Have you still got shoeboxes or draws full of old photos that you wish you could view on your computer and phone? You are not alone - lots of us have cherished memories on negatives or slides that we wish were digitized so that they can be seen and shared with family and friends. Some great deals on Kodak scanners in Amazon's October sale could be just what you need.

• See all of today's best cameras deals in the Prime Day sale

There are lots of film scanner options around, but Kodak has made its name in this area with a range of all-in-one scanners, where you don't need a computer to get your images digitized. And what's more, they have built-in screens that are great for helping you find the best frames from your collection.

Check out our guides to the best film scanners and to the best slide viewers

3D scanners have, until recently, been easy to categorize, with a definite split between those aimed at smaller target objects and those aimed at capturing larger subjects. Then there’s the choice of scanning method. Do you opt for IR or laser scanning?

Well, that choice is less of a problem now, with some developers producing tools that encompass all of the above. The Creality Sermoon P1 is just such a device, and it could be the answer for those looking to capture a wide range of objects. The form factor is similar to others on the market, like the Revopoint Miraco, with an all-in-one, portable design that has lenses up front and a big touchscreen behind, and not dissimilar features.

Creality is best known for its range of 3D printers, so it isn’t entirely surprising to see it add to its line of scanners in this way, but is it up to the competition? I spent some time with it to see how it handles scanning a variety of objects and how easily it does so.

Creality Sermoon P1: Specifications

Creality Sermoon P1: Price

The Sermoon P1 comes in at a rather hefty $3,299 / £2,799 / AU$5,499. That is a significant investment, but if you consider that it covers a wide range of scanning jobs, can be used tethered or wirelessly, and has overall excellent performance, it is a reasonable cost. Revopoint’s Miraco costs less but doesn’t quite match the fidelity, frame rate, or arguably the user experience of the Sermoon.

Creality Sermoon P1: Design & Handling

The P1 ships in a semi-rigid case, with shaped inserts to hold everything in place. A nice grab handle is there, but there’s also a shoulder strap inside the case, should you prefer to use that. A couple of pockets in the lid house paperwork, some tracking markers, and a calibration board, and the main compartment contains the main unit, cables, and a spare battery.

The extra battery is a good addition, but I found the release mechanism particularly annoying. Maybe it’s my large hands, but pinching the two release knobs was tricky. They are stiff, and the recesses that allow purchase are really too small. That said, I’d rather have the convenience of swappable batteries with a small struggle than having to recharge and wait to continue a job.

The P1 itself is a really nicely built device, with a mix of material finishes. There’s a harder plastic for the most part, but a soft-touch variation where you interact with it most, making it comfortable to hold while reducing slip risks, which you really don’t want while scanning.

You won’t find many buttons on the P1, as it is mostly controlled by the touchscreen, but there is a power button on the top and a ‘play’ button on the right-hand side. Elsewhere, you’ll find a cooling vent on the underside, next to a ¼"-20 tripod mount.

All the lenses sit on the upper section of the front side, above another vent. Finally, on the top side, there’s a small speaker, used mostly for playback of the built-in video tutorials.

I found the size and weight of the P1 to be just right. Small enough to handle for long scanning sessions but with enough heft to keep the scanning process smooth. If it had been lighter, there would be the possibility of micro jitters, just like with a film camera, and that could cause issues with capture.

Then there is the screen. It’s a six-inch touchscreen, and while I couldn’t find any specifications for it, it is high enough resolution to work with and bright enough (just) for outdoor use. The surface is glossy, so bright skies can be a problem, but it’s all workable.

The touch aspect of the screen is about as good as it gets. I haven’t found myself poking repeatedly, like some devices, and it registers input very well indeed. It feels smooth, accurate, and responsive.

Lastly, if you’re working tethered, there is often anxiety about catching the cable and pulling it out mid-scan. The P1 has a locking USB-C cable, which is great news for a little extra security.

Creality Sermoon P1: Performance

Let’s start by talking about the setup process, which is very well guided, as the P1 has a number of built-in video tutorials. They are well worth watching and will help get you up and running in no time. Having used many 3D scanners, I did consider skipping these, but I'm glad I didn’t, as each device works slightly differently.

Once you’ve watched those and set up the language and Wi-Fi options, you need to calibrate the scanner, which is done by binding it to the calibration board. This is done by using it to capture the QR code on the rear, then running through the calibration process. Again, this is very well guided and is essentially a case of matching the P1 to a virtual version on screen, keeping a target in place. Now, I struggled with this the first time, but that was purely user error, as I hadn’t noticed the orientation of the markers, and they aren’t symmetrical. Once I’d realized my mistake, I flew through the process and was scanning in no time.

The layout of the screen and menus isn’t all that different from other similar devices, but I have to say it’s the clearest I’ve used. The design choices and color schemes make it very easy on the eye, and everything is laid out very nicely, so navigating is a breeze.

To get going, you’ll first need to decide on which scanning method to use, depending on your target. For engineering-type projects, the laser option tends to work best, but you will need to place markers on the object first. For more organic shapes, I find IR is better. There are further options for the laser, and they work best for slightly different applications. The 22 and 7 line modes are good for larger surfaces, without too many recesses to capture. The single-line laser is much better for the finer details and deep recesses.

Luckily, the P1 can utilize all three modes while scanning one object and does a very good job of aligning the separate passes into one cohesive piece of geometry.

Although you can manually adjust the exposure, I found that automatic exposures worked very well, at least in well-lit environments. In darker spaces, manual works better, as boosting the exposure seems to give better results.

While scanning, you can have the P1 automatically remove the base plane, ideal for when you work on a table and don’t want to trim away the unwanted geometry yourself. You can, of course, keep that and deal with it afterwards, and sometimes this might be better, but that will depend on the materials in question and the light in the scene.

Down the right-hand side of the 3D view is a distance scale, color-coded, so it’s easy to see when you are at the optimal distance from your object. It’s a very clear visual that really helps to get the best results, especially if your spatial awareness isn’t great.

Both laser and IR modes feel responsive and smooth when scanning, and if you move a bit too fast around the target, all is not lost. The P1 pops up a message asking you to reorient towards an already-tracked section. At that point, you can continue the scan just a little slower while keeping an eye on the distance.

Results using either method are very good, with excellent resolution, and the resulting meshes are very usable, although for production tasks, you will most likely want to reduce the polygon count, using decimation tools in your 3D software, but that is normal upon importing any scan.

One interesting aspect of the P1 is the three modes it has to work in. Like older scanners, you can run it tethered to your computer via a cable. This does give the highest frame rate of 100fps, but has the obvious disadvantages of a wired connection, mainly the limited working distance from the computer and potential trip hazard from the cable.

Secondly, there's wireless tethering, which still offers an excellent 80fps but reduces the anxiety of pulling a cord. Although the P1 has a locking USB-C port, your computer will likely not. Then there’s the standalone mode, my favorite. This negates all the above worries, meaning you can scan on location, while the lower 60fps frame rate is still very good.

Better yet is the battery life. One battery lasts around an hour of continuous use, which may sound underwhelming, but considering the fact that there’s an 8-core chip running alongside the lasers and sensors, I think that’s more than acceptable. Plus, you get a second battery in the kit, and they are hot swappable, so there’s no downtime while changing to a fresh one. The batteries charge in an hour, too, so you should be able to keep scanning without breaks, so long as you have a charging solution with you.

The P1 will take all of your scan passes and align them into one mesh, which can be saved onboard or offloaded to your computer. As I mentioned, you will want to refine and reduce the geometry, partly for density but also to reduce file sizes. I scanned some objects that were nearly 4GB on the P1 but managed to get them down to a much more manageable 300MB, while retaining fidelity.

Much of the post-processing can be done using Creality’s scan software, but I’d recommend quickly moving the mesh over to your preferred 3D app, which will be where you are most comfortable and will have far more tools for integrating into projects. That said, if all you want to do is create a digital archive or 3D print a copy, the Creality software will work just fine.

If UV unwrapping and painting textures isn’t your thing, don’t worry, as the P1 will also capture color information, which will be automatically applied, so you can export an .obj file with colors applied. Color is captured alongside the 3D scan, and for the most part works fine. I did hit a few issues, with some odd seams, but that’s less a fault of the scanner and more to do with lighting. The P1 can’t account for changes in light conditions, and creating an environment with consistent lighting from all angles is near impossible for the uses the P1 is intended for. That means where one part of the color map is captured next to another section, you may see seams where the brightness changes. It’s fixable in post, so all is not lost, and in a lot of cases, it won’t be too noticeable.

Creality Sermoon P1 Verdict

I don't imagine many casual hobbyists would spend this amount on a 3D scanner, but if you are more of an enthusiast, archivist, or engineering type, then it could be just the ticket. The multiple scanning modes make it ideal for a wide variety of applications and target sizes, and the fact that it has hot-swappable batteries and works standalone means it can be taken anywhere.

Fidelity is excellent too, in all modes, as are both frame rates and tracking stability, so long as you use markers where needed. It's a hefty but fair price tag and, if you're in the market for such a device, it should be on your shortlist.

Alternatives

People say that family photos serve to capture and keep treasured memories. That’s true if you go to the time and effort of mounting them in photo albums and actually look through those albums once in a while. Maybe I’m lazy or disorganized (or both) but until recently, I had countless strips of processed film that had been buried away in shoeboxes for decades, never seeing the light of day. They certainly weren’t jogging any memories, treasured or otherwise. The HP FilmScan 5” Touch Screen Film Scanner changed all that.

Aiming to be one of the best film scanners and certainly one of the easiest to use, the HP FilmScan 5” inspired me to digitize my back-catalog of filmstrips and slides. And if you’re one of the resurgent breed of photographers shooting some the best photographic film on one of the best film cameras, or just getting snap-happy with one of the best disposable cameras, the HP FilmScan 5” has a lot to offer. But as of now, the new and improved, bigger and better HP FilmScan 7” offers even more, at fairly little extra cost.

HP FilmScan 7” Touch Screen: Specifications

HP FilmScan 7” Touch Screen: Price

Kodak Slide N Scan Digital Film Scanner which currently sells for around $190 / £155 with a 5-inch screen and $210 / £165 for the 7-inch model, although neither of the Kodak models features a touchscreen. That gives a bit of perspective to the pricing of the HP FilmScan, which is $229 / £175 for the 5-inch and $259 for the 7-inch (pricing in other regions TBA). Cutting to the chase, or at least to the bottom line, the HP is a bit more pricey but in my experience, it works better and delivers superior results. The phrase ‘pay your money and take your choice’ springs to mind.

HP FilmScan 7” Touch Screen: Design & Handling

I like touchscreens, up to a point, the main plus point being that they can endlessly adapt their content to give context-sensitive menus that are easy to navigate, with choices that are equally simple to select. The bigger 7-inch touchscreen of this HP makes it more of a joy to use than its 5-inch sibling, as well as giving a grander experience when reviewing pictures in playback mode. Better still, the screen has a tilting mechanism, rather than the fixed angle of the 5-inch model. This enables you to set the screen at the optimum angle for operating the scanner, as well as for viewing pictures afterwards, especially if you’re positioning the scanner on a tabletop, shelf or cabinet to use it as a digital photo frame.

Like I said, I like touchscreens up to a point. However, if you need to simply press a button to make something happen, especially if it’s the same thing time after time, I don’t think you can beat a real, physical pushbutton or dial. Case in point – I have to navigate a whole bunch of touchscreen menus in my car’s ‘infotainment’ system, just to turn the heater on, as there are no quick and easy buttons and dials for the task. I sometimes feel like I’m more likely to crash than to get warm. The moral of the story is that I’m glad the HP has physical buttons on its top panel for switching the scanner on and off, and for capturing each successive scan. Simple!

Talking of simple, there’s a USB-C port and a supplied cable for powering the scanner from a mains adapter (not supplied) or from a computer. With the latter, you can also download scans from the HP. There’s no Wi-Fi nor Bluetooth for wireless connectivity, which I don’t mind in the least – not least because the whole scanning process is self-contained, based around that useful touchscreen and additional top-panel buttons.

As with the 5-inch model, there’s an SD memory card slot for storing captured scans and, as with the power supply, you’ll have to supply your own card. An extra interface that you don’t get on the 5-inch model is that the 7-inch adds an HDMI port. That comes in very useful if you want to go large on your viewing with a widescreen TV – the video output is in 16x9 format.

Although a film scanner by name, the HP doesn’t ‘scan’ film in the conventional way of traversing and reading media in a line by line fashion. Instead, there’s a white LED light source that illuminates the entire frame of film, and a 13-megapixel image sensor that basically takes a photo of your whole film frame in one momentary capture. It’s literally, lights, camera, action.

Catering to pretty much any photographic medium that you’re likely to have stashed away in your shoeboxes (or a more dedicated storage facility) there’s a holder for 50mm mounted slides and adapters for strips or individual frames of 135, 126 and 110 format film. You actually use the hinged slide holder for all the various film formats, as it also acts as a carrier for the three alternative film adapters.

Scanning slides is a simple matter of inserting the first one, scanning it, then inserting the next slide which pushes the previous one out through the exit door. The film adapters are similarly simple to use, enabling you to push and pull strips of film through the adapters to scan photos on a frame by frame bases.

Touchscreen scanning choices include selecting the film type from transparency, negative or black & white, as well as the film format/size and scanning resolution. There’s also access to editing controls for brightness, contrast and color, which can come in very handy for correcting exposure and color balance issues in your film originals. The automatic exposure and color settings work well but sometimes it’s nice to give things a little tweak for best effect. More options include creative cropping, by way of selecting the active scanning area.

Scanning film isn’t the whole story. The HP works equally well as a viewer for browsing negatives and transparencies, courtesy of its generously large 7-inch touchscreen. Moreover, once you’ve actually scanned film instead of just inspecting it, you can use the Gallery option to view the resulting digital images on the same screen. And again, an upgrade over the 5-inch model is that you can also hook the 7-inch up to a widescreen TV via its HDMI port, for a truly large-screen viewing experience. Either way, gallery viewing is on a frame by frame basis, or you can choose an automated slideshow. See anything you don’t like and you can just hit the Delete icon.

One of the main advantages of digital photos compared with frames of film or even physical prints, is that they’re so much easier to share. As I mentioned, the scanner doesn’t have any wireless connectivity built in, but it’s easy to hook it up to a computer via its USB-C port for downloading scanned images, or you can eject the SD memory card and plug that into any other device of your choosing.

HP FilmScan 7” Touch Screen: Performance

Aiming high in terms of performance, the HP’s scanning prowess is based on a high-quality white LED light source, an f/3.5 lens with seven optical elements, and a 13-megapixel CMOS image sensor. Dust can be a devil with film scanning so it pays to make sure your originals are as dust-free as possible before scanning them, and a cleaning wand is supplied as part of the kit for attending to the innards of the machine itself.

The HP is no slouch when it comes to scanning speed, which worked out at a smidge over 2 seconds per frame during my tests with 35mm film. The limiting factor is how fast you can manually feed slides or frames of film on a strip into the machine, but practice makes perfect as well as ramping up the operating speed. I found that digitizing entire rolls of film only took a few minutes each.

In terms of quality, I was impressed that scans of my Kodak Kodachrome 64 transparency film retained the vibrant color rendition of the originals (cue the Paul Simon song). As I said of the 5-inch model, I found the color quality, brightness, contrast and dynamic range noticeably better than from the Kodak Slide N Scan Digital Film Scanner.

Rather than limiting my scanning tests to my beloved Kodachrome from the 1980s, I also digitized photos that I’d taken on old Fujifilm Superia 400 and Kodacolor VR100 color negative film stock, as well as images captured on Ilford XP1 400 black & white negative film. Color rendition was very good for both types of color negative film, and there was plenty of drama and tonal range in the black & white scans. All in all, the HP did a very good job, although outright quality and the retention of very fine detail and texture can’t match that of a more ‘professional’ dedicated film scanner.

The native scanning resolution is 13 megapixels but you can opt to upscale them to 22-megapixel images. Software interpolation can be notoriously second-rate but the results in this case are pretty good, without diagonal lines taking on a noticeably jagged appearance and images as a whole not looking blotchy or pixelated.

Sample images

The following gallery comprises the HP’s scans of a number of photos that I took back in the mid-1980s on Kodak Kodachrome transparency film, while working in the country of Swaziland (now Eswatini).

HP FilmScan 7” Touch Screen: Verdict

The HP FilmScan 7” Touch Screen Film Scanner is not the finest film scanner in the world. In terms of resolution, sharpness, retention of fine detail and texture, dynamic range, color rendition and more besides, photo quality is no match for the kind of results that I’m now used to getting when shooting images with one of the best digital cameras. But then again, that’s not really surprising.

What I did find when using the HP is that scanning even large bathes of film or mounted slides is quick, easy and highly effective. The larger touchscreen with its new tilt mechanism, plus the additional HDMI port are both good reasons to go for the newer 7-inch model instead of the original 5-inch version. Picture quality is virtually identical from both HP scanners, and much better than I’ve seen from some other similarly priced film scanners. The results are definitely good enough that I’ll actually keep the digitized photos and come back to them time and again for future viewing. For keeping ‘treasured memories’ in my mind rather than in a shoebox, that’s exactly what I want from this type of scanner.

Alternatives

3D scanning has become relatively mainstream for digital creators and the more niche areas of engineering and design in recent years. The market is pretty full, with options of all kinds, from those that aim to capture small objects using a turntable to models that can capture far larger subject matter. They all operate in a similar way, using an array of cameras, sometimes with colour capture too, alongside some clever software, turning that data into usable geometry that can be taken further and incorporated into different projects, be that as a game asset or as a model for an architect or engineer.

The biggest problem facing a lot of these devices is twofold. Firstly, they tend to be locked into a specific scale, being good at capturing only the large or the small. Secondly, the majority of 3D scanners need to be tethered to a computer. This is for transfer, which is fine, but also for utilizing the computing power to process the data into a usable mesh.

Revopoint's Miraco changes that, as it is a complete standalone device designed to process in the unit itself, as well as capture objects large and small. Having used many 3D scanners, I was very curious to find out whether the Miraco could fulfill the dream of capturing whatever I wanted without needing to be constrained by cable length, so I spent some time getting to grips with it, and this is what I found.

Revopoint Miraco: Specifications

Revopoint Miraco: Price

The $1,599 / £1449 / AU$2,539 asking price is not a small amount of change, for sure, but it’s absolutely worth every penny for those who need to scan a variety of objects, especially if that is out of the office and includes different scales. The hardware is impressive, as is the software, making this the ideal candidate for pretty much every scanning task you can throw at it.

Revopoint Miraco: Design & Handling

The Miraco ships ready to go. There’s no setup involved as it is a standalone device. That said, it does come with a number of accessories. There’s a turntable and tabletop tripod (to scan smaller objects), a set of marker stickers, a power adapter and USB-C cable, alongside a very nice canvas carry case, documentation, and even a bust model you can use for your first scan.

The Miraco feels excellent in the hand, with comfortable grips at the sides and easy-to-reach buttons. The touch-sensitive screen is a 2K AMOLED display, and while I’m not sure of the brightness specifications, it is plenty bright enough to use outdoors. It also flips 180°; Revopoint sells this as a 'selfie mode', which is good, but it could also make it easier to scan in tricky-to-reach areas when you still need to keep a firm grip on the scanner.

Controls are essentially a single power button on one side and a capture button, where you’d normally find a shutter button on a camera. All other controls are operated using the touchscreen, which is very responsive. I didn’t once find myself jabbing at it, hoping it would register my intentions.

The array of lenses and sensors sits across the upper front face, making this a natural-feeling device to operate, as it feels much like a DSLR, just a little broader. It’s around the size of an iPad Mini, but with some added thickness.

The quality of fit and finish is excellent. Materials feel nice to touch, and the device has a confidence-inspiring sturdiness. I wouldn’t want to drop it, but I'm sure it will provide excellent service life. The only slight weak point is the battery. It charges quickly with a 65-watt supply, to around 80% in half an hour, which is great, but the upper limit is two hours of scanning. I didn’t quite experience that much, getting closer to an hour and a half, but that was during my intensive testing. Two hours is adequate but nothing mind-blowing, so if you’re going to scan on location, I’d highly recommend taking a USB-C battery bank with you.

There are two models available, both identical in form factor, processing power, and scan quality. The difference is that the base model has 16GB of RAM, while the pro model has 32GB. In real-world terms, that does as you’d imagine, doubling the capacity of frames you can capture. Both share the same 8-core 2.4 GHz chip and 256GB SSD.

Revopoint Miraco: Performance

Okay, so let’s talk about how this thing actually works. As mentioned, almost all control is done via the touchscreen, but that’s no good if the user experience isn’t up to scratch. Fortunately, Revopoint has done a stellar job with this. The interface is clean, easy to navigate, and logically laid out. To the left are the depth and colour views, with the screen dominated by the live scan view, where you can keep an eye on the geometry being captured. Above that is a graph that helps you scan from the optimum distance, which changes based on your choice of object scale.

Many scanners require a lengthy setup procedure involving lots of calibration, but that isn’t the case here. The Miraco is ready to go as soon as you unpack it.

