>>2693152To do 120, I back the camera away from the glass a little. I still use the taped guide, but I use the full width of it.
Because I shoot 6x9, and I want to get good detail and big files, I stitch 4 shots.
This is where you'll see the biggest payoff from making sure you've got even illumination from your diffusion panel.
By framing to just inside the taped guidelines, I find I've got a perfect amount of overlap between the 4 shots.
Making sure your glass surface is well dusted, your film is dry and your hands are clean is important, because you have to handle the film a lot more. Also, 120 can curl like a bitch.
To process B&W, I use the Canon DPP raw converter, turn off all sharpening, desaturate, and adjust the Contrast, Highlights and Shadows controls to give me the flattest neg.
Export as JPG, batch invert in GIMP. Edit as desired.
For colour, I'll invert the tone curve as best I can in the RAW converter, and adjust the WB to almost right, then set it back to a negative. I will have set the in camera WB to custom, using a blank shot of the film leader, but you almost always need an additional shift.
I apply that to the whole roll, as well as turning off all sharpening. I then tend to keep more contrast in the exported JPGs, because colour negs are lower in contrast to start with.
Then batch invert in GIMP, edit individually.
I don't use auto adjustments, or catch all presets for colour balance, because I don't want my photos to look like shit, but if you don't care, knock yourself out. If you've shot whole rolls in the same light, then you might be able to make a curve that you can apply to everything. and that looks right.
