My Makeshift Scanning Setup for Film Negatives
Building a Budget-Friendly Film Scanning Setup
Inspired by Alexander Matragos’ post, Building a copy stand to scan film for $100, I’m sharing my scanning setup for film negatives. In 2019, I began taking film photography seriously, especially the post-production process of developing and scanning negatives. I started by developing my own black-and-white negatives at home. Then, I would scan the negatives using a used Epson V550 flatbed scanner. Although it was decent, the scanner’s quality and speed left me wanting more.
Soon after, I discovered the fantastic “Negative Lab Pro” plugin for Lightroom Classic by Nate Johnson, which made converting monochrome and colour negatives a breeze.
In 2020, I upgraded a significant portion of my video and photo gear. My primary camera became a Canon EOS R, and I added a used EF 100mm f/2.8 Macro lens. With a full-frame 30 Megapixel sensor and a macro lens capable of 1:1 reproduction, I felt ready to try scanning negatives with a mirrorless camera. My initial scanning setup was very basic: I mounted my Canon EOS R with the EF 100mm f/2.8 Macro upside down on a Manfrotto BeFree tripod. I shot my film holder (borrowed from my flatbed scanner) using light from a $20 drawing table (one of those inexpensive tables where you can see each individual LED). This meant I had to use a sheet of photo paper as a diffuser.
Over time, as I learned more about camera scanning and refined my workflow, I upgraded essential gear such as a dedicated scanning light source and a better film holder for various negative formats. Although professional scanning setups like those from Negative Supply exist, their price in USD (and the conversion to Canadian dollars) pushed me to seek a more affordable, maybe less elegant, solution. Now, in 2025, after six years of scanning, I’ve finally built an efficient setup that allows me to scan quickly without sacrificing quality. Let’s dive into my film scanning setup for 135 and 120 negative formats!
I - A DIY Copy Stand
The final piece I needed to improve my scanning rig was a copy stand. I previously used my Manfrotto tripod with a 90-degree centre column, but it was cumbersome. Each leg had to be adjusted separately to ensure the camera sat perfectly above the negative. Even a slight misalignment can result in soft edges on your negative scan. Affordable copy stands are rare, and while Negative Supply offers a great option, I needed something portable for extended travel. That’s when I came across Alexander Matragos’ guide on Building a copy stand to scan film for $100. His design inspired me to create my own. Here’s how I did it:
Step 1 – The Copy Stand Base
I started with a plank of wood, roughly 60cm by 50cm, left over from a shelf project. This serves as the base of the copy stand. I kept mine raw, but I highly recommend painting it black as Alexander did.
Step 2 – The Pipe
I then mounted an iron pipe flange onto the wood and screwed an iron pipe into it. The flange and pipe cost me about $60 (CAD) at Home Depot.
Step 3 – The Camera Mount
I used an extra Manfrotto Super Clamp with a 1/4” or 3/8” stud, which allows me to adjust the camera height depending on whether I’m scanning 35mm or medium-format negatives.
Step 4 – Manfrotto Tripod Ball Head
An extra Manfrotto Tripod Ball Head helped me fine-tune the camera’s angle above the negative, making adjustments much simpler.
Step 5 – Stabilizing the Copy Stand
Since I set the copy stand on a wooden dresser (which can be quite slippery), I added rubber feet underneath to stabilize it.
The result is a copy stand similar to Alexander Matragos’ design. I love it because I can quickly unscrew the pipe and take it on the road—perfect for long-term travel.
II - Film Scanning Light Source
The next key piece is my scanning light source. Since 2023, I’ve been using the Cinestill CS-Lite. This compact light offers a CRI of over 95 and three different colour temperatures tailored for colour negatives, slide film, and monochrome film. And at just $39 (USD), the price is unbeatable. I’ve written more about this light in another post if you’re interested.
III - Film Negatives Holder
For an alternative to the flatbed negative holder and a more affordable option than the Negative Supply Basic Film Carrier, I discovered Andrew Clifforth’s home business, which offers 3D-printed negative holders. At around £73, it’s competitively priced compared to the Negative Supply version. I love that you can use the same base and simply purchase different masks for various film formats. I’ve even bought additional masks for slide film and medium-format negatives. The only downside is the sometimes long shipping time, but that’s a small price to pay for a product from a home business.
IV - Camera & Lens
This part of the setup can vary depending on your gear. I began with my Canon EOS R (30-megapixel sensor) and later upgraded to the Canon R5C (45-megapixel sensor) for even better resolution when scanning. I paired these with the EF 100mm f/2.8 Macro lens. My settings typically involve using Aperture Priority at f/8 with an ISO of 200. Shutter speeds vary between 1/30th and 1/100th, depending on the negative’s thickness and whether it’s colour or monochrome. I usually rely on autofocus.
Scanning at 45 Megapixels allows me to print my film images, but you don’t necessarily need that many pixels. A sensor with at least 24MP should suffice for most purposes. To save money, you could even opt for a vintage macro lens like the Nikkor Micro 105mm f/2.8, though you would have to focus manually.
V - Computer & Software
I prefer a tethered setup to avoid camera shake when pressing the shutter, especially given the slower shutter speeds. I connect my Canon camera to my laptop using Canon’s software, which lets me control all settings, trigger the shutter remotely, and directly save images to my Mac. Alternatively, you can use Lightroom Classic or Capture One in tethered mode.
VI - Cleaning Kit
Anyone who scans film negatives at home knows that dust is a photographer’s worst enemy. Even a tiny speck can become hugely magnified on the negative. My minimal cleaning kit includes gloves (to avoid fingerprints), a rocket blower (to remove dust before scanning), and a microfibre cloth (to eliminate any smudges).
VII - Film Cutter
Finally, I added a film cutter to my setup: the Film Cutter by OptikOldSchool, affectionately dubbed “Film Killer” (a nod to German humour). Placed on the light source allows for precise film-cutting using built-in guides. It works well for 35mm negatives, but I’ve had less success with medium format—having damaged three negatives so far. I’m unsure if it’s a user error or a flaw in the product, so I plan to contact the manufacturer for more details. Stay tuned for any updates.
VIII - Final Thoughts
This is my current scanning setup, which has evolved over the years to match my workflow. While it might not be perfect for everyone, I hope it inspires you to create or enhance your own scanning setup.
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