There are two main scanning methods. The first is one-shot, where you take a single frame scan. You can add to the resulting geometry by taking further scans to build up the entire model. This is handy in situations where you might need to get yourself into an awkward position and don’t want to worry about scanning things while you move. Then there’s continuous scanning, where you move the Miraco around the subject matter, and this is ideal for turntables, people, or larger objects like cars.

Continuous scanning on the Miraco runs at up to 15fps, and there’s an indicator on the screen to show you the current frame rate. My average was 12-14, which is a good result. The results of the two modes are slightly different, but both are highly accurate, and you’ll struggle to see any real-world negatives from one to the other. We are talking under a tenth of a millimeter here. Impressive stuff.

Accuracy aside, many scanners fall short when it comes to certain areas, like dense shadows, overhangs, and so on, as well as finding it hard to deal with certain materials, which is why there are surface sprays that aid accurate capture. I’m not a fan of these sprays. While they do the job just fine, it’s not always ideal to spray an object. The Miraco, while not perfect in very shadowed areas or when scanning high-gloss plastics, handled most things well. Where possible, I used a small video light to help the scanner out, and that did a good job; it is far easier to deal with and needs no cleanup.

Some objects, especially larger ones like cars, can cause issues, as those gently curved expanses have little detail. Revopoint supplies a set of markers for this, which really do help in capturing good fidelity of the object. They peel off well, too, and can be easily reused.

The main benefit of the Miraco is that a single device handles everything from scanning to export, and it has to be highly praised for this. Reviewing the scans feels almost magical. Once your geometry is ready, you can view the model, either as a mesh or in full color. Simple gestures on the screen enable you to twist and turn the model to ensure you’ve captured all the details, and it’s easy to rectify any problem areas.

Oh, and that color is glorious. The camera is a 48MP device, and while I couldn’t find any color gamut info, it does an excellent job. It works best in well-lit situations, but you’ll want that for scanning anyway.

One handy trick, accessed by a single tap in the main view, is base removal. Click this, and the Miraco will automatically not scan your tabletop. This makes editing your mesh much easier than having to make selections and delete parts manually.

Speaking of editing, once your scan is done, you can edit it directly on the Miraco, fusing pieces together, removing unwanted elements, and then saving a mesh for use elsewhere. The interface is very simple, but the tools are powerful and work very well. You can even go into your saved library and join different models together. I’m really impressed by the editing system, which makes it as fast to get results that you can use as it would be to do the same task in a desktop app. Good work, Revopoint!

Once you are happy with your scan, you can export it for use in your projects, and there’s a useful set of options for this, including STL, FBX, OBJ, and PLY, so no matter what software you’re taking it into, or even if you aim to 3D-print a replica, you can do so with ease. Transferring your files is done via the USB-C cable and happens very fast. You will need the Revo Scan 5 software, which is available for PC, Mac, and Linux. It’s a free application.

Now, the meshes generated can be quite dense, not ideal for things like game assets, so I would recommend taking them into something like Blender to decimate the mesh, and if you want to take that a step further, you could make the model more animation-friendly by remeshing. If, however, you just need to make a render or share the file, then your job is done. Charge the Miraco and be ready for the next job.

Revopoint Miraco: Verdict

The Miraco is a fantastic scanner, capable of incredible accuracy and excellent color rendition, creating genuinely usable meshes for a variety of applications. What’s best is that it does this all within one self-contained unit, with no need for cables and the associated problems that can lead to. While not the cheapest scanner on the market, it’s a great investment, and I highly recommend it.

Alternatives

I can still remember a lot of buzz around the ‘paperless office’, all the way back in the early 1990s. Here we are 35 years later and there’s still a whole lot of paperwork doing the rounds, not only in the office but also dropping into our physical, real-life mailboxes. Physically filing it all away can be an inconvenient chore so why not just scan it and shred it instead? That’s an idea that certainly isn’t lost on Ricoh. While I was writing this review I noticed the ScanSnap iX2500 selling in some world regions, complete with a bundled shredder. Either way, the iX2500 aims to make it as quick and easy as possible to scan all your paperwork and store it on your computer, mobile device or in the cloud.

Ricoh itself barely needs an introduction, being one of the leading global manufacturers of office printers and related technology. With my more mainstream Digital Camera World hat on, I have to mention that it’s also the parent company of Pentax digital cameras. Back to the device on test, the ScanSnap iX2500 aims to be one of the best scanners for home and small office use.

ScanSnap iX2500: Specifications

ScanSnap iX2500: Price

The ScanSnap iX2500 sells for around $400/£366/AU$705, which puts it in the same ballpark as the Canon imageFORMULA R40, which is a similar type of document scanner although the Canon lacks a touchscreen and Wi-Fi connectivity, both of which are featured in the ScanSnap. There’s also the similarly priced Epson WorkForce ES-500WII which does have built-in Wi-Fi, but again lacks a touchscreen and has comparatively rudimentary pushbutton controls. That makes the ScanSnap look potentially very good value.

ScanSnap iX2500: Design & Handling

Typical of the breed, this desktop document scanner has a small footprint of about 12x6 inches. As usual, the amount of space required grows considerably when you extend the paper trays for actually using the scanner, most noticeably at the front where the output tray is situated. Even so, the ScanSnap is impressively compact considering that the slanting top panel features a built-in 5-inch color touchscreen rather than just a small row of relatively basic pushbuttons.

Available in black or white to suit your personal preference, or to match various other tech that’s sat on your desk, the scanner looks and feels well built. I’d expect nothing less from a company that majors on relatively large office and production printers. Flipping up the main paper input tray reveals an auto document feeder with adjustable guides that can accommodate page widths of up to 8.5 inches, in stacks of up to 100 sheets of standard-thickness plain paper.

Although ostensibly a document scanner, the ScanSnap can take other media in its stride. As well as being able to handle mixed batches of documents, receipts and photos, it comes complete with an add-on paper guide for relatively small and thin receipts, reducing the risk of paper feed errors. Further help is at hand in this respect from automatic skew correction and optional photo carrier sheets which are available to buy in various sizes.

The scanning mechanism itself is based on a CIS (Contact Image Sensor) reader and a tri-color RGB LED light source. In fact, the scanner actually doubles up on image sensors, so that it can scan the front and back of double-sided documents in a single pass. That effectively doubles the regular scanning speed of 45ppm (pages per minute) for single-sided documents to 90ipm (impressions per minute) for double-sided paperwork.

Naturally, one of the biggest drawbacks of a paper-based document is that it can physically only be in one place at any given time. That can be a real problem if the place in question is somewhere other than where you are. To maximize access for scanned documents, the ScanSnap can scan direct to smart devices via Bluetooth and its companion ScanSnap Go app, as well as having built-in Wi-Fi. Accessibility for scanned paperwork is further boosted by the ability to scan direct to pretty much any cloud based service of your choosing. It can even automatically turn phone numbers and email addresses into clickable links, neatly removing another hurdle from the flow of productivity. The flipside is that the scanner lacks a USB socket for scanning direct to a flash drive, and there’s no port for wired Ethernet.

ScanSnap iX2500: Performance

Performance boils down to speed, quality and reliability. Putting the last of those first, I found the ScanSnap to be very dependable throughout my testing. I didn’t experience a single paper jam or misfeed, when using various thicknesses and sizes of paper, from banners right down to thin and relatively tiny till receipts. What’s more, the anti-skew system worked very well, ensuring that scans were kept on the straight and narrow.

As for speed, the ScanSnap lives up to or even exceeds its claims of 45ppm for single-sided documents and 90ipm for double-sided documents, nudging up towards 47ppm in my tests. That holds true at different scanning resolutions of 150dpi, 200dpi and 300dpi for color pages and 300dpi, 400dpi and 600dpi for monochrome pages, as dictated by ‘normal, better, best’ quality modes. In the highest ‘excellent’ quality mode, output slows down to around 13ppm, at resolutions of 600dpi for color and 1200dpi for mono.

Another facet of performance in terms of speed is the start-up time. In its normal configuration, there’s a wait of less than 10 seconds after switch-on, whether you’re using a USB or Wi-Fi connection. That shrinks to about 3 seconds when you’re connected to a computer via USB, and 6 seconds for Wi-Fi in ‘Fast’ mode, if you don’t mind standby power rising from 1W to a still very low 1.4W. Suffice it to say the ScanSnap won’t keep you waiting around twiddling your thumbs.

Bundled software includes a long-trusted veteran of the scanning world, ABBYY FineReader optical character recognition, as well as Kofax Power PDF Standard. The following gallery shows a selection of screengrabs from the Windows-based ScanSnap Home app.

For accuracy, I found that the scanner gave pretty much faultless optical character recognition for a wide range of regular fonts. That’s partly thanks to the quality of the bundled software, which includes ABBYY FineReader optical character recognition and Kofax Power PDF Standard. Searchable PDF documents are on the menu of output choices, which can be a real bonus for scanning lengthy, multi-page paperwork. You can also send financial scans direct to accounting software. To save time and effort, you can set up default destinations and formats for quick scan options, available through the touchscreen or from the companion app on your smart device.

The ScanSnap iX2500 isn’t really designed to be a photo scanner but it’s tempting to use it if you have the likes of shoeboxes full of old photo prints that you want to digitize. Taking advantage of the ADF and JPEG output option, the scanner is certainly fast for tackling stacks of photos, in my tests taking less than a second per 6x4-inch photo print. A4 photo prints are scanned at the same speed as mono and color documents. I’d say that photographic quality is sufficient for scanning snapshots but that tonal range and color accuracy isn’t the best for high-fidelity photo scanning, at least compared with specialist flatbed photo scanners. You’re also likely to get far superior photographic quality from one of the best film scanners, if you have the original transparencies or negatives.

The following gallery includes three scans taken from 6x4-inch color photo prints and saved as JPEGs.

ScanSnap iX2500: Verdict

There’s a lot less paperwork flying around nowadays than there was a few decades ago but there’s still enough to cause an inconvenience. I’m impressed that the ScanSnap iX2500 can digitize even lengthy multi-page single-sided and double-sided documents in super-quick time, automatically and with the minimum of fuss and bother. Similarly, there are quick and easy options for turning physical paperwork into searchable PDFs on your computer or smart device, or scanning them directly to the cloud so that you can access them from pretty much anywhere and everywhere.

I also like that the ScanSnap can take on anything from long banners to skinny little till receipts, and that features like ‘anti-skew’ keep everything on the level. Best of all, and unlike in similarly priced scanners from the likes of Canon and Epson, the ScanSnap features a 5-inch color touchscreen for intuitive standalone use, as well as Wi-Fi and Bluetooth connectivity. All in all, it’s a great bit of kit.

Alternatives

C+A Global has just launched the HP FilmScan 7" Touch Screen Film Scanner – bringing a new supersized screen to our top film scanner for ease of use.

Following on from the popular HP FilmScan 5" Touch Screen Film Scanner, this new model keeps the same beginner-friendly approach but swaps the 5-inch display for a much larger, adjustable 7-inch touchscreen.

That might sound like a small tweak, but for anyone who has spent hours feeding old negatives through a scanner, a bigger screen for previewing, navigating menus, and making quick edits can make a real difference.

Like its predecessor, the FilmScan 7 is designed for simplicity rather than professional lab-level workflows. It supports 35mm (135), 110, and 126 negatives and slides, and allows users to make basic adjustments, such as brightness and color tweaks, directly on the device without needing a computer. There’s also an HDMI output, so you can view scans on a larger display.

In our review of the 5-inch HP FilmScan model, we praised it as one of the easiest ways to “get your old negs and slides out of the shoebox and into the digital realm.” It delivered solid results from its 13MP sensor and, crucially, removed much of the intimidation factor that can come with dedicated film scanners.

In DCW’s guide to the best film scanners, we highlight higher-end options like the Plustek OpticFilm 8200i SE for those seeking maximum resolution and archival quality – but not everyone needs that level of scanning. For many photographers, especially those rediscovering old family albums, ease of use and speed matter more than ultimate sharpness.

The HP FilmScan 7" doesn’t reinvent the film digitizing formula, but its larger screen should hopefully make it more comfortable. And for casual users looking for a straightforward, all-in-one way to digitize film at home, this might be the new best choice for ease of use.

I’ve used many 3D scanners, and one thing always bugs me: the frustration that often arises from setup, which usually requires a laptop or phone to be tethered to the scanner and installing software. Matter and Form (MAF) developed the Three scanner to do away with that, housing all the computational hardware inside the scanner body, so all that is needed is a web browser to control the entire scanning process. You will still need something with a browser, of course, but the Three is OS agnostic, so whatever you have to hand will work.

Scanners exist for a wide variety of use cases, and none cover all the ground. In the case of the Three, the aim is very much for scanning smaller objects. The Three comes with a turntable to aid in this, so I’ve set it up and spent some time to see how good the results and the experience are, and how it compares to the best 3D scanners on the market.

Matter and Form Three: Specifications

Matter and Form Three: Price

With a list price of $1499.99 in the USA, the Three is a hefty investment, but it can often be found for significantly less. Even at the higher price, I’d suggest it should be on your shortlist due to its build quality and performance. If you’re budgeting for a complete setup, keep in mind that with most other options you’ll need to factor in a computer of some kind, but the Three does all the computation internally, which could mean a decent saving.

Matter and Form Three: Design & Handling

There’s been a slow adoption by tech companies of supplying gear in semi-rigid cases over the last few years, and while this is a good thing, they are not made equal, with some not even able to house all the parts of a given device. Matter and Form ships the Three in a pretty rigid case, which feels very premium and is a custom-fit to carry the entire setup, which I really appreciate. Nothing rattles around or slips out of place in transport.

Everything you need is contained in the case, including the scanner unit, WiFi antenna, tripod, calibration boards and stand, documentation, and the power adapter with locking terminals for different countries. Everything is very well made indeed, even the tripod, which is often a cheap, flimsy affair. Worthy of mention is that the power cord is 10 feet long, making this usable in many environments without the need to run extension cables. It’s a small thing, but one that I really welcome.

There are two calibration boards, with a pattern of glyphs used to ensure accuracy, as well as the larger one that serves a second purpose I shall get to shortly.

The main unit feels quite weighty, no doubt partly due to its housing of all the computing hardware in addition to the scanning components. Yes, that’s right. No need to tether to a desktop or laptop, or even a phone. All you need is something with a web browser. I love this approach, as it means less to carry, store, or travel with. Good move!

This may have led to a finicky setup, dealing with an on-board computer, but MAF has developed a pretty sleek process, where you pop the larger calibration board on the stand, mount the scanner on the tripod, connect it to the turntable (by a very nice magnetic connector), screw in the antenna, and power it up. The scanner projects menus onto the board, and you simply follow the instructions to get set up, using whichever device you want to use. This is done using the IP address you’re given and works really well. I found the connection pretty stable, with only the odd hiccup. On first launch, the projection will run you through a tutorial, so you can get up to speed.

Once you’re set up, you can very easily access the Three without the need to use the projection again. Simply connect from your chosen browser, and off you go. All smooth and easy.

Matter and Form Three Performance

I adore the browser-based approach to operating the Three; however, it is worth noting that your browser choice may affect your experience. I couldn’t get it to work using Edge. It’s a browser I rarely use personally, and I'm not sure it’s widely used either, but I feel it's worth mentioning, as it is listed as compatible on the MAF site. Every other browser I tried worked just fine. Do pay attention to your device's display resolution too. I tested it on all kinds, and they all work okay, but I felt somewhat handicapped by my iPhone, which required a lot of scrolling around. My preference is an iPad or a laptop, where you can see everything all at once using Safari or Chrome.

Before scanning, a calibration process is needed, but don’t be put off by that, as it is quick and easy. The scanning process is pretty intuitive, too. You pop your target object onto the turntable and adjust a few settings in the software, mostly specifying the number of scans and the exposure. When it comes to the number of scans, I found the sweet spot to be five or six. Unlike some scanners, which use a single, constant moving scan, the Three takes a set of still scans, which are then stitched together automatically to produce the final mesh. Both methods work well, but I found this to be more predictable.

For complex objects or those with overhanging portions that the scanner can’t see, you can flip the object and take further scans to capture these other areas, which the Three’s software then stitches together, and it does it really well.

Like most scanners, the Three can struggle a little with very underlit areas or objects that are painted black, but adjusting the exposure to compensate works well to counter this.

When setting the number of scans, you can choose to scan only a portion of the full 360 degrees. This is a handy option that will save both processing time and file size when scanning objects where the back isn’t needed, and can be adjusted from 1º up to the full 360º.

It’s almost inevitable that the scanned geometry will have some gaps in it, but not to worry, as the Three’s software can handle that for you, too.

So, what are the results actually like? I’m truly impressed with the Three's output. I think this is due, in part, to the pair of Sony 13-megapixel cameras that it uses, which far exceed not just the resolution but the quality of the sensors used in so many 3D scanners. These cameras also have autofocus, ensuring optimum results.

The actual fidelity of the Three goes right down to 37 microns for smaller, closer scans, although this drops off to (a still very respectable) 114 microns when scanning from around two feet away. This means fine details scan pretty much perfectly, edges retain sharpness, and all but the very finest surface textures are picked up.

What’s more impressive is that these details are stitched seamlessly when doing multi-part scans. Now, this brings me to a slightly frustrating element, although it can be managed. The scans can be quite dense, which is necessary for good results, but it does mean files get quite large, slowing down processing. In these situations, I found that the turntable rotation gave a lot of overlap, and more data was captured than is really needed. In these cases, I was able to delete some scans while preserving the coverage of the object and freeing up space. This gets easier as you scan more and learn the best settings. It’s not a deal-breaker by any means and is completely manageable, but waiting for processing can be annoying at first.

I said earlier that the Three is meant for smaller objects, and while that is true, it is relative, to a degree. The camera coverage and autofocus can capture objects up to two meters away, but some detail is lost at that distance. I’d be most comfortable scanning objects up to around 30 centimetres across, so, basically, if it will fit on the turntable, you’re good to go. That turntable can take a good amount of weight too, so if there’s masonry or metalwork you need to capture, it will take it, up to a maximum load of 20 pounds.

Matter and Form Three: Verdict

The experience of scanning using the Three is a really positive one. It makes the entire process simple, but doesn’t skimp on performance. The details it can capture are very impressive indeed, and for anything up to a couple of feet in size, this is my new go-to 3D scanner.

Alternatives

3D scanning has seen a surge in popularity over the past few years, as capabilities increase and prices decrease. This has meant that a broad range of devices have become available at much more affordable prices, and with that, finding the right scanner for your needs has become easier. This is because they are not all equal in terms of quality or use case.

Revopoint offers a wide range of scanners for different uses. Some are designed for scanning small objects, while others, like this Range 2, are aimed at capturing larger ones. The Range is optimized for scanning people, automobiles, furniture, and so on, so its design is all about making that easier. I’ve spent some time with it to see how it compares to the many other 3D scanners I’ve used over the years.

Revopoint Range 2: Specifications

Revopoint Range 2: Price

The Range 2 has a retail price of $729 / £699 / AU$1,250, although at the time of writing, it was available at a 20% discount. That’s a considerable saving, making what was already good value even better.

Revopoint Range 2: Design & Handling

The Range 2 ships in a good, padded semi-hard case, which holds everything you need and does so well, unlike some cases of this type. There are cutouts for the main components on one side, and on the underside, you'll find spaces for cables, a tracking mat, and a sheet of tracking stickers.

The main unit is surprisingly light and feels nimble in the hand, even with the battery grip and a phone attached, and I had no issues holding it for extended scans. This light weight does mean some of the plastics feel cheap, but I think that the balance is just right between quality materials and the intended use. Overall, the build feels great, everything fits nicely, and I never feel like anything is at risk of breaking.

The Range 2 can be used in two ways. Firstly, it can be connected to a Mac or PC via the Revo Scan software to control everything, or to a smartphone using the app version of the program. Considering this scanner is aimed at users who want to scan larger objects, I think most will opt for the phone method, which is what I did for the most part. The computer system works just as well, so long as you don’t mind carrying a laptop, too.

The Range 2 connects to the battery grip via a split cable. A locking USB-C cable connects to the scanner, with a USB-C and a USB-A connecting to the handle. Between the two sits the phone holder, which has a button for quickly connecting to the main unit. This is handy for quick setups, and the adapter can stay screwed to the scanner, which still fits in the case nicely.

Revopoint Range 2: Performance

Let's talk about the basics first. Once everything is connected, the first step is to get the app up and running with WiFi. This is a simple case of connecting the Range 2 to the battery grip via the split cable. You’ll see a green light, at which point you can go to your phone's settings and choose the Range’s WiFI network. There’s no password to remember or save, which is great, plus no need to worry about being within range of a router. This makes perfect sense for a device meant to scan larger objects, enabling you to work outdoors on cars and other large items.

Now that brings me on to the main issue with the Range 2. Lighting in the area you wish to scan is key to good results, and harsh shadows can really throw it off, so bright, sunny days are a no-go. Ideal conditions are overcast, with even lighting and soft shadows. The Range 2 is equipped with four flashlights, but they can’t overpower the sun, so be mindful of this if your use case calls for extensive outdoor scanning.

