (I'm writing up a fairly fool proof way of inverting colour neg which keeps it's punchine...

Just to update the thread for future reference. I didn't actually try this because most of the exposures that I made were 40 to 90 minutes long. Sticking the 80C in front would have taken them out by one stop, increasing exposure by... loads? When I have finished developing and scanning and evaluat...

I have seen the scanner in situ and know that Pete Slynn has looked at it recently so I know it's working fine. I'll also vouch for Paul who, despite living in Birmingham and thinking of turning into a digital person, is quite a nice chap. The price is also good and it comes with a host of useful ex...

Think I cleared out the last stock with my 20 box order

Just need to find space for it now

But of course, that's not why we do large format anyway, is it? Indeed it is not.. If digital had the qualities of film (dynamic range, tonality etc) and came with a 4x5 sensor so I could use great lenses then I would be happy with only 24 megapixels I would imagine. I would probably want 40 but 24...

As someone who's spent most of his career in imaging and signal processing of one sort and another (usually at much lower resolutions - broadcast TV) I'm watching this with interest... one thing which hasn't been discussed - and which the somewhat vague datasheet for the IQ180 doesn't specify - is ...

I was told many years ago that not only were LF lenses not designed to resolve as much detail as lenses for smaller formats (makes sense given the far larger film size; why build higher costs into manufacturing) but that LF emulsions resolved less detail than smaller formats (although I have always...

The velvia "myth" is probably still true given it, as far as I know, was only touted as the sharpest slide film. Ah OK - That makes a little more sense.. However according to the article, E100VS has higher resolution when you get to 60lp but it's the 10lp that has the significant edge effect for Ve...

velvia is about 45 line pairs/mm at 50% - or 11430 lp along the long edge of 10x8 TMax 100 is about 125 line pairs/mm at 50% or 31750 lp along the long edge of 10x8 What is amazing on that NK page is that the 10% figure for Velvia is upwards of 130lp Interestingly, and something that is backed up b...

Hi Tim Apologies for continuing the physics approach... After looking at Norman Koren's website, I'd tend to agree - it may be impossible to compare MTF fully. The film manufacturers don't give MTF beyond 50% (which determines sharpness). Limiting resolution is around 2 - 5% MTF usually. However, t...

Hi I think you are always going to run into trouble if you ascribe a megapixel equivalence to film. (you can work out an equivalence in appearance - which is what people are after I suppose) In principal film is not nyquist limited, because of the random distibution of the silver grains (i.e. no mo...

Alright Tim. Been kind of interesting following this debate on the US forum. On one hand it does seem interesting to do a proper test in a kind of bored-and-sat-at-work way, but on the other hand I might be tempted to think we could do without getting bogged down in technical semantics for the sake...

Good stuff, Tim. I am sure you'll apply the customary rigour. Just one thing. I could easily be wrong because my understanding of the theory is shaky, so please correct me if need be. You say that the best resolution from the film is with scans at around 4 to 6 thousand dpi. Isn't this kind of samp...

I don't know if anybody saw the test on Luminous Landscape comparing an IQ180 against an 8x10. Suffice it to say it's pretty bad and they only scanned the 8x10 at 745dpi plus they used less depth of field with the 8x10 camera than the Phase. Anyway - the original tester is rerunning his tests in coo...

Can you explain what you mean by 'back/up' -- maybe in terms of which side of which standard comes towards or moves away from you. E.g. normal rear tilt for near far is rear tilt, top of rear standard moves towards you. By tilt 'back/up' I mean from behind the camera looking towards my subject the ...