May 04, 2017
Written by: Dan Murano

Even though scanning prints on a flatbed scanner is fast and easy, a little extra attention to detail can save a lot of post-processing work. One of the most important things is to make sure that the scanner glass stays streak free and clean for every print.

My old Epson 4990 flatbed produces high quality scans, but it often sits idle for months, during which time a haze builds up on the underside of the glass from the outgassing of the internal plastics. I don't want this haze in my scans, so before each session, I carefully lift up the top assembly and clean the underside of the glass with streak-free glass cleaner and a microfiber cloth. I do this so often that I don't even bother putting back the screws to secure the lid to the base.

On the top of the glass, even a gloved hand can leave a nasty smudge, so I wipe that clean before laying down every print.

This process works great for images up to about 9x12 inches, but for larger prints, I use a camera and copy stand.

Leveling the camera. The old stand that I have here is sitting on top of a rolling file cabinet. The pole and camera mount assembly can be taken off for storage. Items that can be easily broken down are important when you work in a small space.Leveling the camera. This old copy stand is sitting on top of a rolling file cabinet. The pole and camera mount can be removed for easy storage. Gear that can be easily disassembled is helpful in a small space.


My copy camera stand doesn't have lights, so I use swivel-arm lamps at a 45-degree angle on either side of it. I keep the lights far enough away to allow for a 1/15 - 1/30 second exposure to avoid any horizontal banding from the LED lights that I use. (I first noticed this banding with my Iphone.)  I set the camera on manual and measure the light with an incident meter.

I use a 55mm f/3.5 Nikon macro lens on my D610, stopped down to f/8 or f/11. The 55mm has a recessed front element which reduces flare from the lights, and the focal length allows me to fill the frame without raising the camera too high. Black paper extends the lamp hoods and reduces the amount of light bouncing back from the ceiling and walls. I wear dark colored clothing and use a cable release to keep any reflections from my hand or clothing away from the print.

A level verifies that the camera and baseboard are parallel. I set the camera for ISO 100, meter the light and set the white balance with a white card. The images are sorted to minimize column height adjustments while I work through the stack. I use back-button focusing on every image and change the lens opening according to the brightness of the images. I quickly check each image's histogram to make sure there is no clipping of the highlights or shadows. The camera outputs both NEF and JPEG files.

A metal base can be useful for holding down wide-bordered prints with small magnets. Low-tack tape is also an option. RC prints will usually lay flat on their own. A self healing mat with a grid also makes a good base, and the grid can help verify camera alignment through the viewfinder. Placing a sheet of glass over the image is an option, but there is always a chance that Newton's rings will ruin your copy work.

I used a computer side panel under the print to both raise the image a bit and to allow the magnets to hold down the print edges. Keeping dust off the print is important. I used my computer's side panel to raise the image and to allow magnets to hold down the edges of the print. A microfiber duster removes dust from the print.


A cable release will keep you from shaking the camera and will also keep reflections from your hand away from the image.A cable release helps avoid camera shake and will also keep the reflection of your hand away from the image.


Dec 05, 2013
Written by: Dan Murano

When Nikon stopped production on their Coolscan 9000, I thought we'd never see another dedicated medium format scanner. I could have kicked myself for not buying one, but at the time, I wasn't ready to shell out $2,000. Now, several years after production ended, the same scanner, used, is selling on auction sites for well over $3,000! I understand it's a great scanner, but no way.

So I was excited to find out that Plustek came out with its own medium format scanner, the OpticFilm 120, for the same selling price as the original Coolscan 9000 when it was available retail. Initially, I held off purchasing one, wanting first to read every review I could find. There were some early production problems, during which time Plustek actually stopped production for many months. Rather than put me off, I was impressed that a company cared enough about its customers and product to do this, so I waited it out until production resumed. The Opticfilm 120 begain showing up again in late September of this year. I waited a little longer and heard good feedback from people who bought these newer releases. Then, once I heard that Vuescan was supporting this scanner, I ordered one and was not disappointed.

The scanner ships with Silverfast Ai Studio 8 and a slew of well designed, sturdy film holders.

The image above is one of my first scans, made from an Ilford Delta Pro 400, 6x6 negative. I will post more as I continue mining my archive.

Here is another one, this one in RGB mode with a slight tone, same film info, also made with the Bronica and scanned using the OpticFilm 120:

Flowers. 120 film scanned with the Opticfilm 120

This next one is a color slide converted to a sepia tone. This was scanned with one of the first versions of Vuescan to support the OpticFilm 120. The IR dust and scratch removal set at medium had little effect. This issue may have been addressed by now, but I have not yet updated the software. Note that Vuescan is frequetly updated and tweaked. One of the great time-saving features of using Vuescan is that you do not have to preview the entire holder to scan one image - you just set the frame number in the software and then get a quick preview of just that frame. Another great feature (there are many) is that you can use one instance of Vuescan for every one of your scanners, whereas Silverfast is tied to an individual make and model. You can even save your scans as raw files along with the IR channel, so you can return to process and tweak your images later before outputting the final tiff or jpeg files.

Cape Cod sand dunes
Provincetown dunes

And this next one is an Ektachrome slide scanned with the Silverfast application that ships with the scanner:

Ektachrome slide scanned using Silverfast on the OpticFilm 120
Ektachrome slide scanned using Silverfast on the OpticFilm 120