But once you find yourself in suitable surroundings, the going is fantastic. The app is easy to use, with a large bar indicating the optimum distance from the target object. This makes it really easy to get the best results. Alongside the main 3D viewer, which shows the mesh as scanned so far, are other viewers showing the object in greyscale and colour. A neat feature of the main unit is a trio of buttons on the rear. You can use these to start a scan or, more usefully, adjust the exposure on the fly. If you move to a less well-lit section of an object, you can increase the exposure, helping the scanner resolve finer detail in those areas.

The actual scanning process is really very simple. You press the Start button and move around the object to be scanned, using the distance guide to ensure you are at the optimum range and check the images to see what you are capturing. You’ll likely capture other things too, especially the surface your scanned object is sitting on, but don’t worry: the software can handle that.

There’s a frame rate counter on the main screen. It’s worth keeping an eye on this, especially during your first few scans, since the Range 2 runs at 16fps. That doesn’t sound all that fast, but in use, it’s higher than you might think, and it’s worth slowing down a little to capture full detail.

The main difference in my experience, compared to scanners for small items, is the working window. The Range 2 can capture a larger area per frame, meaning you can cover the entirety of your object in fewer passes; this is very welcome when scanning something like a car! This also means less strain on the battery as you can work faster. That said, the battery life is pretty good. I scanned for nearly four hours before needing to charge the battery grip.

The software, Revo Scan, is really the heart of the setup here. Once you have your scan, you can process it with a single click. It can then identify parts that aren’t connected, like the floor, or sections of other objects that have entered the frame, which you can then delete.

The app even has tools to fill any holes in the mesh, which is nice to have generally and vital if you plan to 3D-print your models. You may prefer to do this in another piece of software if you’re a seasoned 3D pro, but the app does a good job, with pleasing results. The scanner does a really good job, and any gaps in the geometry tend to be very small. Plus, as you get used to adjusting exposure and speed of movement, any geometry issues like this will be reduced to pretty minimal.

Although the Range 2 is aimed at users wanting to scan large items, which it does very well, it can handle smaller objects too. I scanned everything from an apple, through a small fridge used for storing film, to an armchair. They all produced good results, but I would suggest the experience is better when scanning anything over around two feet in size, where the form factor, scan speed and working distance are really optimized.

If you are hunting for a scanner for small jobs, check out our guide to the best 3D scanners to see the alternatives best suited to your needs.

The Range 2 ships with a mat covered in tracking dots, which you place your object on for increased accuracy. There are also some adhesive tracking markers for the same purpose. I’d say the mat is probably better suited to smaller jobs, but the markers can be useful. If you need to scan bigger objects with large, smooth surfaces, placing some of these will really help the scanner produce good results on the first attempt.

One note on scale: yes, the Range 2 is the right tool for scanning large objects, but before you begin, make sure you have access all around and above your target. You may want to get a stepladder so you can reach taller objects, and it can be surprising how quickly you get to the limits of what you can comfortably cover. Luckily, you can pause and restart a scan, so moving a ladder or a box around to make life easier isn’t too much of a hassle.

Revopoint Range 2: Verdict

If you plan to scan objects that tend to be on the larger side, the Revopoint Range 2 is a great option. It’s truly portable, doesn’t rely on WiFi (other than its own), and is easy to operate. The software is excellent, with built-in processing and hole-filling. The geometry produced is accurate, and you can capture objects of almost any size. Highly recommended.

Alternatives

The current resurgence of film, alongside the costs of sending film to be developed and/or scanned, has opened up the market for a growing number of home-developing and scanning solutions. Valoi has been around for a while, with a variety of tools on offer to aid in DIY camera scanning, where you essentially use a digital camera to photograph your negatives, for cataloguing, editing, and storing digitised versions.

While there are options at most price points, for many, the 360 range will be the one that is most attractive, as it offers a subset of products that cater to shooters using different formats. I’ve been using the 360 Professional System for a while now, using it for both 35mm and 120 negatives.

As a note about my setup, I’m using a Meopta geared copy stand with a Sony A7r4 and a couple of macro lenses to do the scanning. The 360 kit supplies everything else.

Valoi 360 Professional: Specifications

Valoi 360 Professional: Price

For around £380 / €380, the kit is reasonably priced, containing a bundle of parts, and you make a saving over buying individual components. Although in some markets, including the US, you might find it easier to buy the parts separately. Availability is pretty wide, with B&H a stockist in the US, and Kamerstore stocking the full Valoi range in the UK and Europe.

Valoi 360 Professional: Design & Handling

I’ll start by mentioning my only small gripe, and that is the packaging. It’s all great quality, nicely presented, and so on, but there’s a lot of it. I understand that for Valoi, just picking the individual parts and bundling them into a box makes sense; it would be preferable and probably more environmentally friendly to have the kits boxed up differently. As it came, I spent more time opening all the different packages than I did putting it all together.

That said, building out the kit was fun and straightforward, with excellent printed instructions.

The build of each component is very good. Once all the parts are in place, it is a very robust feeling piece of equipment, with excellent levels of fit and finish. I like that the CS-Lite can be installed either way round, with cutouts in the light adapter to aid this, while keeping everything locked in place and looking neat.

Kudos to Valoi for including spare rubber rings for the Advancer, too.

The build process is quick and easy. Mostly a case of fitting the two spindles and rubber O-rings into the advancer, adding the light adapter and light, feet, and duster, which is a simple case of screwing them in. Other elements are changed for different uses, so they aren’t attached permanently.

The kit is pretty comprehensive and includes everything you need for scanning film from 35mm up to 6x9 medium format. The light adapter mounts underneath the Advancer, which is the main component. The Duster, a must-have in my opinion, can be mounted to either end and is made of two brushes that the film passes between, preventing dust from being captured in the scan.

The whole thing sits on adjustable four rubber feet, making it easy to level, using the mirror to help.

Then there are a pair of film holders that slot onto the Advancer and are held in place by a pair of thumbscrews. The 120 film holder can be used as is for scanning 6x9 film, or used with one of the masks for other sizes of negative.

The Cinestill light is powered by USB, which I like as it gives the option to use a wall socket or a battery bank. There’s a controller built into the cable, allowing for cool, white, or warm output, as well as a power switch. I’d prefer the controller to be closer to the light as it hangs off my table, but that’s a tiny niggle.

Valoi 360 Professional: Performance

I’ve used flatbed and film scanners many times and, while they do offer some benefits, I find that camera scanning is somehow more satisfying. I think this must be a part of the film shooting mindset, where being more involved in the process delivers more fulfillment. No matter the reasoning, the Valoi 360 is an enjoyable hands-on process that doesn’t really take much more time. In fact, using a flatbed can be rather slow, and even a dedicated film scanner can be time-consuming. Using a camera in conjunction with the advancer turns out to be a really efficient method that is accurate and speedy.

The basic process is to ensure your film is level, using the mirror and your viewfinder/screen (or in my case, field monitor) to check that the Advancer reflects your camera’s lens back on itself. You should only need to do this once, but I’d advise doing a quick check now and then, just in case anything has shifted. My checks showed that swapping film holders made no difference in leveling.

Then, with a (ideally) gloved hand, you pass your film through the duster, into the film holder, and line up with your camera’s screen. Punch in to set and check focus (on the grain, not the image) and take your shot. The tolerances of the 360 are tight enough to keep everything in place, while not so close that it is difficult to feed through.

Now, at this point, you’ll realise that scanning a roll, before you cut it, makes most sense. Using the Advancer to pass the film through makes everything very fast. A quick turn of the knob, scan a frame, then repeat. You can get a whole film done in a couple of minutes, although I would recommend checking focus now and then to make sure the film is still level. I didn’t find any adjustments needed, but better to be safe than to cut your film for storage and find you need to rescan any frames.

The rubber rings on the Advancer have just the right amount of grip to smoothly feed the film through without any slippage. Keeping an eye on the monitor, I found it really easy to line up each frame between scans, and the duster did an admirable job of preventing excessive dust, although it wasn’t perfect. I don’t think that’s the fault of the Valoi, though. It’s the nature of the beast, and I keep an air blower nearby to aid in this, and still need to do a little cleanup in post.

I’ve scanned 35mm, 6x6, and 6.45 using the 360 with no hitches at all. It operates really smoothly, and I was surprised at how fast I could scan 36 exposures, while enjoying the process and getting great results. Although the whole build is of excellent quality, I have to say I think the heroes might be the rubber feet. It could be really easy to knock the entire setup and then have to line it up again, but they hold it firmly in place. Your mileage may differ, depending on the surface you work on, but I’d hazard a guess that pretty much any desk or worktop would be suited to this.

Lastly, a note about the Cinestill CS-Lite. This is a nicely diffused panel, with no variation in brightness across its surface. Better yet, it has three settings, cool, warm, and white, giving it a little extra flexibility. For my workflow, I prefer to use the white light for everything, saving adjustments for Negative Lab Pro.

Valoi 360 Professional: Verdict

For film enthusiasts looking to scan at home, I don’t think there’s a better solution than the Valoi 360 Professional, without spending huge sums on a drum scanner. Its solid build lends confidence, and its operation is smooth and simple. I highly recommend this to anybody looking to digitise their negatives.

Alternatives

Film photography is still having its renaissance moment. Anyone who’s ventured onto Instagram recently will have noticed feeds chock full of 35mm photos. However, film photography has two hurdles: cost and control. Prices per roll are shooting up, and then there is the cost of development and scans, while surrendering your images to the lab for scanning cuts out fine-grained control over the look of your final shots.

However, for savvy photographers looking to save money in the long run and regain control, removing one part of that equation might be possible. Home scanning has never been more accessible, and current options on the market prove that. At the affordable end, camera-scanning systems like the Valoi easy35 have become a favourite of mine because they’re fast, affordable, and incredibly easy to use.

Dedicated scanners, such as Plustek’s OpticFilm series, are a little pricier, but still a worthwhile investment for anyone scanning regularly. These scanners offer excellent image quality and infrared dust removal, but they are famously slow, and operating them is a test of your willingness to sit through the process.

However, into this race comes a new contender from Soke Engineering – the Knokke – a premium 35mm film scanner scheduled to launch on Kickstarter next year for a whopping €999. The pitch lies somewhere in between camera-scanning, like the Valoi, and a dedicated film scanner, like the Plustek – fast, yet automated, professional-quality scans at home. But for considerably more cash than most of the current crop of home film scanners, what exactly are you getting?

The Knokke is promising a high 4064DPI resolution, 120dB dynamic range, and true 48-bit color depth, all housed in a futuristic minimal design that looks more like boutique audio gear than a film scanner. The Knokke will read the film's DX code to log film type and ISO into the metadata of each file, and will launch with its own dedicated scanning software called Korova.

But can a scanner improve the film scanning process enough to be worth a nearly four-figure price tag? The appeal of DIY film scanning is the hands-on control; scanning yourself lets you decide the light, colors, and contrast. You’re not stuck with whatever automated profile a lab’s machine applies. For professional film photographers, the question will be whether the Knokke can combine the quality of the best lab scanners with the speed and immediacy of home camera scanning, while offering fine control over results, and do it better than the plethora of cheaper options on the market.

With an unproven design and software from a previously unknown company, there is a lot that Soke Engineering has to overcome to get this on the list of best film scanners. Until we see real-world tests, it remains an exciting, stylish, and ambitious answer to the home-scanning trade-offs every analogue photographer has felt. But if the Knokke truly makes scanning fast and enjoyable, it might just justify its place in your budget.

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Looking to start scanning right away? Check out our guide for more of the best film scanners.

C+A Global, the authorised brand licensee of HP, has unveiled the HP FilmScan 5” Touch Screen Film Scanner, a device created to breathe new life into old photographs. Designed for both enthusiasts and families alike, the HPFS500 offers an easy way to revisit negatives and slides, transforming them into digital files that can be enjoyed today and preserved for the future.

At the center of the scanner is a bright 5-inch all-angle color LCD touchscreen, making viewing simple and engaging. The device supports color and black-and-white negatives, as well as positive slides, in 35mm, 110, and 126 formats, giving users the freedom to digitize a wide range of film onto the scanner's 13.0 megapixels (4208 x 3120) 1/3.06” CMOS sensor.

Each scanned image appears instantly on screen, ready for editing. Options include automatic cropping, manual adjustments, and fine-tuning of brightness, contrast, and color, helping users achieve the best possible results. Once saved, images can be transferred directly to a computer, ensuring precious memories are secure and ready to share.

Chaim Piekarski, CEO of C+A Global, explains that the launch underlines HP’s mission to help consumers preserve their photography: “In a world where digital images dominate, many film negatives and slides risk being forgotten. With this new scanner, we’re offering people a practical and affordable way to bring those memories back into their lives and safeguard them for future generations.”

The HP FilmScan 5” Touch Screen Film Scanner is available now from Amazon at $229.99, giving plenty of time for families to protect and enjoy their treasured moments in the run-up to the holiday season.

We will are planning to review the HPFS500 soon, to see if it is a worthy addition to our guide to the best film scanners.

Many of us remember the old overhead projector from our school days. Think of a document camera as a contemporary version, capable of taking or relaying an image of whatever is placed beneath its lens – be it documents, maps, diagrams or even three-dimensional objects – for simple sharing. It can also magnify detail, again to make the dissemination of information much easier.

Arriving in a soft, padded case for carrying between classroom, laboratory and lecture theatre, or simply keeping the dust off at home between Teams meetings and Zoom calls, the futuristic-looking Epson ELPD21 Document Camera does its best to make something utilitarian and practical almost exciting and desirable.

Compared with even the most basic point-and-shoot digital cameras, however, headline spec is pretty run of the mill: a tiny 1/2.7-inch CMOS sensor capable of capturing a two-megapixel effective image. If used in effect as a standalone scanner, stills or even video can be saved to an optional removable SD memory card for which a vacant slot is provided at the side. We also get a plethora of cables out of the box to enable a multitude of connectivity options on the opposite side of the base unit, for if we’re pairing it with a projector or PC or simply plugging it into the mains. There’s no built-in battery for remote use, although we do get a battery-operated remote control bundled with it.

Epson ELPDC21: Specifications

Epson ELPDC21: Price

Available since 2017, the Epson ELPDC21 Document Camera has certainly lasted the course in terms of its technology staying relevant. Given that this is very much a specialist tool designed primarily as an educational / visualisation aid, the price being asked by Epson at the time of writing for what was the flagship model in its document camera range appears high yet fair. Because this is a niche device, paying a premium is inevitable. If it’s still too rich for your blood, then happily, there are budget alternatives for institutions and individuals on tighter budgets, not just from Epson itself but competitors also.

Epson ELPDC21: Design & Handling

Resembling something from a late 1970s/early 1980s sci-fi movie, the plastic build Epson ELPDC21 Document Camera is a reassuringly hefty 3kg in weight. This ensures it won’t easily be accidentally jogged or knocked off whichever surface we perch it on. It’s designed to be hooked up to a display screen, PC, or projector, with output ports to match. As noted in our intro, there’s also the ability to capture images to an SD/SDHC card, which worked fine for me, although curiously the blurb claims SDXC isn’t supported.

As well as thinking of it as a present-day equivalent of an overhead projector, Epson’s device could also prove useful as an alternative to a chunky desktop scanner for when we need an image of something just slightly larger than an A3 sheet of paper, equivalent to a small poster. I have a Canon A4 scanner at home, but struggle to reproduce a print spread from a magazine, for example, without separately scanning two A4 pages.

Here I can accommodate the entire spread at once, though if I’m capturing straight to a removable SD card, I’ll need a separate means of reviewing the results, as unfortunately, there is no built-in screen on the unit itself. Via USB, I can hook the device up to a PC so I’m able to view the image through the lens in real time and make any adjustments to framing, lighting, or focus as necessary.

It seems Epson has thought of everything with this one; the camera on the device has a built-in LED light with two different intensity settings encircling the lens to help provide greater clarity. If we want to go further, there’s a microscope adapter that can be fitted with this model for even closer close-ups. As it is, the closest the non-augmented camera can focus on a document or object is 10cm, while the arm that the camera is attached to is limited to a rotation of 90 degrees about its base unit. There’s some stiffness and resistance to moving these elements around, but I feel the amount of resistance is about right. After all, who’d want a floppy camera arm?

As the above suggests, the construction here, from the chunky footprint of its button-festooned base to broad, hinged arm and camera itself, is solid despite its flexibility. There’s a good amount of metal, not just plastic, involved in the construction. At no point did I feel like anything was going to accidentally snap off if I was a little too quick or enthusiastic with my adjustments. Operation’s very quiet too. There’s no hum of internal cooling fan, sound of shutter firing, or bleeps of notification to distract here, just my finger pressing on plastic.

Epson ELPDC21: Performance

Buttons and controls are well labelled and laid out on this unit, and of sufficiently chunky size that they can readily be found in a dimly lit room or lecture theatre. They’re so clearly marked, in fact, that operation without frequent recourse to the manual is possible from the outset. One button, one function, avoids the need to waste time on deep diving menus.

While I didn’t have an Epson projector to test this unit with, which would allow the subject my camera was pointed at to be displayed on a wall for sharing in a lecture theatre or classroom, when hooked up, the unit detects the aspect ratio of the projector and automatically adjusts output resolution to match. What’s clear is that it can help us showcase documents, such as double-page spreads in textbooks, or larger photographs than a standard A4 desktop scanner can typically handle.

In fact, the largest area that the camera atop its articulated arm can capture is 297x526mm, so roughly 30cm by 53cm if we’re feeling generous, which broadly equates to an area slightly larger than the double page spread of an A4 / US letter sized book or magazine, or indeed a sheet of A3.

If presenting workings or notes on a sheet of paper to a group in real time, either in person or on a Zoom call, sticking to A4/US letter size makes sense so as I’m comfortably able to get all my workings into shot without anything being lost toward the edges.

When hosting presentations, there’s the ability to zero in on detail without losing definition courtesy of the document camera’s 12x optical zoom. If this isn’t quite enough, then this model’s built-in 10x digital zoom can come to our aid, with the inevitable degradation in quality as all that’s happening is the image is being incrementally cropped to make it appear as if zooming in.

Another bonus for anyone giving talks or presentations using the Epson ELPDC21 Document Camera as a visual aid is that the camera head with built-in microphone has the option of being turned to face whatever image is being projected and record said presentation to a removable media card. Helpfully, there are separate large and obvious buttons for still and 30fps video image capture, denoted by a camera and film camera icon, respectively.

It's worth noting that if taking a photo of a book spread or similar that has glossy pages, activating the LED light can introduce a sheen to the surface that adversely affects visibility. I experimented with the two lighting intensity options, opting most often to leave it switched off entirely if there was plenty of natural light wherever I was using it. However, if using it alongside a projector in a darkened room, then the LED obviously becomes more of a must. Focus can be readjusted automatically if swapping out documents, or simply tilting the camera in closer, via a press of the large and obvious ‘focus’ button on the base unit.

While the images deriving from a camera with a relatively tiny 1/2.7-inch sensor are only ever going to be of snapshot quality, it does deliver sufficient detail and definition that fine print on a page is perfectly legible, which is again an absolute must. Glare and more reflective surfaces can be a challenge, but not to the extent of being a deal breaker.

Epson ELPDC21: Verdict

A niche product for sure, but the Epson ELPDC21 Document Camera feels well-built and robust enough with its weighted base for repeated use, either domestically or in the classroom, laboratory or lecture theatre. We’ll get the most out of it when used with a projector; most likely one from Epson itself. It’s weighty, with a chunky control-festooned base unit and a padded case provided to make life easier when carrying it between teaching or demo engagements.

Presentations aside, because of the integral camera and SD card slot, it can also be used standalone as a more flexible home or workplace scanner, with the ability to angle the camera via its extendable arm/ adjustable head to accommodate documents or objects of varying sizes. We missed a built-in screen for framing shots like we’d find on a regular camera or smartphone. Screen access is provided by hooking up a USB cable to the nearest laptop, Mac or PC. Whichever set-up we choose, connectivity options are pleasingly plentiful, as expected at this premium price.

Alternatives

When it comes to alternatives, this model already has a couple of document camera siblings sitting just below it in the Epson lineup in the DC-07 and DC-13, which, like the flagship DC-21, are also aimed at educators. Go for the DC-13 model if, like the DC-21, the ability to record your presentations on video would be an advantage, or a microscope adapter would prove useful. It would also make sense to consider these two models if you already have an Epson projector as part of your setup and are viewing this camera to extend its usability.

Casting our net further afield when it comes to document cameras, our own best document cameras buyers guide further singles out alternative brands and models. Simple to operate and like this Epson portable with it is the Ipevo Do-Cam, while relatively inexpensive is the 8K, 30fps video capturing Inswan INS-2. Ipevo’s line-up also boasts the robotic-looking larger footprint VZ-X document camera, while even more flexible, not just in terms of those on a budget but how its camera can be positioned, is the ultra-bendy Hue HD Pro. The Inswan INS-3 goes one further still. The camera here is detachable, allowing for even more free-flowing three-dimensional presentations.

Different people shoot film for different reasons. For some, it's a creative choice – because, for all its advantages, digital just can't replicate that analog magic. For others, it's fun – again, digital cameras just can't match that tactile experience.

