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Light Source Basic MK2 – 99 CRI

It cannot be overstated: the light source used for digitizing film is extremely important. Brightness matters, of course, but the color quality of the light is equally critical.

Why CRI Matters

CRI (Color Rendering Index) measures how accurately a light source reproduces color compared to natural daylight. When digitizing film, the camera is essentially photographing the negative or transparency. If the light source has poor color rendering, subtle color relationships in the film can shift or become distorted before the image ever reaches your software. A light source rated at 99 CRI, like the Negative Supply MK2, produces a very neutral spectrum of light, helping ensure that the colors recorded by the camera remain as faithful as possible to the original film.

Even Illumination

Equally important is the evenness of the light source. When digitizing film, any uneven illumination can show up as brightness falloff or subtle gradients across the frame. A well-designed light source uses diffusion to spread the light evenly across the film area so the camera records a consistent exposure from edge to edge. This becomes especially important with larger formats where uneven light can be more noticeable during post-processing.

For some applications I still use other light sources. The Kaiser lightbox I use when digitizing my 6×17 film works well, and the Sunray Copy Box I previously used was an extremely bright, highly color-correct light source. It also featured a three-position rocker switch for brightness control. In practice, however, I always kept it on the lowest setting for two reasons. First, even the lowest setting was exceptionally bright—brighter than most lightboxes I have used. Second, it generated heat quickly. Since heat can potentially damage film, I was always conscious of how quickly the unit warmed up. This is something worth paying attention to with any light source used for digitizing film, since prolonged heat exposure can slowly affect the physical stability of the film base.

With that said, the Negative Supply Light Source Basic MK2 – 99 CRI has proven to be a very competent light source. It does produce some heat, but not nearly as quickly as the Sunray unit. In day-to-day use it provides bright, even illumination with excellent color quality, which is exactly what is needed for reliable camera digitizing.

My only complaint concerns an optional accessory I purchased for it: the in-line power switch. This add-on provides a convenient on/off button for the light source, but unfortunately it does not stay securely connected and tends to fall out easily. That’s not ideal for a piece of equipment designed for regular workflow use.

Overall, the Light Source Basic MK2 provides the balance of brightness, color accuracy, and even illumination I look for when digitizing film.

Film Carriers and Film Transport

Once a reliable light source is in place, the next important part of a camera-digitizing setup is the film carrier system. The carrier’s job may sound simple, but it is critical: it must hold the film flat, keep it aligned with the camera sensor, and allow the film to advance smoothly from frame to frame.

Film flatness becomes especially important when digitizing with modern high-resolution cameras or digital backs. Even a slight curl in the film can move parts of the negative out of the plane of focus when working at high magnification. A well-designed carrier supports the film properly while still allowing it to move freely through the holder.

Workflow efficiency is another major consideration. When digitizing large archives, the ability to advance film quickly—especially uncut rolls—can make a tremendous difference in the amount of time spent at the copy stand. Over the years my needs gradually shifted toward systems that allow me to digitize entire rolls in a single sitting rather than working frame by frame.

Negative Supply has developed a modular system of film carriers and accessories designed to address these needs. Their components are designed to maintain good film flatness while allowing smooth film transport, and they integrate well with their light source.

Below are the Negative Supply carriers and accessories I currently use.

Pro Film Carrier 120 MK2

The Pro Film Carrier 120 MK2 is the core of my medium-format digitizing workflow. It is designed to hold 120 roll film securely while allowing the film to advance smoothly from frame to frame. This makes it possible to digitize an entire roll in one sitting without constantly removing and repositioning individual frames.

Build quality is excellent. The carrier holds the film flat while still allowing it to move easily through the transport path. In practical use this creates a very efficient workflow when working through long strips or uncut rolls of medium-format film.

For photographers digitizing larger film archives, the ability to move steadily through a roll of film without constant repositioning makes a noticeable difference in both speed and overall comfort at the copy stand.

Pro Film Carrier 120 MK2 Adapter Plate for Light Source

The Adapter Plate for the Pro Film Carrier 120 MK2 allows the carrier to integrate directly with the Negative Supply light source. The plate aligns the carrier with the illuminated surface so the film remains centered over the light source while advancing through the holder.

This may sound like a small accessory, but proper alignment between the carrier and the light source helps maintain consistent illumination across the frame.

120 Full Border Scanning Cassette

The 120 Full Border Scanning Cassette allows the entire film frame to be digitized, including the rebate area along the edges of the negative. For photographers interested in preserving the full frame—including film markings or edge information—this cassette makes that possible.

It also helps maintain good film alignment while still allowing the film to move smoothly through the carrier.

120 Mounted Slide Holder (6×6)

For mounted medium-format transparencies and negatives, the 120 Mounted Slide Holder provides a convenient way to digitize 6×6 mounted film.

I use the word film rather than simply transparencies because many of my negatives are also mounted in slide holders. I have been shooting the Hasselblad 500 system for over forty years, and decades ago many of my images were cut into individual frames when I sent them to professional labs for prints or four-color separations for the printing press during my years running a busy studio.

Mounted film presents a different handling challenge than roll film, and having a dedicated holder helps keep the workflow simple and efficient.

120 Film Scanning Hood MK2

The 120 Film Scanning Hood MK2 helps block stray light during the digitizing process. Controlling ambient light around the carrier can improve contrast and consistency, especially when working in a room that is not completely dark.

It also helps reduce reflections that might otherwise affect the final digitized image.

Basic 4×5 Sheet Film Scanning Kit

For large-format film, I use the Negative Supply Basic 4×5 Sheet Film Scanning Kit. Sheet film requires a different approach than roll film since each frame must be positioned individually.

This kit provides a simple and reliable way to hold 4×5 sheet film flat and aligned over the light source while capturing the image with a digital camera. The kit includes two sheets of micro-etched acrylic used to sandwich the film between them.

35mm Basic Mounted Slide Scanning Kit

For mounted 35mm slides and negatives, the Basic Mounted Slide Scanning Kit provides a straightforward solution for positioning film during digitizing. It keeps the mounted frame properly aligned with the light source and camera while allowing quick changes between slides.

For photographers working through collections of mounted film, a dedicated holder like this helps keep the workflow organized and efficient.