However, while everyone loves shooting film for their own reason, nobody loves scanning it. Whether you send your negs off to a lab or you scan them yourself on a flatbed at home, it's a tiresome, tedious, time-consuming process. Honestly, it almost killed my passion for film.

But the scanning products from Valoi take the pain away from analog shooting because they deliver quicker, cleaner, better results than even the best film scanners – and they enable you to fine-tune your results in a way that most labs don't bother, with flexible hi-res RAW files that serve as your digital negatives forever.

Easy by name, easy by nature

For me, two products are nothing short of game-changing: the Valoi Easy35 and Valoi Easy120. If you're someone who shoots 35mm or 120 film, you can sell your bulky flatbed scanner and never spend another penny getting subpar results from a lab.

Once you've developed your film and you're ready to scan, using them is as simple as pie. Let's say you want to scan a roll of 35mm; just grab your camera and a macro lens, attach the appropriate number of extension rings for its minimum focus distance, then mount it to the Easy35 with the right stepper ring.

Then simply feed your uncut roll through the Easy35, which keeps the film perfectly flat and perfectly back-illuminated with its built-in light source. Simply align the film and dial in the focus, press the shutter button and – hey presto – you've got a high-resolution scan in seconds.

What I love about this process, first of all, is it's so much faster than a flatbed scanner. Depending on your setup it can take anywhere from half an hour to two hours to scan a roll of film on a flatbed, but here the whole thing is done in under fifteen minutes.

The second thing I love is that you're in control of every step of the process – and you can use the kit you've already got. Micro Four Thirds or APS-C camera? Perfect, you'll get great scans with great resolution. And if you're a full frame or even medium format user, you can harness all the megapixels on your sensor to get hyper-resolution scans.

The Easy35 and Easy120 both have a color temperature dial, so you can choose the temp while you're scanning rather than correcting it afterwards. And both accept power via a USB-C connection, so you can plug them into the mains for sustained scanning or – to my third favorite thing – use them on the go.

While I'm generally happy with the results from powerful flatbeds like the Epson V850, not only are they depressingly slow but they're big heavy tanks that take up a huge amount of desktop space. And they're completely impractical to take on a trip, so there's no way I can scan and share my shots until I get back home.

But because the Easy35 and Easy120 are so small and portable, I can pack them in my camera or travel bag and process my negatives when I'm away – including those times when I'm shooting on film for a client or assignment, enabling me to turn around my files the same day no matter where I am.

Modular magic

Valoi's portable camera scanners take a key cue from the full-fat desktop system, the Valoi 360. While the 360 focuses on complete customization for any film format, the Easy scanners offer a similar degree of modularity so you can tailor them to your needs.

The Duster, for example, is a no-brainer. Screwing this to the Easy35 or Easy120 means that your film has to pass through a double anti-static brush before entering the holder, ensuring that your scans are as clean as possible.

For the Easy120, you can add the Advancer Attachment to improve the accuracy of your advancements and adjustments, making your scanning easier and more efficient. Or you can add 35mm scanning to your arsenal with a single-frame Standard Holder or 90mm Panoramic Holder.

If you're purely a 35mm shooter, the Easy35 can be outfitted with the Precision Framing Helicoid for pinpoint stepless adjustment. You can even trick it out with holders for APS, 110, 126, Minox and Half-Frame Holders for multi-format scanning.

However you slice it, and whatever your needs, Valoi's Easy scanners transform your existing DSLR or mirrorless camera into a faster, cheaper, better quality film scanner than a flatbed – and you can set up your scans exactly how you want them, without any of the unpredictability or wait times of a print lab.

If you're an analog lover who's been losing your passion (like me) due to the laboriousness of using a scanner, or someone who's sick of paying and waiting for someone else to scan them for you, take a look at the Easy35 and Easy120. They're like the digital revolution all over again – but without having to give up film.

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Make sure you're using one of the best film cameras and the best film for 35mm cameras, roll film or sheet film. And if you want classic looks with cutting-edge performance, take a look at the best retro cameras.

NAB 2025 is in full swing, and Blackmagic Design has been among many companies to have showcased new products this year, including the brand-new Pyxis 12K G2 and a mega update for DaVinci Resolve. One announcment that did fly under the radar, however, was the all-new Cintel Scanner G3 HDR+ 8/16, a film scanner specifically designed to support 8mm HD and 16mm Ultra HD film scanning.

Cintel has been a leading manufacturer of film scanners for decades, and since joining Blackmagic Design in 2012, the Cintel Scanner has seen a redesign that places it among the best-looking pieces of tech on the market. While the Cintel Scanner G3 HDR+ Scanner has been available in a model that scans 35mm and 16mm for some time, the new offering introduces support for the 8mm HD and 16mm Ultra HD formats.

Despite many similarities in appearance and features, the new 8/16 scanner features a completely new optical assembly that enables users to get up to 2.5 times higher resolution image scanning of these smaller formats. This is ideal for digitizing archived or historical footage and, of course, scanning new works shot in these timeless formats. It also retains the same capstan drives and real-time HDR film scanning.

Including both 16mm and 8mm film gates, users can create high dynamic range digital masters with enhanced colors, textures, and sharpness than ever before. Once scanned, the masters can be further improved with DaVinci Resolve Studio, which the scanner is designed especially for working with and is available for free. The Revival tools automatically remove de-flickering, dirt, patch repairs, and reduce noise, making the digital master smooth and clean.

Other standout features of the scanner include an RGB LED grid array illumination source facilitating advanced color science for incredibly sharp scans, PCIe connection as well as Thunderbolt 3 for use across Mac, Linux, and Windows, real-time scanning speeds, an optional Audio and KeyKode Reader that enables you to capture audio along with KeyKode information from the scanned film.

Shooting with film is becoming more and more popular both for photographers but also filmmakers who have the budget to do so, with The Brutalist, one of this year's biggest hits, being captured on film. Kodak has also recently developed a brand new Super 8 camera, and the new Cintel Scanner is the ideal tool to digitize your creations.

Now, as with most things analog and cinema, the Cintel Scanner G3 HDR+ 8/16 does not come cheap and will set users back around $35,255 / £26,775 / AU $52,355. This may seem like an out-of-this-world price, however, if you are a filmmaker or production house working with film as your medium, it's sure to pay off in the long run. And hey, it will also double as a statement piece of contemporary art in any studio!

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Rybozen is a relative newcomer to the electronics space with the company being founded in 2014. Since then, the company has continued to bring affordable consumer electronics and accessories to market including USB switchers, hubs and headphones, though its the company’s Ultra-Thin Portable 5x4in LED Slide Scanner which I’ve got hold of and will be assessing in this review.

It’s very budget friendly at just $20 so I was eager to find out how if it was any good for both viewing old slide transparencies and negative strips and also using its app to digitize the images too and breathe new life into old pictures with a digital version you can scan straight to your smartphone.

Rybozen claims its light pad is professional and offers the ‘best scanning quality’, so without further ado let’s get into it and see if it’s worth your time and money.

Rybozen Ultra-thin 5x4" LED: Specifications

Rybozen Ultra-thin 5x4" LED: Price

With a price of $20 in the US and £23 in the UK at the time of writing, the Rybozen doesn’t break the bank and is in firm gift-giving territory. It’s worth noting that what you’re actually paying for is the 5x4in LED panel – the scanning function is done through Rybozen's SlideScan and FilmBox apps which have free trials, though after this many features are locked behind a steep paywall. That being said, there's nothing stopping you from using a different free scanning app, or even using your DSLR or mirrorless camera with a macro lens attached for much better quality results.

If you purely want to view your old slides and negatives you may also want to consider the Photolux/Zuma SV-3 or Kodak 35mm Slide Viewer which are both dedicated viewers with no scanning function, but they are in the same price ballpark.

Rybozen Ultra-thin 5x4" LED: Design & Handling

The Rybozen Ultra-thin slide scanner lives up to its name – it’s extremely thin with a depth of just 1.3cm. The plastic casing measures 6.2x5.9in and the working area of the LED panel is 5x4in – that’s large enough to fit six pieces of 135 negatives comfortably onto the backlight. It also comes boxed with a handy black cloth cover and a small instructions manual.

The size of the Rybozen is a real benefit as it’s so thin it easily tucks away in a drawer and is easily stowed in a shoulder bag or backpack if you want to take it with you on the go. Speaking of using it on the move, the Ultra-thin slide scanner can be powered by six AAA batteries which come bundled with it, and can also be powered by the provided USB cable, this is the more common USB-A male connector, so you’ll need an adapter when using a modern laptop with USB-C ports.

The LED lamp is rated at a natural daylight color temperature of 5000k with Rybozen claiming it’s accurate within 200k. Rybozen also claims the LED doesn’t get hot and is very efficient, saying the lifespan of the lamp is over 10,000 hours. I didn’t have that long to test the lamp to find out, but in my extensive tests the six AAA batteries held up and I never found the light to get warm. This is welcome news as hot LEDs and bulbs have the potential to warp and melt the delicate film material. So top marks to Rybozen here.

The physical LED light panel is only half of what you’re paying for, with the other functionality coming from the software you use with it. Rybozen has two apps (FilmBox and SlideScan) you can install on your smartphone for use with its panel – more on how these apps performed in the next section…

Rybozen Ultra-thin 5x4" LED: Performance

Rybozen claims its cooler LED light is 5000k within a 200k tolerance and says it creates a uniform light to restore the lifelike effect of any object and restore the color of your film to 98% the original. In my experience it performed very well and the light diffusing acrylic panel does a great job at distributing the light across the 5x4” viewing area. Some users noted online that the light tended to fade towards the edges but that wasn’t my experience. And whilst the 5x4” panel is designed for up to six 135 negatives, I actually found you could load up nine by overlapping the film sprocket holes of each feel reel. The LED panel never got warm when I tested it so there’s no risk of your film warping from high temperatures here.

I had no complaints from a power point of view – it’s great to have the option to plug the panel in via the provided USB cable, though note this is the older USB Type A male connection so you’ll need an adapter if using with a more modern computer that has USB-C ports. And it’s nice to have the option to power it by six AAA batteries too, and I’m glad Rybozen went with AAA style batteries as this helps keep the panel flat and slender. So powering it by batteries is great for taking it on the go and gives you another option. Six AAA batteries come packaged with the device to get you started and they lasted for my entire time testing, I imagine the LED lights are very efficient and aren’t too energy hungry.

A large part of how this product performs is how seamlessly it works with the smartphone software which is how you’ll be scanning your negatives and transparencies. Rybozen has two apps that can be used with the ultra-thin light panel, the first is FilmBox which is for negatives and the other SlideScan for color and B&W transparencies. One issue with phone apps is that they’re reliant on the quality of your smartphone’s camera, lens and resolution and suchlike so two different phones could provide wildly different results, that said I was really impressed with what I was able to capture on my Apple iPhone 12 mini. The interfaces for both apps are very similar, as you’d expect from being made by the same developer: Photomyne. Both apps have a very slick interface with graphics showing you the image being scanned and enhanced in realtime, plus there are plenty of guides and videos to show you how to use the app, it was nothing short of impressive.

The downsides with the apps is that I wish they were combined into just one single app for ease of use and once loading it up you could switch between negatives or transparencies like on Kodak’s free Mobile Film Scanner app. My second reservation is that many features for the apps are locked behind a fairly steep paywall costing £9.99 monthly, £39.99 per year or £49.99 for two years. The apps make it clear that there is a free version with ads which is what I wanted to use, however no ads were ever displayed and I was simply asked repeatedly to start the 3-day free trial (after which it would automatically renew at £39.99 per year). I could scan and edit about four images before the paywall kicked in which was a real shame as I was having a lot of fun with both apps and they work really well with this issue to one side.

Features such as being able to scan, share hi-res versions and using the app’s AI sharpening filter called 'Sharpy' (which was surprisingly good) all become locked behind a paywall. I think this is rather cheeky of Rybozen, especially when companies like Kodak offer their Mobile Film Scanner app for free – to be fair, there’s nothing stopping you using Kodak's free app with this lightbox if you wanted to.

Putting the app issues to one side, the Rybozen ultra-thin 5x4” LED is a very good light panel and is great for looking through old negatives and transparencies, though you may even find you get best results ditching the apps altogether and using a DSLR or mirrorless camera with a macro lens for better quality and higher resolution. This would be a more manual process, as the apps automatically process and crop your shots, but the final results are likely to be much better if you put the time and effort in.

Rybozen Ultra-thin 5x4" LED: Verdict

Costing around $20 (US) or £20 (UK) the Rybozen Ultra-thin portable slide scanner is so affordable that there’s not a huge amount at stake and if you buy through Amazon you also have a free returns period for extra peace of mind.

Twenty bucks might seem a little steep for a rather basic plastic LED panel but it does what it says on the tin and has two apps available to download for free to help you get the most out of it. You can also load up six 135 film negatives at a time which speeds up patch processing.

How well your digitized scans come out is largely down to the smartphone you use it with and the varying factors of its resolution, lens quality and minimum focus distance too. Both of the SlideScan and FilmBox apps do a great job though to get the best out of them you’ll need to stump up more money to use them as both have key features locked behind a paywall. That said, they are really easy to use and intuitive, so for some users it could be worth the extra spend, or using the free 3-day trial – just remember to cancel before it automatically renews!

Some smartphones will perform better than others, depending on the lens quality, minimum focus distance and resolution are, but for more bulletproof results you could absolutely take a picture of your film and slides placed on the lightbox with your DSLR or mirrorless camera using a macro lens – it would take a little longer to edit them, compared to using the more automated process of the app, but you’ll likely get better results without having to part with any more of your cash.

Alternatives

If you’ve got a box full of old film transparencies you’ll likely need some way of sorting through them and lightboxes of old can be cumbersome and expensive.

The SV-2 from Photolux in the UK, and sold under the brand name Zuma in the US, aims to offer a solution to this problem as it’s a very lightweight and portable handheld slide viewer you can easily use from the comfort of your sofa. Note that it only has a 2x magnification and has no ability to scan your slides, so depending on what you wish to do after you’ve made your initial image cull, this product may not be the most suitable for your needs. Unlike the SV-3 which is pretty much better and bigger (literally!) in every way, the SV-2 doesn’t support negative film pass-through so it’s no good if you have boxes full of negative strips.

In this review, I got hold of one, plus the larger Photolux SV-3, and put it to the test to find out if it’s worth your time and money.

Photolux SV-2 LED slide viewer: Specifications

Photolux SV-2 LED slide viewer: Price

The Photolux SV-2 LED slide viewer is ridiculously cheap and that's one of two things it has going for it, alongside its very compact and portable build. However, for $15 in the US or £13 in the UK, you really can't expect a lot for your money. Whilst the glass magnifier is perfectly fine, albeit rather weak at just 2x magnification, it's the plastic materials and ropey electronics in the back end that let it down and make it quite frustrating to use. I would recommend spending a little extra and going for the SV-3 instead.

Photolux SV-2 LED slide viewer: Design & Handling

So you’ve probably seen that I awarded the SV-2 just two stars out of five and this mainly came down to how it performed which I’ll cover in much more depth in the next section. But let’s start with some positives and what the SV-2 does well.

The SV-2 has a very budget-friendly price of just £13 / $15 so it doesn’t break the bank and is therefore in perfect gift-buying territory. It provides a cheap and cheerful way for you to look at old slides in plastic and cardboard film surrounds, though it doesn’t have a pass-through for strips of negatives which is a shame, though it is something its bigger brother the SV-3 can do.

Its sleek dimensions of 7.8x7x11.8mm and weight of 244g (with batteries) make it easy to hold and use – the addition of two angled plastic fins on the back of the device makes it easy to look at your slides when placed on a desktop, though it's also so featherweight it's quite pleasant to use and casually browse through slides from a sofa too. Though I will mention you do have to hold the slides down to power the LED light on – given that this product is aimed at a more elderly audience who shot on film back in the day this could be a problem for those with conditions like arthritis.

For your money you get a full glass display with magnification of two times, which is fine for its size, though the SV-3 is much better at 3x.

The SV-2 is powered by two AA batteries (not included) and once a slide is inserted into the designated opening it pushes down on a metal lever which powers the single LED bulb – this causes a bit of a problem as the single LED is very bright and causes a large hotspot in the centre of the images. This can make pictures look overexposed in the middle whilst dark and vignetted around the edges and corners.

By contrast its bigger brother: the SV-3 uses four smaller LEDs which are less powerful and spread out for much more even lighting – the results are night and day and the SV-3 is the clear winner and not all that much more expensive at around $24.

Photolux SV-2 LED slide viewer: Performance

As I covered in the previous segment, the viewfinder only tops out at 2x magnification and the single LED bulb is too bright which causes a large hotspot in the center of the image which makes the center look overexposed and creates the illusion of vignetting. The brightness of the single LED is also much harsher and less pleasant to look at for long periods of time compared to the SV-3 which has a more flat and even light.

The glass viewfinder is otherwise crisp and clear, though as with these types of devices, they are prone to catching flare from external light sources, so best used in a dark room, or with a makeshift lens hood to block out stray light.

The SV-2 is clearly very portable and lightweight and would be ideal for storing in a drawer or taking with you on the go. This does go in the SV-2’s favor as the SV-3’s footprint is easily three times bigger. Because the SV-2 is very lightweight and small, it's easy to tilt back and forward until the picture is shown at the best angle for you. There are also two plastic fins on the back which allow the SV-2 to sit at an angle which makes it a little easier to look down from above when sitting down and I found this to be very comfortable.

I did wonder how a company could produce an item like this for such an attractive price and still turn a profit, but taking the SV-2 apart reveals all. It’s quite honestly one of the most frustrating devices I’ve used in recent years, the battery compartment is so basic and rudimentary that it’s just a strip of metal barely keeping the AA batteries in place, it’s so infuriating trying to close the back up only for one of the batteries to pop out and you have to start trying to align it all over again. As mentioned before the single LED light isn’t ideal for looking at slides as it creates a large hotspot in the center.

When inserting your slide into the SV-2 it pushes down on a simple metal lever which makes contact with another strip of metal, completing the simple circuit and allowing the LED bulb to receive power from the two AA batteries. The trouble is that this metal lever is quite easy to bend when putting the back of the device back on – as you need to make sure both this metal lever and the LED light fit inside their designated holes (all whilst trying to make sure the AA batteries don’t fall out). This is a bit of a design flaw as the metal lever is also responsible for how much tension pops the slide out ready for you to take out and insert the next one. With too little pressure – the slide barely comes back out at all and I resorted to turning the SV-2 upside down for the slide to fall out.

This issue aside, I tried multiple different slides with cardboard and plastic surrounds and they all worked fine without getting caught. I never had to resort to a pair of tweezers to fish any slides out, though I did have to turn it upside down to get some slides to fall out of it when the pressure from the metal lever was inadequate.

Photolux SV-2 LED slide viewer: Verdict

The Zuma / Photolux SV-2 serves a purpose and is fine if you only have a very small amount of money to spend on a slide viewer. It also does a job if you need something very portable and compact, or you're looking for a gift that doesn't break the bank for somebody who you know has a large box of slides they're waiting to sort through.

However, that’s where my list of positive things to say about the SV-2 runs dry. My experience with the SV-2 was one of frustration and whilst I didn’t expect much from such a cheap and cheerful product, I would encourage anyone in the market for a slide viewer to spend a little bit more on either its bigger brother the Photolux SV-3 or Kodak 35mm Slide Viewer, both of which have a larger footprint but are much more user friendly. Even the Kodak Mobile Film Scanner which is made from cardboard has a useful app allowing you to invert negatives and magnify your slides and film on a large phone screen, so even if its scanning ability isn't brilliant – I would argue it's a better choice simply for going through and culling your old film.

I really wanted the SV-2 to be a neat and useful pocket-friendly slide viewer, but sadly its poor build quality in the backend with sloppy tolerances in the battery compartment and an overly bright single LED light unfortunately make this one to avoid unless you're on the strictest of budgets.

Alternatives

In the modern world where everything is heading towards digital, the older method of shooting on film feels like a far cry. But whether you’re an old hand with boxes of film transparencies in the attic or a younger generation experimenting with the charm and character of film for the first time – you’ll need some way to see your work and that’s where a slide viewer comes in.

I recently got hold of two popular and very affordable models from Photolux (also called Zuma in the States) – the SV-2 and SV-3, though it’s the larger and slightly more expensive SV-3 model I’ll be assessing here. You can see reviews of the smaller SV-2 amongst other top products in our best slide viewers buying guide.

Photolux SV-3 LED slide viewer: Specifications

Photolux SV-3 LED slide viewer: Price

Costing $39/£24 at the time of writing, the Photolux / Zuma SV-3 LED slide viewer isn't much more expensive than the smaller SV-2 which costs ~$13, and it's definitely worth the extra money if your budget can stretch a little. The SV-3 is a fair bit larger and is more of a desktop model than the portable handheld SV-2, though its build quality and features make it totally worth the extra spend: larger viewfinder, higher magnification, a pass-through for rolls of film, and a much more even light source. The bigger question you should ask yourself is whether to go even more up-market and splash out on the $40 Kodak 35mm Slide Viewer which looks near-identical, though in my tests provides a better user experience with the upgraded build quality, a physical manual, and a USB power cable.

Photolux SV-3 LED slide viewer: Design & Handling

The Photolux SV-3 is the bigger brother to the Photolux SV-2 and takes up a much larger footprint though this comes with the benefit of having a solid base so that the viewfinder is always pointing towards you which could make long image culling sessions more comfortable.

The SV-3 is somewhere between two to three times larger than the SV-2, so if you’re looking for an option that doesn’t take up much space, or you want to travel with it, then the SV-2 could be the better contender.

Compared to the SV-2 this SV-3 model has a larger viewfinder with a more powerful magnification of 3x compared to the 2x of the SV-2. In reality, this meant a 35mm color slide measured across the long side was around 6cm on the glass viewfinder and around 4cm on the smaller SV-2.

There’s a battery door on the bottom of the unit which can take four AA batteries. There’s also a port for DC 6v 500mA power on the left side, though sadly no power adapter is included which does hamper its value a little.

On the smaller Photolux SV-2 you need to press the slide surround firmly down into the device to power on the light, however it’s easier with the SV-3 as there’s a power switch. You also load the slide in via the back and push another button to eject it out the front, it takes about 10 slides before this is full and overflows, though it would have been nice to be able to stack up a batch of them at the rear to save you having to push every slide in individually.

The SV-3 also has the ability to have a strip of negative film passed through it (above) and although this can be a little tricky to push through as it sometimes gets caught on exit, it was a feature I was glad to have and something the smaller, more affordable SV-2 isn’t able to do.

Photolux SV-3 LED slide viewer: Performance

My experience with the Photolux SV-3 was very positive and it was certainly more convenient and takes up less space than a large light box and busting out a loupe. There’s a front tray to catch your ejected slides, though I do wish there was a loading mechanism to tee up several slides in the rear end so you don’t have to manually insert each one, though this is a minor nitpick.

The glass viewfinder provides 3x magnification so you can see your slides and negatives very clearly. The backlight is quite dull and flat which is actually a good thing as it means the slide is lit up consistently from corner to corner – the smaller Photolux SV-2 was notably brighter but with a bright hotspot in the centre that creates the illusion that your pictures have a heavy vignette. The SV-3 uses four small LED nodes spread out evenly so the slide is lit up well across the image, but the SV-2 uses a single powerful LED in the middle of the backlight.

On the SV-3 the display is very sharp and crisp, though it is best used in a dark room as daylight can catch the large viewfinder and cause flare which makes it tricky to see the picture – it could do with a lens hood to block out external light. It would also have been useful to be able to change the angle of tilt as it’s locked.

One issue with both the SV-2 and SV-3 models I looked at is that the large glass viewfinders are exposed and easy to catch dues. The large opening for your slides is also a bit of a dust trap and there’s not soft case provided with them. I resorted to draping a large microfibre cloth over the devices when not in use to stop dust building up.

Plastic slides hold their shape a lot better than cardboard ones and generally the SV-3 coped with both well and I had no problems. However, there were a couple of my cardboard slides that had warped significantly and these did tend to get caught in the Photolux SV-3, but didn’t cause any issues with the very similar Kodak 35mm Slide Viewer, so clearly the Kodak had more forgiving tolerances.

Costing £20 / $26 the SV-3 doesn’t break the bank, though I didn’t expect much in terms of build quality. For twenty six bucks I’m obviously not expecting it to be up to the quality of a Leica or anything – some of the plastic joints have a bit of play in them, though it’s more than good enough to serve its purpose and I was overall happy with the results. Although a mostly plastic construction some of the plastic looks quite thick and I can’t see any problems with it taking a tumble if accidentally knocked off a desk.

Photolux SV-3 LED slide viewer: Verdict

If you’ve only got a super tight budget and you want to spend some time sorting through your old collection of slides and film then this isn’t the worst option for sorting out the keepers, but a question you'll need to ask yourself is what do you want to do after this?

The SV-3 has no ability to scan so you’ll need another gadget to digitize them, or stump up the cash to have them sent off to a lab to be scanned professionally.

The SV-3 is a perfectly fine slide viewer and does exactly what it says on the tin. For this price, you can’t expect too much – it’s a very basic and bare-bones affair and the large exposed glass viewfinder is quite easy to get dusty and dirty so you’ll need to improvise some sort of cover to keep it clean between uses. But if you need a simple device to light up and see your old transparencies and negative rolls then the Photolux SV-3 is a decent shout. If you're after a more stress-free experience, the Kodak 35mm Slide Viewer looks very similar but has the better build quality and is less likely to jam with warped slides, it also comes with a USB power cable so you don't have to faff around with AA batteries.

If however, you want to digitize your old film you might be better off saving up and going for a product such as the Kodak Slide N Scan which admittedly is more expensive but hits two birds with one stone – as it's a slide/film viewer with the ability to scan and digitize them also.

There's also the Kodak Mobile Film Scanner which allows you to use your phone to zoom in and see your film clearly, plus use the app to invert your negatives so you can clearly see them correctly (for both B&W and color). It's not the best device at scanning in the world, but it's decent for going through and culling your old film and transparencies.

Alternatives

Lomography has always made a mission out of making film photography more accessible, and its latest release, or rather re-release, is no exception. The brand has introduced two 'new and improved' film scanning kits set to make scanning your negatives easier, faster, and more creative than ever.

Whether you’re just getting started with film photography or you’re a weathered pro, these all-in-one kits are perfect for anyone who wants to take control of their scanning process quickly and easily. Now, you can scan your 35mm, 120mm, and special format negatives right from your smartphone or digital camera with complete flexibility.

Above: A video showcasing the Lomography DigitaLIZA+

The Lomography DigitaLIZA+ ($74.99) is the first option, designed for those looking to get high-quality scans with a personal touch. It enables users to adjust the color, tone, and contrast of scans so you can get exactly the look you want. The 35mm standard frame makes it easy to get started, and the improved backlight panel ensures consistent lighting across the strip.

In addition, there’s a removable spirit level to help you keep everything perfectly straight. The DigitaLIZA+ is also ideal for more experimental formats, like overlapping exposures or sprocket hole shots. It’s all about making the process simple, fun, and customizable.

Secondly, there’s the Lomography DigitaLIZA Max ($99), which takes things up a level. It includes everything the DigitaLIZA+ offers, but with the added bonus of a smartphone stand, so you can scan with your phone. It’s lightweight, portable, and ready to go whether you’re at home or on the move.

If you prefer to use a digital camera instead, you can easily swap out the stand. The DigitaLIZA Max also handles all types of negatives, including special formats like panoramic frames and overlapping exposures, so you’re covered no matter what you’re working with.

Both kits were initially released in 2022, and have been redesigned to be compact and modular with improved light panels, making them perfect for scanning at home or on the go. You’ll have full control over your scans, ensuring you get the best results every time. Lomography states that they are a hassle-free way to turn your film negatives into high-quality digital images that you can share and relive whenever you want.

With the growing nostalgia for analog photography, now is the perfect time to breathe new life into your memories on film and make new ones. Lomography’s new and improved DigitaLIZA kits continue its commitment to making film more accessible, which is also clear in their recent releases, like their new Lomo Daylight developing tank.

Whether you’re an experienced analog shooter or just starting out, these new scanning kits make it easy to embrace the creative, hands-on world of film photography.

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Check out our guides to the best Lomography cameras and the best film scanners.

For anyone who thinks camera scanning is too fiddly, Valoi keeps making it easier and easier with a new easy Precision Framing Helicoid accessory that looks like it will solve the headache of trying to perfectly frame film using extension tubes on its easy35 and easy120 film scanning tools.

There are so many different film scanners and methods from dedicated units like the Plustek Opticfilm 8200i to flatbed scanners like the Epson V850 Pro – but becoming more and more popular is camera scanning, which involves taking photos of your film negatives with a camera and macro lens and then "processing" the negatives using specialist software.

After trying a few complex camera scanning setups involving bulky copy stands and finicky leveling, I wasn't really convinced by camera scanning as a viable alternative to a dedicated scanner – until I tried Valoi's easy35 camera scanner, an all-in-one setup that just connects a macro lens filter thread.

You can read my review for my full thoughts, but TLDR; I loved it. The easy35 is now my preferred way to scan all my film, with even my dirt cheap TTArtisans macro lens providing fantastic quality that I prefer to my Plustek Opticfilm 135i.

However, one complaint I did have was that I couldn't perfectly frame my 35mm film. It's a little complex, but to scan film, it has to be the exact right distance from the maximum magnification of your lens, and this varies depending on the sensor size and focal length of the lens.

The easy35 uses a series of extension tubes in varying sizes that screw together so you can get your film in the ballpark for your max magnification. However, there was still a little bit too much outside of my film frame in my photos, meaning I had to crop and lose precious resolution.

But now Valoi's not particularly catchily named easy Precision Framing Helicoid aims to solve this issue with a 20-40mm step-less adjustment, for super tight and precise framing on your film, which should help improve maximum resolution and cut out any unnecessary area around your film. The easy Precision Framing Helicoid is also compatible with both the easy35 and Valoi's newer easy120 for medium format film.

Like the easy35 and easy120's extension tubes, the easy Precision Framing Helicoid is made from solid metal and fits in between the distance tubes and scanning unit. There are also two locking screws to ensure that once you have found your perfect focus and framing – it stays put.

The easy Precision Framing Helicoid costs $84 / £68 / AU$135 without taxes or shipping from European distributor Kamerastore. In the US, the Valoi easy35 kit is also sold at B&H – and the easy Precision Framing Helicoid might join soon.

For more check out my buying guide for the best film scanners or for some film to scan our guide to the best 35mm film.

Canon's latest A4 desktop scanner is the new imageFORMULA DR–S350NW, which is designed to be compact and secure, while combining speed, efficiency and quality, so it could well join the ranks of the best scanners for documents and photos.

Aimed at business users, Canon cites the education, legal and healthcare professions as potential applications, but any small office where space is at a premium that needs to copy and capture documents will find it useful. Easy and convenient to use, it can be operated without a PC connection or the need to install drivers or other software.

The dinky scanner features Canon’s web-embedded application, CaptureOnTouch Lite Web, which allows users to connect quickly and easily - and scan directly, using a computer or mobile web browser.

Pre-configured scan workflow jobs can be set up on the scanner, allowing documents to be easily sent to various output destinations, such as shared folders, email and FTP servers.

It features a large 4.3in color LCD touch panel with a customizable menu that allows users to edit and check scanning jobs and preview scanned images directly. Flexible connectivity options include USB, LAN and Wi-Fi (it is compatible with both 2.5Ghz and 5GHz Wi-Fi frequencies).

The imageFORMULA DR-S350NW complies with WPA3 standards – ensuring robust encryption, thereby safeguarding sensitive data against cyber threats. The scanner also boasts advanced security features, such as user access restriction controls and document encryption technology, protecting information as it passes through the device, even in shared multi-user working environments.

Marc Bory, Vice President, Digital Printing & Solutions, Marketing & Innovation at Canon Europe said: “Today’s hybrid working world brings challenges for many businesses – employees still need fast access to documents and information must be shared efficiently to ensure optimal collaboration. The new imageFORMULA DR-S350NW is designed to meet these needs, with its secure and efficient capabilities, it is ideal for supporting both small offices and employees of larger organizations, wherever they may be working.”

The Canon imageFORMULA DR–S350NW retails for £629 – availability and pricing for the US have yet to be announced.

There are a lot of ways of getting your film scanned into digital copies for archiving or sharing on social media. Of course, you can just get your lab to do it when you have your photos developed, but where is the fun in that? Scanning at home is exciting, but also gives you more creative control over how the color and lighting in each image is going to look – plus you can usually get a much higher resolution than what a lab provides as standard.

The most common ways of scanning film are a dedicated scanner like the Plustek OpticFilm range, a flatbed scanner such as an Epson Perfection V850 Pro, or camera scanning. The first two options have always been the most popular as they are easy – film is simple and quick to load into holders, and the machine handles all the scanning and conversions for you with bundled software.

Camera scanning on the other hand requires a lot of skill to perfect – or at least it did. Previous camera scanning setups, including the Valoi 360 involved perfectly lining up a camera on a stand above your film – and I mean perfectly lining up, as even a single degree off could affect images. And unless you have space to leave this permanently set up, you had to calibrate this each and every time you wanted to scan. Stray light is also a constant issue, with film out in the open (or even with small sleeves around it) there is more chance of a stray bit of light hitting the film and affecting contrast or colors.

The Valoi Easy35 aims to solve all these headaches, with a simple-to-use all-in-one system that takes out the stress, but still keeps the speed and consistency of camera scanning. I have been desperate to try it since I first saw it on Kickstarter, and now it is finally in production, but is it everything it promises, and can it compete with, or even beat the best film scanners?

Valoi Easy35: Specifications

Valoi Easy35: Price

At under $250, the Valoi Easy35 isn’t a huge expense if you scan film regularly, with other top scanners like the Plustek OpticFilm 8200i SE costing $399 or the Epson Perfection V850 Pro costing a ludicrous $1,299. Add-ons for the Easy35, like the film duster and different film holders, are also well-priced at around $30-50 apiece.

But, and it's quite a big but – this is only what it will cost you if you already have a lot of the required gear. To work, the Easy35 needs you to already own a digital camera and 1:1 macro lens, and for best results a subscription to Adobe Lightroom Classic ($9.99/month), and a copy of Negative Lab Pro ($99/lifetime) or FilmLab ($59.99/year, $199.99/lifetime) conversion software – there is no conversion software bundled with the scanner (although free versions are available online of varying quality).

If you don’t have a camera and lens, it will cost you anything from a few hundred dollars on the second-hand market, or if you want to shop new – quite a lot more.

In the UK and Europe, you can get the easy35 at Kamerastore.

Valoi Easy35: Design & Handling

Let’s get it out there, the Easy35 with a camera attached looks pretty odd, depending on what lens you use and how many extension tubes it needs to focus, the whole thing can be comically long. However, it still takes up far less space than a traditional camera scanning setup like the Valoi 360 which needs a large clear worktop to set up a bulky stand and can be used anywhere.

I found the Easy35 incredibly simple to set up, it takes a little time, but once I had the camera and lens combo set once, I should never need to adjust the Easy35 again. The system comes with several extension tubes to adjust for the perfect 1:1 distance from the film you are scanning, I just had to add tubes until the film frame filled the frame of my digital camera as much as possible.

The downside is that you are a little limited in exactly what lenses you can use, for full-frame you are limited to 55-105mm, APS-C – 40-70mm, and M4/3 – 35-60mm. The lens must also have a 39mm, 46mm, 49mm, 52mm, 55mm, 58mm, and 67mm filter thread to use one of the thread adapters in the box (although you could buy a third-party adapter for more unusual thread sizes).

These limitations can rule out some major lenses, for example, both Fujifilm macro lenses currently available fall on either side of the APS-C cutoff (XF 30mm & XF 80mm).

The Easy35 is really well-built and feels solid. The extension tubes are made of metal and screw together with a satisfying ring, and the body itself is made of what feels like a 3D-printed plastic. It's very lightweight, but it's thick enough that the light doesn’t spill out or stray light gets in.

My only issue with the build is that the extension tubes have a coating that seems to hold onto a fair amount of grease and the plastic material is very rough, and snags a lot of fluff – two things you really want to avoid when scanning film.

It is also difficult to get the light out for cleaning, as it needs unscrewing, but I found quite a lot of fluff gathering on the diffuser. I could shift some of the larger bits with an air blower and a brush, but quite a few bits still remained inside. It would be great if future versions had an easier way to get access inside.

I have a few different film holders to test and it is very easy to swap them in and out, although I was a bit delicate with them at first, it does take a bit of force to pull them out, but if they are tight it does reassure me that light isn’t going to be creeping in.

The film holders also do really well at holding the film very flat, even when I scanned sections of cut film of two or three frames, although you will struggle a little with single frames to pull them through the holder and might have to employ some tweezers.

The duster is also essential for me, especially with the dust issue I mentioned earlier. It screws on to the side, and the film slides through easily enough. My only wish is that the film holders pulled out on the opposite side to the duster, as I had to remove the duster each time I wanted to change the film holder which was mildly frustrating.

Valoi Easy35: Performance

Scans from the Easy35 were exceptional, (all scans were converted in Lightroom Classic using the Negative Lab Pro plugin), the system does a fantastic job of completely sealing out any outside light so there is no unwanted glare ruining the contrast as you can get with other unsealed camera scanning setups.

The light inside is wonderfully consistent, I was a little skeptical about a relatively cheap off-the-shelf panel light performing to a dependable standard, but when determining the color balance across an entire roll of film each frame border had the same value, which makes me confident sample the first frame and sync across the roll.

But this is not technically a scanner. So there is the question of whether the quality you are going to get is determined by the camera and lens you are using for capture, but I am happy to say – this doesn't seem to matter much.

For my first trials I used a 30.3MP Canon EOS R and the Canon RF 100mm f/2.8L IS USM, and the results were absolutely pin-sharp with great contrast. At several thousand dollars though, this is not going to be everyone’s first setup.

I wanted to compare to a much cheaper system, unfortunately, the cheapest camera I own is the Fujifilm X-T5 (40.2MP) – which actually isn’t that cheap, but I do have a TTArtisan 40mm f/2.8 Macro lens which is probably the cheapest macro lens on the market right now.

And honestly, there is no perceptible difference I can see between the two combinations in terms of quality. Focusing was slightly harder to nail on the Fuji/TTArtisan combo, but once I had it perfected, even pixel peeping I couldn’t tell the difference, which suggests that you really don’t need an expensive setup to make camera scanning a success.

I am testing the Easy35 with three different sizes of film holders, one for 35mm film, one for half-frame, and a final size for 35mm with the sprocket holes showing.

The first two do an exceptional job of stopping any light creeping in from around the outside. The 35mm holder is pretty perfectly sized for 35mm film, with each frame taking up the whole area as expected. The half-frame film holder has a little more leeway, with a sliver of the next photo on the roll also sneaking into the frame – although I didn’t find this had any effect on light leaking between the images, and it is easy to crop out the portion of the next image later when making conversion calculations.

The 35mm sprocket holder actually performed better than I thought, but with lots of holes on each side letting light through it is inevitably going to spill light onto the image. The contrast on the edges of frames is much weaker, and the sprockets themselves generated some odd color artifacts and noise when I converted them using NLP. This might be improved upon with time and practice, but for now, I would rather just use the standard 35mm holder and add a fake film border if I really wanted that look for my Instagram.

Valoi Easy35: Sample Images

The images below are a mix of 35mm and half-frame film, I have left the borders on all the images so you can get an idea of how each type of film is framed using the Easy35 as well as how much light leaking there might be around the edges (spoiler, pretty much none except for the sprocket holder).

All these were shot on either a Canon EOS R + Canon RF 100mm f/2.8L IS USM in .CR3 or a Fujifilm X-T5 + TTArtisan 40mm f/2.8 Macro in .RAF, and converted in Adobe Lightroom using the Negative Lab Pro plugin.

Valoi Easy35: Verdict

I was such a camera scanning skeptic before I used the Valoi Easy35, with my previous setups being tediously fiddly to perfect that I wasn't actually saving any time over using a dedicated scanner. But the Easy35 makes it so fast and so easy to scan 35mm or smaller film that I've completely changed my mind on film scanning – so much so that this is how I intend to scan from now on.

While the device itself might be deserving of full marks, the obvious downside to the Easy35 is that it's not all you need to scan, and unless you own a decent digital camera and macro lens (of the right focal length) then you'll find it impossible to scan anything. If you shoot film a lot then this might be a worthwhile investment, but for the casual film enthusiast, it's a lot of initial expense.

But if you have all the gear, then the Easy35 assists in producing brilliantly lit, flat, and consistent frames with the most minimal of effort. Quality is excellent, with the system sealing out all outside light and the holders doing a great job of preventing stray light coming from around the outside – although use the sprocket holder at your own discretion.

If you haven't tried camera scanning before, now is the time.

Alternatives

I shoot a lot of film, which means I spend a lot of time digitizing my film – and if you have ever read my best film scanners guide then you might have got a glimpse into my endless quest to find the best way to do it.

I have tried camera scanning before, several times in fact, and I have tried really hard (and spent a fair amount of money) trying to make it work. Although each and every time I have just hated the experience. The space required, the equipment and tools, the hassle of lining everything up perfectly and getting the film to lay completely flat, and the perfect distance away from a flawlessly diffused light source. It’s just not for me.

Or so I thought. I was recently sent a sample of Valoi’s easy35 scanning kit to review, and while I don’t want to give away that review’s conclusion before I have even published it – the easy35 has not only completely changed the way I think about camera scanning, but it has converted me to camera scanning going forwards.

I knew the benefits of camera scanning once you had the setup – the speed of getting through a roll, and the sharpness and consistency across frames, but the easy35 is the first setup I have used that simplifies that in a way accessible to most people. It has taken camera scanning from being the most complicated and frustrating way to scan film, to being the simplest. They weren’t kidding when they put the word easy in the product name.

The easy35 still won’t be for everyone – like all camera scanning setups, the easy35 has the significant disadvantage of not only there being the initial outlay for the kit, but you also need to own or buy a good quality digital camera, macro lens, and a copy of Negative Lab Pro (there are free converters available, but NLP is just the best). But all these pieces when put together can make it a substantial investment.

There are ways to cut costs – I initially used a Canon EOS R and the RF 100mm f/2.8L Macro lens because I already had them, but with Canon's macro lens costing $1,199 alone, it's not a cheap setup. However, in commitment to thorough testing, I bought a TTArtisan 40mm f/2.8 Macro lens for just $120 to use with the easy35, which attached to my Fujifilm X-T5 offered an imperceptible difference from the Canon lens.

Now, I still very highly rate my Plustek OpticFilm 8200i SE, and for anyone who wants the simplest way to covert their negatives into digital versions without the hassle of diving into other conversion software, fiddling with camera settings, or investing in even more camera gear, then I would continue to place the 8200i SE as the best scanner you can buy as it is sharp, consistent and easy to use – but boy is it slow and time-consuming.

And if that has always put you off digitizing your old film, then maybe like me you might fall for the Valoi easy35.

The Aura 35’s maker says it’s the first new professional scanner to be launched in at least a decade, with many existing alternatives 30 years old or more. So if you’ve been having trouble finding a lab that can supply high-quality scans from your 35mm films, that could change!

The Aura 35 isn’t due for release until autumn/winter 2024, but you can get an early look at The Photography & Video Show in the UK this weekend, March 16-19. An early pre-production model will be on display on the Capix stand for the four days of the show, along with a number of other analog-inspired products that bridge the analog-digital divide and fuel the resurgence in film photography.

Aura 35 specifications and features

The Aura 35 has an optical resolution of 4150dpi, producing 24-megapixel images from 35mm film scans. It has an antistatic ionizing brush to tackle that major issue with film scans – dust. The magnification needed to turn 35mm originals into full size digital images also magnifies tiny dust spots into blobs potentially every bit as annoying as sensor spots with digital images.

Many of us will be familiar with home/enthusiast scanners like the Nikon CoolScan range or Minolta DiMAGE, but these are no longer being made and anyone looking for the best film scanners right now has limited options.

Above: video shoting the Aura 35 scanner in action

That’s not where the Aura 35 is aimed, though. It’s destined for professional labs with high throughput where the device will get intensive, daily use. Interestingly, it features a modular design with repairable and upgradable parts that Aura describes as ‘industry standard’, and it’s clearly designed to address some of the spare part issues that have taken older scanners out of action.

We don’t have a price for  the Aura 35 as it’s a commercial product aimed at labs rather than home users. It will be distributed exclusively by Capix in the UK.

You will be able to see it in action, though, at the Capix stand at The Photography & Video Show at the Birmingham NEC 16-19 March. 

The IRIScan Book 5 has an impressive set of specs for a wand style scanner. At 1200 dpi, you'll have no trouble scanning documents to an incredibly high resolution. Scanned files can also be printed to a blown up size thanks to the dpi. One of the biggest benefits of this scanner is that you can scan without needing a computer, thanks to the microSD functionality. It is also possible to scan to JPEG, PDF, and multi-page PDF.

This incredibly high resolution puts a lot of other wand or desk-based scanners to shame. The resolution ensures that all scanned data is captured at the highest quality and that printed scans are able to replicate the quality of the original. A 4GB microSD card will allow for 500 JPEG images at 1200 dpi. It is possible to reduce the dpi to 600 or 300 if you want to capture more scans on the card.

Documents can be scanned in different formats, including JPEG, PDF, or multi-page PDF. This makes it a perfect option for scanning a range of document types, including photos and written documents. The multi-page PDF saves having to collate scans afterward and instead brings multiple scans into one single document.

The small color screen displays all settings and a low-resolution preview after scanning. The screen size is more than enough for the purpose it is designed for, but you'll have to transfer scans to your computer to see if they are usable.

A full recharge will allow for 100 pages to be color-scanned at A4 and 300 dpi. This might be fine for people scanning documents from time to time, but it is far from sufficient for regular scanning.

IRIScan Book 5: Specifications

IRIScan Book 5: Design & Handling

The build quality of the Book 5 is in line with its budget price. The plastic construction and lightweight feel make this perfect for handling and scanning, but they do make it feel very cheap in the hand. The front panel is particularly weak, making it possible to press the plastic in towards the internal elements. Thankfully, the ribbed sides provide enough strength to give the overall device enough rigidity while scanning.

The operating buttons follow the same plastic design ethos. The operation of these is satisfactory, although it can, at times, be difficult to be sure which part of a button is being pressed at any point in time.  

The USB slot performs very well, with minimal possible movement on the inserted cable. Equally, the microSD card is well engineered, making it incredibly easy to insert and take out the card. 

The unit, as a whole, is ideal for performing multiple scans in succession. Thanks to its weight, there is very little danger of muscle strain, and the interface makes it relatively easy to operate. I would be a little concerned about the longevity of the device, but if you're careful with it in terms of use and storage, then you shouldn't have any problems. 

IRIScan Book 5: Performance

The Book 5 performs very well. 1200 dpi scanning capability sets the scanner apart from many of its competitors. Scanning results during tests were fairly good, with no issues in terms of legibility or resolution. My scans did suffer from horizontal lines across the entirety of the scan, but these were not particularly distracting from the clarity of the overall scan. The color replication of photos and colored text was also pretty accurate. I found the scanner to be easy to use, and I had no problem operating it.

IRIScan Book 5: Verdict

The IRIScan Book 5 scanner is a fantastic wand scanner that delivers great resolution scans with accurate color replication. The build quality sits in the middle between cheap and premium, with some parts of the device susceptible to damage if users are not careful. 

The battery life is also a serious weak point. A full charge will achieve around 100-300 dpi scans, but this drops significantly if you increase the resolution. I found the battery to be the biggest bugbear with this device. It took a while to charge, and the battery would unpredictably cut out sooner than I expected. All of this can be managed, though. 

In terms of its core purpose, the Book 5 produces high-quality scans with a lightweight body that makes it ideal for a wide range of users.

The IRIScan Desk 6 offers an incredible level of versatility that goes beyond its capabilities as a 300 dpi document scanner. With video capture functionality and a built-in microphone, it is also possible to record video or use it in presentations in video calls. OCR software enables text digitization in an incredible 138 languages, and a text-to-speech feature is ideal for users with dyslexia.

The Desk 6 is capable of capturing scans at a resolution of 3264 x 2448 pixels. At this resolution, most documents will have the required density of data to be clear and legible. The scanner is also capable of recording video to a resolution of 1920 x 1080 pixels, which is fantastic for top-down video capture.

It is possible to scan to a wide range of formats, including JPG, PDF (image, searchable, and text), Word, .txt, and Excel. This wide variety of formats helps to reduce any need for conversion later on.

As well as scanning documents, the Desk 6 can record Full HD video and audio at up to 15FPS. This is ideally suited to web tutorials, online demos, and video tutorials. The Desk 6 can connect to Zoom, Skype, and Google, making it possible to display to audiences whatever is underneath the camera. The scanner also includes an innovative technology that converts text into speech. This is reportedly helpful as a reading aid for users with dyslexia.

IRIScan Desk 6: Specifications

IRIScan Desk 6: Design & Handling

The IRIScan Desk 6 is a well-built desk scanner that can be folded away for easy storage. The mix of metal and plastic construction is not only pleasing to the eye but also provides a substantial level of quality, something I was expecting at this price point. The plastic base and metal arms are of sufficient thickness to ensure there is no risk of bending or damaging them, and the presence of screws rather than glue to join parts together is a welcome inclusion.

The foldable arm rotates a full 90 degrees with a satisfying click into position at both extremes. The unit includes a 'stop' panel to ensure the camera arm doesn't bend beyond its parameters. This also acts as protection for the camera, which sits inside the panel when docked. 

The unit is perfectly weighted and engineered, so it can stand up on a desk without fear of falling and getting damaged. This is true in both folded and unfolded states.

The package also includes a rubber mat for both the scanner and the document to sit on. This is thick enough to sit nicely on the desk and provides a small amount of grip to stop documents from slipping around.

IRIScan Desk 6: Performance

The Desk 6 is a high-performing piece of kit. The 12MP and 300 dpi cameras capture a high density of accurate information, although color accuracy in photos could be a little better. The high level of detail continues across video, with Full HD video captured at high quality, although there is an unnecessarily high level of contrast in the output. 

Documents are only being photographed, which means any distortion in the book, for example, will be replicated in the output. The finger hiding was particularly effective, with all fingers removed accurately in the tests I performed. The microphone delivers clear and clean audio, which makes it perfect for delivering presentations.

IRIScan Desk 6: Verdict

The IRIScan Desk 6 is a very capable scanner that delivers 12 MP photo output and Full HD video. The quality of the camera is perfectly adequate for document scanning and delivering presentations, although color replication of photos could be more accurate. 

The high build quality ensures this premium product will stand the test of time and look great on any desk. The folding arm is great for keeping it on a desk without having to pack it away, although if you want to store it in a box, then it does fold away into a much smaller size. The microphone records clear audio, and alongside its video capability makes it ideal for video calls. All in all, this is a great quality scanner.

Do you have an attic full of thousands of photos, which you want to digitize without it taking forever? Then you won't want a flatbed scanner: that will take far too long. A sheet-feed scanner will be much faster, and this one promises to convert one 4x6 photo in two seconds and one 8x10 size photo in five. That means, theoretically at least, you could turn 1,000 family snaps into pixels in under an hour.

More broadly, Plustek is one of the best-known brands in scanners and has produced some of the finest film scanners of recent times, including the Plustek OpticFilm 8200i and the Plustek OpticFilm 8300i SE. So I had high hopes for this cheap and cheerful photo scanner.

This is a sheet-feed scanner, which means you feed in material at the top and the mechanism pulls it through the bottom, quickly scanning it along the way. It's able to scan photos of 3x5, 4x6, 5x7, and 8x10 inches in size. You can also use it to scan things like receipts and tickets (minimum 1 x 1 inch), and larger documents (up to letter and A4 size), as long as the paper is 0.76mm or less.

But is this really the best scanner for your needs? I got hold of a review model and put it to the test. Read on to learn what I discovered.  

Specifications

Image sensor: Color CCD Light Source LED
Optical resolution: 300 dpi/600 dpi
Scan modes: Color: input 48-bit; output 24-bit
Grayscale: Input 16-bit; output 8-bit
Scanning speed: 4 x 6" photo: 2 seconds. A4 document: 5 seconds.
Scanning area: minimum: 1 x 1", maximum: 8.5 x 11.7"
Paper thickness: 0.76 mm or less (non-embossed)
Power supply: 24 Vdc / 0.75 A
Interface: USB 2.0
Weight: 1.48kg (3.26lbs)
Dimensions: 289.9 mm x 160.6 mm x 158mm (11.4" x 6.3" x 6.2")
Operating system: Windows 7+; Mac OS X 10.8.x+

Design & Software

The design of this scanner is simple but effective, as well as being attractive looking in a "stylish basics" kind of way. There's a handle-y type thing on the back that makes it easy to carry. At around 1.48kg (3.26lbs), it's not the lightest thing to carry around, but it's perfectly portable and would fit nicely into most travel bags.

That's about all that needs to be said about the design. There's nothing particularly amazing about it, but the fact that it's so elegantly simple is praiseworthy in itself.

As for the software, I'll be honest: it's pretty basic and it doesn't looks great. The design of the interface makes me feel like I'd stepped back in time to 2003 and that might be enough to put some people off alone. At the same time, it works well enough in practice, it ran pretty quickly on my modern Windows laptop (Dell Latitude 9410) and it's compatible with both Mac and PC.

Not only does it allow you to save and share your scans, but there is some fairly decent editing software, should you want to do basic tasks such as crop, rotate and enhance your images. Personally, I'd prefer to do these things elsewhere, but if it's just the odd tweak you want, you may prefer it to save the bother of opening Photoshop or the like.

Setup

I've been reviewing tech since 2008, and yet I still struggle to get stuff to work out of the box. Maybe I've got the wrong kind of brain, or perhaps I'm just impatient, but I often find it maddeningly difficult to work out what to plug in where what needs charging, and how to get different devices to talk to each other. So believe me, I don't say this very often… but the Plustek ePhoto Z300 is pretty easy to set up.

Part of the reason is that it is so simple, both in concept and operation. There's a charger that you connect to the back of the scanner and then plug into the wall. There's a lead that you also connect to the back of the scanner, then plug the other end into your computer's USB-A slot. And, joy of joys, there's an on/off switch. 

At the computer end, you have to install the supplied software, which is supplied on a disc. Most laptops don't have disc drives these days, but don't worry: it's easy to just download it from the web instead. The first time you open the software, you're guided through the calibration process using the supplied calibration sheet. 

And that's it. There's no room for confusion, no messing around with Bluetooth or WiFi: it really is just plug-and-play. (No wonder the setup video is just two minutes long.) This is such a rarity in today's overcomplicated tech world, that it truly deserves applause.

This is a device, in other words, you can happily give your granddad, without expecting endless late-night calls saying "Why isn't it working…?"

Performance

The next key question is, obviously, how does the Plustek ePhoto Z300 perform? And my simple answer is: well enough. 

To start with, I did some tests to check it lived up to Plustek's claims of scanning a 4x6 photo in two seconds. In practice, it did exactly that, over and over again. Not only was it fast, but it was easy too: you simply slip the print in and it does the rest. 

Once I'd completed these individual tests, it was time to carry out the kind of task this device was invented for – scanning 400 photos in a single batch. Note that you can't feed multiple photos in one batch, you have to put them in one at a time, and this does become very tedious, very quickly. However, it was something I managed to do while watching TV with minimal distractions, and managed to complete the task in just 20 minutes and 17 seconds. (It's technically possible to beat that time, of course, but are you really that bothered?). 

Most importantly, there were no hardware glitches, no software crashes, or any other form of delay, other than my occasionally fumbling motor skills. 

Note, though, that this speedy scanning is only possible at 300 dpi. Switch it up to 600 dpi and it takes about 18-20 seconds to scan a 4x6 print and about 40-45 seconds to scan an A4 print or document. That's on a par with some flatbeds and to be honest, it wasn't really worth it for my purposes. After all, I was scanning the less-treasured family photos which never made it into the photo albums, and for good reason. Nice to keep them in some form, though, and 300 dpi was fine for that purpose.

I'd suggest, though, that if you have prints you're particularly fond of, this is not the scanner for those purposes. Particularly as, like all sheet-fed scanners, there's a danger that your print may get damaged. (That didn't happen to any of mine, but it's always a possibility due to human error.)

As far as documents were concerned, the ePhoto Z300 worked well enough there too. Again, the quality of the reproduction wasn't first-class, but in most cases, that's not really going to be an issue for me so I'd happily use it as a backup document scanner 99 percent of the time.

Verdict

This scanner is in no way suitable for professional work, prized personal photos, or basically any material where you care about the quality of the reproduction. However, if you're looking for "good enough" quality of 300dpi and want to scan hundreds, thousands or even tens of thousands of family snaps without having to work too hard, this will do so in pretty quick time. 

So as long as you're interessted in this niche use, I'd recommend this scanner, which also benefits from robust build quality, simple but effective design, and easy setup and use. The only possible niggle I can forsee is if your laptop doesn't have a USB-A connector, because most USB-C hubs don't come cheap.

Film photography continues its comeback, with a whole new generation of photographers enamored with the tones and textures that you can only get with film. No matter how much those Lightroom presets claim otherwise, there is something special about film that can’t be recreated.

Plustek's scanners for different types of film have been hugely popular in the film photography community, and Plustek contributed several scanners to our guide to the best film scanners. Plustek’s OpticFilm 8200i SE is my favorite 35mm scanner – and the OpticFilm 8100 is one of the most affordable ways to get high-quality scans of your negatives.

There are other options for film scanning, including camera scanning – which can be very fiddly, and actually very expensive if you don’t already own all the gear, and flatbed scanning – which is great for bulk scanning, but flatbed scanners are big and heavy to keep around your desk. 

Plustek’s scanners fit somewhere in the middle, a dedicated scanner for one frame at a time that requires some amount of effort to nail perfectly, but is also simple enough that almost anyone can get decent scans with a little know-how. 

The Plustek OpticFilm 135i takes the Plustek formula that has been so successful with models like the OpticFilm 8200i SE and adds in a motor to automatically move frames from the scanner, saving photographers everywhere the tedious task of manually pushing each frame through. The 135i also keeps hallmarks like a high-quality 7200 max DPI and an infrared channel for identifying dust and scratches that can automatically removed. 

However, the OpticFilm 135i is the only scanner in Plustek's current popular range that doesn’t come bundled with SilverFast scanning software, instead opting for Plustek’s own QuickScan Plus. Which as you’ll discover as you read on, is the scanner's eventual undoing. 

Plustek OpticFilm 135i: Specifications

Plustek OpticFilm 135i: Price & Availability

The RRP of the Plustek OpticFilm 135i is $429 / £429, although can be found for cheaper a lot of the time (at time of writing it has $30 off at Amazon). This places it as around a $50-70 premium option over the entry-level Plustek OpticFilm 8100, although offers a few extra key features, with automated scanning and an infrared channel, however, the Plustek 8100 does come with superior SilverFast 9 SE Plus scanning software bundled in though. 

Where the decision becomes tricky is the 135i is around the same price as the outstanding Plustek OpticFilm 8200i SE, which features a much better software experience with a SilverFast 9 SE Plus license included in the box, but lacks the OpticFilm 135i’s automated scanning. 

Depending on your scanning needs you might find out need to purchase additional software for the OpticFilm 135i to get the same experience – but more on that later in the review.

Plustek OpticFilm 135i: Design & Handling

In my opinion, the Plustek OpticFilm 135i is the best-looking of all Plustek’s 35mm scanning solutions. Trading in the cheaper-looking molded plastic chassis of the 8200 series for a faux leather finish that looks much more classy to be sitting on your desk. The sides also have a ridged design to them giving them the illusion of being vents and making the 135i scanner look like a serious bit of kit.

Along the top are LED-backed buttons for quick control of the scanner. I personally don’t find these that useful as I prefer to control everything from within the software on my computer for ultimate accuracy in what I am doing, but for those that prioritize speed then this is a faster way to get scanning. There is also an on/off standby button (there is a mains kill-switch power button on the rear of the device), and the only button you will have to use – is the eject button. Putting the film holder into the machine activates the motor that then locks the holder in the first position, the only way to remove the holder is by safely ejecting it which protects the precise motor controls from being yanked out of place.

The film holders also go through the machine front to back instead of through the sides, which to me, just makes so much more sense, and I found they get in the way far less when I am working. You do have to leave the scanner with some clearance room at the back, but not much more than you need for the wiring, and to get a hand in to flick the on-off switch.  As the holder goes through the machine, the motor sound is loud enough that I can still hear it over the music coming from my laptop, so I had to get out my noise-canceling headphones as the pitch was quite irritating after a few rounds through the scanner.

The holders themselves are outstanding, I have heaped so much praise on Plustek’s holders for the 8200i SE as they hold film so incredibly flat, but the 135i’s holders raise the bar even further. The holder is much heavier and more solid feeling as it adds tracks around the sides for the automated scanning, but the clip for the film strip is much more pleasurable to open and load, with a smooth action, and magnets that hold it in place instead of the slightly flimsy feeling clips from the 8200i. 

The OpticFilm 135i comes with two holders, one for 35mm frames, and one for mounted slides – I would still love Plustek to sell a holder for getting the spokes of my film in shot, as that would be an instant purchase from me, but alas no, although you can buy a panoramic film holder from Plustek directly.

The 135i connects to a computer with a USB-A to printer lead, now I am not sure how frequently the 135i is being manufactured and packaged, but in 2024, it would be nice to get a USB-C lead or at least a USB-A to USB-C adapter dropped in the box. I have been using the USB-C adapter that came with my Google Pixel phone, which has done the job, although most USB hubs will also be fine. If you don’t have either of these, then you will need to add one to your basket, tacking on a little more initial cost. 

Plustek OpticFilm 135i: Performance

Oh how perfect the OpticFilm 135i could have been. If this scanner was bundled with SilverFast then it would have been joining the 8200i SE in getting another five-star review from me. But no, Plustek decided that its own OpticFilm QuickScan Plus would be good enough – that was misjudged.

The software might look dated, although I will give it a free pass on that account as most scanning software has a trend of looking like it hasn’t been updated since the turn of the millennium, and QuickScan Plus is actually not the worst offender. The software is very straightforward to use, although this mostly stems from the fact that QuickScan Plus gives you precious few options to choose from, but it guides you through the scanning process with ease, and takes care of almost all the steps for you, with just a few clicks to continue here and there. 

Curiously, when I first loaded the software, the top resolution I could scan using QuickScan Plus was 3600 dpi, with the 7200 dpi option just not listed, which left me perplexed the first few times I tried to use the scanner. Eventually, hitting ‘restore settings’ brought back the 7200 dpi option – although it is still missing from the ‘custom’ scan mode for some reason. QuickScan Plus will let you scan in 48-bit color Tiff files or standard JPEGs, but there is no option from Raw DNG, but you can scan in DNG with other software if that is essential to your workflow.

The scanning process with QuickScan Plus is relatively quick, with a strip of six images scanned at 3600 dpi taking around 5 minutes, with another couple of minutes added on for processing the images afterward. The software then gives some options to edit the photos a little using presets, or a few one-click adjustments for exposure or white balance, these aren’t as fine-tuned as you’d expect in any other photo editing app, but I did manage to salvage some poorly processed scans.

The overall scan quality however is where it all falls apart – as the images produced by the QuickScan Plus are just not good enough. Some of the scans were so bad that I assumed I must have done something terribly wrong – I checked the settings, I checked the film, and I even rescanned the film with another scanner just to make sure, but unfortunately QuickScan Plus is just borderline impractical for any serious scanning quality. 

The below examples compare the output from the Plustek OpticFilm 135i using QuickScan Plus (in the image on the left), and the same image from the Plustek OpticFilm 135i, but instead using VueScan to scan and process the image (image on the right).

Most images were at least comprehensible but with an impenetrable layer of digital noise, but some scans just came out as blotchy garbled mess. You can see in the images below the overall quality is poor, and in the final image, I honestly don’t know what happened.

I quickly ditched QuickScan Plus and moved to testing the scanner using my usual go-to software VueScan – and suddenly the OpticFilm 135i became a whole different scanner. The fantastic image quality I had come to expect from Plustek after years of using an 8200i SE was back, proving that the hardware was just fine all along, and the software is the Achilles heel.

Using VueScan, the OpticFilm 135i could easily now be the scanner to replace my 8200i SE – I don’t know how I lived without the automated scanning! While the actual scanning itself isn’t faster, the time in between to manually push each frame through and click to scan (as well as all the time I don’t notice that I need to move on to the next frame) is gone, which speeds up my entire workflow dramatically. 

Below are more sample images that were scanned using the Plustek OpticFilm 135i but VueScan v9.8 to scan to JPEG.

However, at just shy of $100 for a copy of VueScan or SilverFast SE 9 Plus – the almost necessity of adding additional software to your purchase for high-quality scanning makes the 135i so hard to recommend, but yet, I am going to anyway, as the improvements the automatic scanning brings to my workflow are too good to ignore. 

Plustek OpticFilm 135i: Verdict

It is hard to come to a conclusion on the Plustek OpticFilm 135i as on one hand, the scanner has the incredible hardware that I have come to expect from the 8200i SE, but now with an even more streamlined process as it automatically progresses frames as it scans. On the other hand, the QuickScan Plus software that comes with the scanner is not good enough for anyone serious about getting quality scans from their images. I find it confusing that this seems to be the only Plustek scanner not bundled with SilverFast software.

If you are looking to scan as many negatives as possible just to preserve them for posterity alone, then perhaps the OpticFilm 135i will do that for you with enough ease that some persistent issues with quality can be ignored. But if you actively care about the quality of your 35mm scans then you should either look to the company's 8200 series of scanners or be prepared to invest in additional software to get the most out of what otherwise should be five-star hardware. 

Plustek OpticFilm 135i Alternatives

Whether you have boxes of negatives sitting in a cupboard that you would love to digitize for posterity, or you are an active film photographer looking for a way to scan your own 35mm negatives and stop paying high lab fees, then the Plustek OpticFilm 8300i SE film scanner should be on your radar.

The Plustek 8300i SE comes with two kinds of film holders, the first is capable of scanning negatives in strips of six or fewer, and can even hold single frames flat, as well as a second holder that can also scan mounted slides. Unfortunately, if you are looking for a medium format film scanner then flatbed scanners like the Epson Perfection V850 are still your best option for home scanning. 

As a dedicated scanner, Plustek’s film scanners are measured in dots-per-inch (DPI) and not megapixels. Don’t get this confused with cheaper scanners you might find on Amazon. Where those scanners use a camera to photograph your film, the Plustek uses an accurate CCD sensor and color-precise LED to line-by-line scan your negatives for the highest quality, which really shows in the results, but more on that later. The 8300i SE has a maximum 7200dpi which makes for some quite large images at the very limit of 35mm film quality.

How does it compare?

The 8300i SE is the latest scanner in a long line of 35mm scanners from Plustek. On paper, the scanner looks remarkably similar to the Plustek OpticFilm 8200i SE that came before, and that is because, in reality, it is. The maximum resolution remains the same and the design remains the same except for a new color (well, shade). Plustek claims that this scanner is 38% faster than the previous model, and considering my only real critique of the 8200i SE was its very slow scanning speed at high DPIs, this is very welcome news. The newer model also comes with a newer version of SilverFast’s scanning software.

Plustek OpticFilm 8300i SE: Design & Handling

The Plustek OpticFilm 8300i SE is nice and compact, especially when compared to the other most common scanning option – flatbed scanners. The 8300i SE can easily slip into a cupboard or shelf out of the way when not in use. The scanner comes with a nylon carry case that keeps the cables and slide holders together and keeps out pesky dust during storage. The scanner is also very lightweight and easy to move from place to place if you want to take it to someone else’s house to do some scanning. 

The slide holder design is unchanged from the previous version. However this is not a bad thing as Plustek’s 35mm strip holder is one of the best around, being very simple to use, and holding the negatives perfectly flat for an even scan. 

Unfortunately, there is no way to capture a scan with the film border which is a shame, but I’d rather avoid light leaks and uneven scans. I could always add a fake film border in later (there are lots available on the internet). When not in use, the scanner has little flaps that come down and protect dust from getting inside the openings for the slide holder which is a touch I love.

To guide the flipstrip through the scanner, there are little indents in the filmstrip holder that "lock" the frame in position under the scanner sensor, a firmer little push and then move it onto the next frame after that one has been scanned. It sounds a little more complex than it is, but in practice, is a very simple and effective system.

The process of scanning is unfortunately very manual and very monotonous, you have to manually push each frame on after every scan, so you can’t set it up to scan and then disappear while it does its thing, like with a flatbed scanner. Although I really think the results are worth the additional effort (but more on that in a moment). 

Manually moving the holder through the scanner also allows you to think more carefully about micro-adjustments to the frames, occasionally with some film cameras the spacing between frames on strips of film will be quite different, so stopping before each scan can enable you to make sure your frame is perfectly lined up with the scanner sensor.

The cable is still a USB-A connection, which is frustrating for anyone who has bought a MacBook or Windows laptop that has long since ditched these ports. There is no adapter in the box, but the scanner works fine with either my Anker USB-C hub or even the basic USB-A to USB-C adapter that came with my Pixel phone.

Plustek OpticFilm 8300i SE: Performance

Scanning negatives with the 8300i SE is a labor of love and you need to have a lot of patience, but I really think the results are worth it. I have extensively tried every method of scanning my film, and the results from the Plustek scanner are by far my favorite. The scanner is capable of producing a fantastic range of color, nails contrast perfectly and most importantly it manages to get a lot of detail from the film. 

I do find the 7200dpi option is overkill. You can blow a photo up to a very large size, but as you increase the size, the image quality of 35mm film just can’t keep up. I think 35mm film is just too small for such a high-resolution scan. Instead, I think 3600dpi is the sweet spot between quality and size and is perfect for use across the web, on social media, and for printing photos for displaying at home. 

Unfortunately, despite Plustek’s claims of faster scanning speeds, scanning at high DPIs still takes a long time. The good news is it is faster than the previous Plustek 8200i SE model, but by a distance that is pretty marginal, and not worth jumping up from the previous model. However, if you have hundreds of negatives to scan then a few seconds on each scan does add up, so it's up to you if you value your money or time more.

For comparison, using SilverFast to scan to a JPEG using the maximum 7200dpi setting, with one normal pass, and one infrared pass – the Plustek 8300i SE took 2 minutes and 21 seconds to complete the scan while the Plustek 8200i SE took 2 minutes and 58 seconds.

However, if you are happy to scan at the minimum DPI of 900 and with no infrared pass, then scans can be done in as little as 10 seconds, although you should consider Plustek’s cheaper Plustek 8200 entry-level model in this case. A 3600dpi scan with an infrared pass took a little under two minutes each time.

When it comes to scanning software, there are plenty of forums to debate this, but I personally do not like the bundled SilverFast software. I find it frustratingly fiddly to use, and the interface clunky and dated. I can appreciate it has a lot of powerful features to fine-tune your images, but these are hidden behind too many panels and overly complex granular controls. The software can be put into some semi-automatic modes, but I found the results inconsistent, with colors and white balances changing between frames.

Instead, I personally use VueScan as my scanning software of choice. It is an additional purchase, but works flawlessly with the 8300i SE, is much simpler to use, and has a consistent output. 

Both SilverFast and VueScan also have the option to scan photos as DNG files, which is great if like me you plan to convert your photos later using software like Negative Lab Pro which can give you far more control over the conversion of your negatives into color with easier to use fine-tuning options than scanning software.

Infrared scanning is an absolute boon to the scanning workflow, no matter how careful I am to avoid scratches or how much dust I blow off my negatives there are always some imperfections. Plustek’s infrared scan was fantastic at removing these small issues from my film, which saved me so much time in editing. It is not powerful enough to restore seriously damaged film to perfection, but it makes a good enough dent that AI can now assist in restoring negatives to their original glory. The infrared scan does take a long time (around one to two minutes) to complete, but I think it is worth leaving it on for every scan.

Plustek OpticFilm 8300i SE: Final Verdict

Despite the updated numerical designation in its name, the Plustek OpticFilm 8300i SE, while perhaps offering a slight boost in speed, may not elicit much excitement from owners of older models. The increase in scanning speed is so marginal that honestly, I didn’t really notice it without my stopwatch on both models. 

However, for those who are new to the world of film scanning and prioritize the highest possible quality for their film negatives, the Plustek OpticFilm 8300i SE should be a very compelling choice for your next purchase. This dedicated film scanner outshines flatbed scanning in terms of quality and easily surpasses the cumbersome process of scanning with a camera.

On the other hand, if value is a key concern, you might consider opting for the previous Plustek OpticFilm 8200i SE model. It delivers similar results, albeit at a slightly slower pace, making it a viable alternative for budget-conscious film fans who can tolerate a bit more patience in exchange for some cost savings.

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The Canon imageFORMULA DR-M1060II performs scanning on a bigger stage. Let’s face, most printers these days have scanners built-in, often with an ADF for automating the process of scanning multi-page documents. The downside is that they can typically only scan pages up to a maximum of A4/letter size, and that’s often true for the scanners built into large-format A3 printers.

This purpose-built A3 scanner can accommodate everything from small business cards to A3/11x17-inch documents and beyond. Designed for a busy business environment, it has a suggested daily duty cycle of up to 13,000 scans with plenty of options for single-sided and double-sided documents, folded sheets, artwork and bound media, made quick and easy by fast scanning speeds and good supporting Windows software.

Specifications

Scanner type: CIS
Max resolution: 600dpi
Max speed: 120ipm (duplex)
Auto document feeder: 80-sheet
Light source: RGB LED
Operating system: Windows 8.1 onwards
Interface: USB 2.0
Power supply: AC 100-240V
Dimensions: 424 x 246 x 120mm
Weight: 6.1kg

Key features

Space is nearly always at a premium in the office environment and it can often be difficult to find a home for new kit. Measuring just 16.7 inches wide, 9.7 inches deep and 4.7 inches tall in its retracted state, the imageFORMULA DR-M1060II is remarkably compact for an A3 office scanner, or what Canon bills as a ‘departmental scanner’. It can therefore easily fit into small spaces and doesn’t take up much more room even with the front input and output trays extended.

Scanning for regular paper thicknesses utilizes a U-turn path, so the motorized transport system feeds the paper in from a tray or the 80-sheet ADF at the front, and then flips it over and outputs it into a tray that’s higher up at the front of the machine. The only catch is that, for thicker paper, card and anything else that you don’t want to be bent over, you’ll need to use the straight scanning path, which outputs the  media at the rear. In that case, you’ll need to leave more room behind the scanner. More on that later.

The scanner has a maximum optical resolution of 600dpi but 200dpi will often suffice for document scanning. At this resolution, output speeds are around 60ppm (pages per minute) for single-sided A4/letter pages, and 120ipm (impressions per minute) for double-sided pages. That’s because the scanner can scan both sides of a double-sided page in a single pass, effectively doubling the speed. Either way, you can fill the ADF to nearly its full 80-sheet capacity and scan big multi-page documents in around one minute flat.

Build and handling

Looking at the compact size of the scanner, the first thing that surprised us was how heavy it was to lift out of the box. Suffice it to say, it’s built very strongly from mostly metal parts on a sturdy chassis, with a real high-quality feel throughout.

Switching between straight-path and more regular U-turn scanning is set by simply opening or closing the rear paper tray, respectively. The front input and output trays hinge open for operation and can be extended as needed for scanning larger paper sizes.

Onboard controls are pretty rudimentary, but effective. You can set up to nine different custom setups for various types of scanning and assign them to job numbers. These are shown on a small and basic, illuminated alpha-numeric display, and you can cycle through the nine presets by repeatedly pressing the ‘Job’ button just beneath (if you can remember what they all are). Just below that, there’s a ‘DFR’ button. This Double Feed Release feature enables you to scan multiple pages that are bound together, or envelopes, or pages with sticky notes attached, without the scanner registering it as an error caused by multiple sheets being fed simultaneously by mistake.

Further handling benefits, from a productivity perspective, include auto size adjustment, deskew correction, text orientation sensing and automatic switching between mono, greyscale and color scanning. A neat touch is that you can also set a color to be ‘dropped out’ of the scan, so anything on the original document in that color will be blanked out.

Performance

Scanning quality is naturally a vital element of any purpose-built scanner, whose only purpose in life is to scan things. The imageFORMULA DR-M1060II performs really well in this respect. The motorized paper transport system proved very accurate in our tests, enabling super-sharp scans. It also proved very reliable, taking specialist media like plastic and embossed cards, thin and thick paper and large and small sizes.

Advertised as an A3 or 11x17-inch scanner, the Canon can actually take on super-sized scans. Using the straight paper path option, you can actually scan really long pages at up to 3m (nearly 10ft) in length. Another option is to fold a much larger A1 sized document in half and scan it in folio mode. The two sides are then scanned simultaneously and the software stiches the result into a single, full-sized document.

As claimed, scanning speeds are fast, at up to 60ppm for both single-sided and double-sided pages, in mono or color. The supporting CaptureOnTouch software for Windows enables enhancements for both text and images, to makes scans look their best, along with optional OCR (Optical Character Recognition) and the ability to save documents, spreadsheets and images in wide-ranging formats. All in all, it’s a highly effective scanner that comes into its own for larger paper sizes.

Verdict

Surprisingly compact for a large-format scanner, the imageFORMULA DR-M1060II is nevertheless surprisingly weighty at just over 6kg (about 13.5lbs). That’s because it’s very solidly built, designed to fit into a busy business environment, and also because it folds in on itself for neat storage. It’s fast and capable, with a built-in ADF (Auto Document Feeder) and the ability to scan both sides of duplex pages in a single pass. The supporting Windows software is intuitive and effective, but it’s a pricey bit of kit.

Read more: check out our guide to the best all-in-one printer or best photo printer available right now

Traveling through airport security as a film photographer is never straightforward. We’ve all heard the warnings that exposing your rolls of film to x-ray scanners could be potentially harmful, but is there actually any truth to it? 

Whenever I travel with my film camera, I always ask security not to put it through the x-ray machine and I'm always met with the same response: "The scanners won't harm your film." I'm never fully convinced but, more often than not, I can't be bothered to argue, so I watch it travel along the conveyor belt, into the x-ray tunnel and out the other side – the whole time crossing my fingers, hoping I haven't ruined my precious photos. 

• Check out the best film for 35mm cameras, including black and white and color rolls

Knock on wood, I've never actually had any issues with my film when going through an x-ray scanner – so maybe it's about time I start trusting the information. I'm not alone in my uncertainty, though; I have several film photography friends who frequently request the same thing when flying, just in case the worst does happen and they're left with a damaged roll. 

To find out once and for all, YouTuber and film photographer Bryan Hong put the theory to the test. He exposed several different rolls of film to x-ray scanners a number of different times, including Kodak T-Max P3200 (19 times), Kodak E100 (15 times), Fuji Superia X-Tra 400 (11 times), Kodak Portra 160 (10 times) and Ilford HP5 Plus 800 (8 times). 

Notably, the TSA (Transport Security Administration) advises that its x-rays will not affect film less than ISO800. And indeed, the only damage reported by Hong was to the roll of Kodak T-Max P3200 – and only after being x-rayed 19 times. "The results were not too bad. Certainly there was some x-ray damage and I was actually glad to finally [after multiple experiments] be able to see some damage and share it with the world," he says in his video (embedded above). 

"There definitely is a light fog over all of the film that you can see in the clear parts of the film, and there are some other weird patterns that look like light leaks… the level of fogging I saw was a lot less than a lot of the expired films I've seen, and the light leaks look more like faint lens flares."

So it's not a myth, but the facts have just become a bit misconstrued. X-rays are in fact harmful to rolls of film, but the machines used to scan carry-on luggage employ a very low level of radiation so are unlikely to cause any damage – at least, to film less than ISO800. However, the newer CT (computerized tomography) has been claimed to cause fogging, distortion and general image degradation to unprocessed film, due to using much more powerful x-rays. 

Armed with this knowledge and proof from Hong, I won't bother asking for my film or film camera to get inspected separately at airport security any more, which will make the whole experience a lot less stressful. I will, however, be triple-checking what type of x-ray machines the airport is using – just in case. 

Why not also check out the best disposable cameras if you're not quite ready to invest in a full-time film body. Or do your best to replicate the analog look with some free Lightroom presets.

Scanning film negatives at home currently is a bit of a chore, complicated and expensive setups are time-consuming, fiddly, and require the right space. Finnish company Valoi thinks they might have the solution for this, with the aptly named easy35, a camera scanning peripheral that aims to make scanning 35mm film as easy as possible.

Scanning film negatives is usually done in one of three ways. Firstly, just getting the lab to scan your film during the development process, however, this is costly and you lose the freedom to scan your images in the size, format, and quality you might want, and you cannot rescan images (without paying again).

Alternatively, you can use a dedicated home film scanner such as the Plustek OpticFilm 8200i SE or Epson Perfection V600, however, whilst these provide good results and automated software makes them easy to use, film scanners have their own flaws with very slow scanning speeds, lots of setup and big bulky devices.

Finally, camera scanning is a method of digitizing film that has been growing in popularity in the film community thanks to the efforts of companies like Valoi and Negative Supply. Camera scanning uses a good quality 1:1 macro lens and a high-CRI light to capture RAW images of film negatives which can then be converted into positives (color images) using software such as Negative Lab Pro. Companies like Valoi have produced accessories, such as the Valoi 360, to make camera scanning faster and easier by helping to flatten, correctly light, and advance the film during the camera scanning process.

Camera scanning is popular as it is incredibly quick, a whole roll of film can be "scanned" in a professional quality in a matter of minutes, a feat that would take a scanner like the Epson V600 closer to an hour or more. However, current camera scanning setups like the Valoi 360 are still cumbersome to assemble and require careful alignment of the camera perfectly parallel to the film surface and can be affected by stray light hitting the surface of the film and causing reflections.

This is where the easy35 comes into its own, with a built-in high-CRI lighting source, it encloses the film in a light-sealed box that is also perfectly aligned to the camera lens by utilizing the filter thread on the end of your macro lens. The distance from the lens to the film can be adjusted with additional tubing to get the perfect focus at the highest quality. This setup might look a little ridiculous to the casual observer, but it is one of the smallest and simplest setups yet seem for scanning negatives in a fast and high-quality manner.

The easy35 is currently still in its prototype phase, with the final touches to the design and parts being completed by the Valoi team in the next two months before it starts shipping out to backers in August, however, there is still time to add your name to the list to be one of the first to get your hands on the easy35, and at a nice discount too from the final retail price.

Although as ever with crowdfunding projects, there is a risk of the product never making it to production and you losing your money. However, Valoi has an established business making camera scanning products and is backed by parent company Kamerastore.

You can find out more about the project and back the Valoi easy35 on IndieGoGo.

Find out more about shooting film with our guides to the best film cameras, the best 35mm films, and the best darkroom equipment.

Scanning film is a great way to preserve your photos and get better quality images than you would get if you printed them from the original film. With the film having a resurgence in popularity once again, many people are looking at ways to digitize and share their film or archive old memories.

Read More: See our guide for the best film scanners for digitizing your negatives.

Scanning film on a flatbed scanner has become an increasingly popular method for digitizing old photographic negatives and slides. Flatbed scanners have traditionally offered a relatively inexpensive and easy-to-use way of producing high-quality scans of film that can be used for archiving, printing, or sharing online.

However, the V850 is aimed squarely at professional photographers who require the latest advances in scanning technology, such as even higher levels of resolution, color accuracy, and dynamic range, although all these advances don’t come cheap,  and Epson has given it a price tag to match.

Specifications

Scanner Type: Flatbed color image scanner
Optical Resolution: 6400 dpi with Epson MatrixCCD
Color Bit Depth: 48-bit internal/external
Grayscale Bit Depth: 16-bit internal/external
Maximum Document Size: 8.5" x 11.7" (21.6 x 29.7 cm)
Film Formats: 35mm slides, 35mm film strips, medium format (up to 6x22cm), and 4x5 inch film
Light Source: ReadyScan LED technology
High-speed mode: 4800 dpi / 6400 dpi (approx. 11 seconds)
Full-resolution mode: 4800 dpi / 6400 dpi (approx. 30 seconds)
Connectivity: USB 2.0
Software: Epson Scan with Easy Photo Fix, SilverFast SE Plus 8
Dimensions: 12.1" x 19.8" x 6.0" (30.7 x 50.3 x 15.2 cm)
Weight: 14.6 lb (6.6 kg)

Key features

The Epson Perfection V850 Pro is a powerful scanner that is ideal for professional film photographers and those who need to digitize large volumes of film for photographic prints. The scanner offers a high optical resolution, with a maximum resolution of 6400 dpi with a 48-bit color depth. Using LED ReadyScan technology, the V850 can start scanning immediately without having to warm up. 

The V850 supports a variety of film formats including 35mm slides, 35mm film strips (up to 6 long), medium format (up to 6x22cm), and 4x5 inch film, and includes two sets of each film holder, the film holders slot into place on the scanner and that ensure accurate film placement during scanning. The film holders can also be adjusted up and down to improve sharpness and focus accuracy. The V850 can of course also be used to scan documents up to 8.5" x 11.7" (21.6 x 29.7 cm).

The V850 comes with advanced technologies such as optional Digital ICE for automatic dust and scratch removal, saving a lot of time and effort later in editing. The V850 comes with software including Epson Scan with Easy Photo Fix for one-touch scanning and color restoration. For more controlled and professional scanning, the V850 comes bundled with SilverFast SE Plus 8, as well as X-Rite i1 Scanner with reflective/transparent IT8 targets for calibrating the scanner should it require it or you have specific needs in your workflow.

The V850 connects to a computer via USB 2.0 using a USB type-A connector, the scanner does not have any WiFi or other wireless connection. The V850 works on both Mac and Windows OS, with CD-ROM software, included or available to be downloaded online.

Build & handling

The first thing you notice about the V850 is its sheer size, this is not a small scanner at all, and you need some serious desk space to set this up (I had to utilize my dining table), although it is not too heavy that it can’t be moved in and out of storage when needed.

The scanner feels extremely well-built, especially when compared to less expensive models. The scanner lid feels solid, with the connections strong and secure, it feels like it is capable of opening and closing a lot without wearing out, which it would expect to do in a professional setting. The design also matches its Pro name, with the metallic decal strip and embossed Epson nameplate. There are relatively few buttons, with just an on/off and a quick scan button, unsurprising when its key functions all require software-based tweaks and tuning.

The film holders feel more secure than those of the Epson V600, with a slightly firmer plastic used. The best improvement of the V850 over the cheaper model is it can scan more film strips at once, with a wider transparency area in the lid of the scanner it can scan three rows of 35mm negatives compared to two in the V600. The V850 also comes with an additional set of holders for every film type, so you can begin loading up another series of negatives with the scanner processes the current batch, which is really handy for an efficient workflow.

The film holders use a clip-in system, which works, but is quite fiddly, occasionally the clips would just not snap in easily, and I felt I applying any more force would break them, although I am sure there is a knack to this if practiced for long enough. It was easy enough to line up the negatives in the film holders and get scanning quickly. 

The film holders line up in the scanner using little pegs that slot into markers on the side, it took a little while to get the hang of this, as it is not the easiest to see where the holes are, dragging the film holders across the scanner glass also made me wince every time at the thought of accidentally scratching the glass.

One issue with scanning large batches of film at once is dust. You can try your hardest to remove every piece of dust from three rows of eighteen negatives, but as soon as you look away there will be dust creeping in somewhere. This is far less of an issue when scanning single frames one at a time such as with the Plustek 8200i. Although with both these scanners, they have an infrared dust removal tool, which helps a lot but is not flawless, but more on that later.

Performance

The Epson V850 can produce so many combinations of file types, resolutions, and color depth that it is almost impossible to test them all here. The V850 is an incredible professional tool for getting exactly the images you need from your negatives. The 48-bit 6400dpi RAW files offer so much room to play in editing, whether you manually convert in Photoshop or use software such as Negative Lab Pro, the dynamic range and color depth, as well as control over the color balance are just invaluable.

For scans that require less post-production work, the V850 also produces excellent-quality TIF and JPEG files. A JPEG image at 6400dpi gave a file size of around 50MB, while a TIF came in at around 350MB. The TIF files offer a much wider field of color to play with after the scan, but the file sizes for a whole roll of film can add up quickly. The JPEG files can be edited for color and lighting corrections before scanning using the bundled SilverFast or Epson Scan software, and are usually good enough to use immediately.

If you want smaller file sizes then 6400dpi for most purposes is probably overkill, with web and social media applications needing much more compressed file sizes, 4800dpi scans, and even going down to 1600dpi scans produce enough image quality to use for the majority of applications, with 6400dpi always useful for a specific frame that is going to be printed to large sizes. When looking at all these resolutions next to each other on my 13-inch MacBook screen, the difference between each size was imperceptible. 

In terms of speed, scanning a single frame at 6400dpi took around 1 minute and 30 seconds to scan the image, however, it took 4 minutes and 30 seconds with infrared dust removal scan as well.

The infrared dust removal however is almost essential, it is not foolproof, and a lot of dust managed to slip past the filter, but it was considerably better than not using the infrared scan at all, and will save hours of editing later. 

Onto software, the V850 comes bundled with LaserSoft’s Silverfast 8 software for scanning. This software is really love it (well, maybe tolerate it) or hate it, I am very much in the latter camp. Silverfast 8 has an incredibly dated user interface and clunky controls, it is not the easiest piece of software to use and requires a steep learning curve. 

There is much better third-party software such as Hamrick’s VueScan with a much more user-friendly interface, but at an additional cost, or in many ways Epson’s own Epson Scan 2 software outperforms Silverfast in useability with a clean interface and a surprising depth when it comes to fine-tuning options.

Silverfast 8 does manage to produce great-looking JPEGs and TIFs though, with its NegaFix options, you can set it to the film stock you are scanning, as well as options to fine-tune all the color and lighting prior to scanning.

Verdict

Overall, the Epson V850 is a reliable and powerful scanner that is well-suited for both serious enthusiasts and professional photographers who need to digitize large volumes of film and photographic prints. 

Its high optical resolution of 6400 dpi and 48-bit color depth allows for extremely detailed and accurate scans of film, and automatic infrared dust and scratch removal helps to reduce the need for post-processing work. Additionally, the extra large and extra set of film holders included with the V850 can improve and speed up a scanning workflow.

Simultaneous to testing the V850, I tested the Epson Perfection V600, both flatbed scanners offer a 6400 top dpi, but the V600 is several hundred dollars cheaper, and I personally could not see any perceptible difference in the scans that each produced. It is a question of how much do you really need the additional selection of holders, and is it worth such a gulf in cost.

• The best film scanners
• The best 3D scanner
• The best scanner for documents & photos
• The best book scanner
• The best slide viewers

A flatbed scanner is a popular type of scanner that is widely used in homes and offices, as it is a versatile device that can scan a wide range of materials, including documents, photos, and books. Flatbed scanners work by illuminating an object and then capturing the reflected light using a sensor. The resulting image is then digitized and can be saved as a file on a computer or other storage device. 

Read more: See our guide for the best film scanners for digitizing negatives

Flatbed scanners can also be used to scan film negatives such as 35mm or medium format stocks. Flatbed scanners are popular for their ease of use and ability to produce high-quality scans with accurate color reproduction. The Epson V600 offers one of the most affordable ways to achieve high-quality scans of your film, for easy sharing online or preserving treasured memories.

Specifications

Scanner type: Flatbed color image scanner
Optical resolution: 6400 dpi x 9600 dpi
Maximum interpolated resolution: 12800 dpi x 12800 dpi
Color bit depth: 48-bit internal/external
Grayscale bit depth: 16-bit internal/external
Maximum document size: 8.5" x 11.7" (A4/Letter size)
Light source: ReadyScan LED technology
Scanning speed: 16 seconds per 300 dpi color scan, 6 seconds per 600 dpi monochrome scan
Connectivity: Hi-Speed USB 2.0
Supported operating systems: Windows 10, 8/8.1, 7, Vista, XP, Mac OS X 10.6.x to 10.14.x
Dimensions (W x D x H): 279 x 483 x 117mm (11" x 19" x 4.6")
Weight: 4.82kg (9 lbs)

Key features

The Epson Perfection V600 Photo is a flatbed scanner designed for everyone from beginners to professionals. It features a high-quality CCD sensor and can scan documents and photos up to a maximum resolution of 6400 x 9600 dpi. Using LED ReadyScan technology, the V850 can start scanning immediately without having to warm up. The V600 offers fast scanning speeds and can produce a 300 dpi color scan in just 16 seconds and a 600 dpi monochrome scan in just 6 seconds.

One of the key features of the V600 is its ability to handle a wide range of media types, including photos, film negatives, and slides. The V600 has a built-in transparency unit, allowing users to scan film negatives and slides directly, which is a great feature for anyone looking to digitize their old family photos or historical archives.

The V600 comes with two sets of film holders, one for 35mm film strips or slides, and another for medium format film. Additionally, the scanner can handle photo prints up to 8.5x11.7 inches in size or documents up to 8.5x11.7 inches (21.6x29.7cm).

The scanner also comes with Epson Scan software, which allows users to quickly and easily restore old, faded, or damaged photos. Using the inbuilt Digital ICE, the software also has tools for removing dust and scratches from film scans automatically, saving time in editing later.

In terms of connectivity, the V600 connects to a computer via USB 2.0, and uses a USB Type-A connector, but lacks any wireless connectivity. The V600 is compatible with both Windows and Mac operating systems, with compatible software and drivers available from Epson’s website.

Build & handling

The V600 is quite large, although this is to be expected from flatbed scanners, and the scanner is light enough to be easily moved around, or put into storage when not being used. The scanner itself is made from tough-feeling black plastic in a mix of mottled and smooth finishes which are both fingerprint magnets, it won’t win any beauty contests, but it also doesn’t look bad sitting on a desk.

The lid opens and closes with some small clunks and creaks which are a little disconcerting at first, but it still feels solid and sturdy enough that I would be confident in it surviving for a long time. The lid also has two catch points, one at 45 degrees and one at 90 degrees, which is useful for areas without a lot of space.

Along the front of the scanner are a series of buttons that operate functions in the Epson Scan or PhotoFix apps with one touch. These are very useful for anyone who just wants to quickly digitize films without any additional control over the output for creative purposes. A blue light on the front indicates when it is scanning so you don’t accidentally open the lid if you can’t hear the quite significant amount of noise the scanner makes while scanning.

The included film folders are good, although they feel a little flimsy with quite a lot of flex in their thin plastic, I am not heavy-handed, but I would be worried that someone might break them if they were rushing or being less thoughtful. There is also only one set of film holders included which feels a little like cost-cutting, as a second set is useful for speeding up a scanning workflow, as you can load while the scanner scans.

The film holders are very easy and intuitive to load, however, with 35mm and medium format film slotting nicely into its place, and an additional frame clips the film down flat for an even scan. The clips are a little fiddly, and sometimes just seem unwilling to clip into place properly and require more force than feels sensible, but they do their job admirably.

Performance

Starting with the software experience, the Epson Scan software is pretty good for bundled scanning software. If your goal is to get quick and easy scans to archive some memories, or quickly share them, then this software can accomplish it in a few clicks. The software will also automatically separate out each frame on a consecutive series into individual JPEG or TIF files. 

For more advanced users, the Epson Scan software offers some fine-grained control over your images when you dig into the settings, with options for color and lighting balance corrections. These options are not at the forefront through and require more clicks and windows than is ideal if you are using them regularly. Although the V600 will also work with VueScan or Silverfast if either is already in your workflow. 

The V600 scans are excellent at native 6400dpi, with crisp detail, although the photos without any tuning due come out with quite subdued color. You can easily stop down to 4800dpi or 3200dpi the scans remain excellent, and even with pixel peeping there is no perceptible difference. Scanning at smaller resolutions is much quicker, and unless you wish to print your images on a very large scale, then 6400dpi might well be overkill for use online and on social media where images are heavily compressed.

A JPEG image scanned at 6400dpi gave a file size of approximately 50MB, while a TIF was approximately 350MB but offers a much wider range of colors for post-scan editing including 48-bit color. This offers a much greater flexibility to not get all the settings right immediately, although at file sizes that are much more processor-intensive to edit.

In terms of speed, in my testing, scanning a single frame at 6400dpi took around 1 minute and 30 seconds to scan the image, however it took 4 minutes and 30 seconds with infrared dust removal scan as well.

The infrared dust removal however is really good. And although you can scan faster without it, I would argue that it is almost essential to leave it on. The Digital ICE is not flawless, a lot of dust managed to slip past the filter, but it was considerably better than not using the infrared scan at all, and will save hours of editing later.

Verdict

The Epson Perfection V600 is probably the fastest and easiest way to get seriously high quality film scans at home, with quality that is near imperceptible to what is produced by the much more expensive Epson V850. 

With easy to use software that can get surprisingly deep if you want more control, the V600 produces very large, sharp and color balanced images at 6400dpi, although for archiving or social media, you can get just as good results at lower resolutions. Well built with intuitive to use film holders, it is simple and quick for anyone to get up and running with scanning film fast without a big learning curve.

• The best film scanners
• The best 3D scanner
• The best scanner for documents & photos
• The best book scanner
• The best slide viewers

Film photography has exploded in popularity recently and many people are looking for the best film scanner to digitize their negatives in a way that allows them to be edited, printed on a large scale, or shared on social media.

There are currently a couple of ways of digitizing film negatives. You can use camera scanning, a technique involving film being placed over a lightbox, and a high-quality macro lens being used to take images of each frame. This technique gets the fastest results but is the trickiest to implement, with lots of fine-tuning. Another option is using a flatbed scanner such as the Epson V600, this is a flatbed scanner that works with film holders that can scan whole rows of film at the same time, a fast way to scan, but it is a bulky device, and the quality is often considered the worst of the options available. The final option is a dedicated single-frame scanner, this is where the Plustek Opticfilm 8200i SE comes into play.

Plustek makes three scanners in the 8000 series, with the 8200i SE playing Goldilocks in the middle. The 8100 misses out on the killer feature of infrared dust and scratch removal, and the 8200i AI comes with lots of extra software tricks, but these all require you to tolerate using the Silverfast AI Studio, an upgrade from the Silverfast SE Plus software bundled with the other two scanners.

OpticFilm 8200i SE Specifications

Image sensor: CCD
Light source: LED
Max scan resolution: 7200 dpi
Color: 48-bit input, 24/48-bit output
Grayscale: 16-bit input, 8/16-bit output
Dynamic range: 3.6
Infrared: Built-in
Scanning speed: 3600 dpi - approx. 36 sec / 7200 dpi - approx. 113 sec
Scanning area (W x L): 36.8 mm x 25.4 mm
Interface: USB 2.0
Net weight: 1.6kg (3.5 Lbs)
Dimensions (W x D x H): 120 x 272 x 119 mm (4.73” x 10.7” x 4.7”)
Operating system: Windows 7 onwards / Mac OS X 10.7 onwards
Bundled software: SilverFast SE Plus 8 (+iSRD)

OpticFilm 8200i SE Key features

The headline feature of the Plustek Opticfilm 8200i SE is its built-in infrared channel which can detect dust and scratches on the surface of the original negatives and slides. This is an additional cycle during the scanning process that uses a wide wavelength infrared light capable of passing through the film emulsion but is reflected by dust and scratches. The software can then pick up this feedback and mark the points for automatic correction. This saves a lot of time in the editing process by removing the need to manually retouch images.

The scanner can output in 7200 x 7200 dpi for 35mm negative film and mounted slide. This is equivalent to 68.9 megapixels in digital camera terms, a size only currently achievable in medium format cameras or a very select few full-frame cameras like the Sony A7R IV. 7200 dpi files are suitable for blowing up to A3 sizes. The files can also be output in 24 or 48 bit color, giving more options for fine editing.

The scanner has up to 3.6D in dynamic range using the enhanced multi-exposure function, giving a more accurate reading of the lightest and darkest areas of the image, this can produce deeper blacks while maintaining more details in the shadows and clearer highlights.

The scanner comes bundled with LaserSoft Imaging Silverfast SE Plus 8, an advanced option for those wanting to get the most from their negatives. For scans in a flash, it is also possible to use the automated Plustek Quickscan. With support for Windows 7 onwards and Mac OS 10.7 or later, almost anyone can use the scanner right away.

OpticFilm 8200i SE Build & Handling

The Plustek Opticfilm 8200i SE is incredibly small, it also comes in a neat little nylon case, where you can tuck away the machine, all the wires, and the film holders for easy storage when not in use. It is also very lightweight, it feels almost like there is nothing at all inside the plastic shell, so it is easy to transport from place to place if necessary.

The body is plastic, but it feels sturdy and strong, if I was moving it in its protective case I wouldn’t worry much about it getting damaged. There are three buttons on the front of the case, the buttons don’t feel particularly secure, with the power button especially having quite the rattle to it, but after a lot of use, it is still working perfectly. It depends on the type of scanning you wish to do, but if you use the bundled Silverfast software or alternative VueScan, then you will probably never use the other two QuickScan buttons.

The film holders are some of the best around, they are a little tricky to load the film into, but they hold the film tightly, and most importantly they hold it very flat for a perfect even scan. They feel a little flimsy but they have been put through a lot of wear in the process of my own scanning and are still going strong.

The film holder loads into the machine in a slightly unusual manner, which means that about two-thirds of the film holder will always be poking out of either side of the scanner. This is not ideal as it opens up your film to scratches and other marks. The film holder has clever little notches in the bottom that works in conjunction with teeth on the scanner for perfect alignment with the CCD sensor inside the scanner, speeding up the scanning process and getting consistent size and exposure on every frame.

OpticFilm 8200i SE Performance

The 8200i SE produces amazing results. At 7200 dpi the scan sizes are huge, with incredible levels of detail, but even at the smaller 3600 dpi it manages to achieve the same level of detail in a more manageable file size. All dpi sizes are very slow to scan in though, especially if also using the infrared and multiple exposure scans (which you should), it can take several minutes to scan one frame. One thing to note is that depending on if you decide to scan JPEG, TIFF, or DNG, the file sizes can become stratospheric. 

The dynamic range and 48-bit color output produce incredible results, especially if you decide to scan in TIFF or RAW DNG (RAW DNGs require additional processing with software such as Negative Lab Pro). TIFF files have huge amounts of saturation, with accurate colors and a smooth tonal range, with deep blacks and white whites. 

The infrared channel is a lifesaver, I try to remove all dust from my negatives before I scan them, but you can never get it perfectly clean, and the infrared dust and scratch removal has saved me hours in additional editing. I also occasionally use the camera scanning technique of film scanning and I am reminded each time of how useful infrared dust removal is when I don’t have it.

The biggest flaw with the 8200i SE is not with the scanner itself, but with the software it uses. The Silverfast SE Plus that comes bundled with the scanner is a love-it-or-loathe-it piece of software, and I am very much in the second camp. The software is functional, but a hugely outdated and clunky user interface with poor granular controls makes it incredibly hard to get consistent and finely tuned results for anyone seeking an advanced level of control over their scans. 

I would heartily recommend the alternative VueScan software from Hamrick that is much easier to use and has the same functionality as the bundled Silverfast including headline features, infrared scanning, and multiple exposures.

The process is also frustratingly manual, with no automatic advancement of the film holder, and with scans taking several minutes, it is easy to get distracted with something else and forget to keep advancing and scanning, wasting precious moments and elongating the whole process. Plustek also sells an Opticfilm 135i that auto advances and scans, which has the same hardware features as the 8200i SE but comes without the Silverfast software.

OpticFilm 8200i SE Verdict

This scanner is the scalpel and not the hammer, it is perfect for getting small jobs done proficiently and with care. Scanning at any dpi will produce fantastic scans with sharp detail and accurate vibrant color, the multiple exposure mode will pull out a wide dynamic range, and the godsend that is infrared scanning will save hours in editing software removing dust and scratches manually. 

However the process is very time-consuming with larger dpi scans taking a very long time to complete, so this is not the solution for you if you have a trove of negatives from the attic that you wish to digitize. This is a fantastic tool to achieve professional-level scans.

If you are interested in finding out more about how to scan your negative film properly, you can read our guide to how to scan negatives and transparencies. 

You can also find the film scanner for your needs in our guides to the best film scanners. Or to view your mounted slides before you scan them, you can check out our guide to the best slide viewers.

Film scanners are the bridge between your negatives and the digital world. Whether you’ve unearthed a loft full of family slides, boxes of old 35mm strips, or, like me, you’re still shooting fresh rolls of film on one of the best film cameras, a good scanner is the fastest way to get your images online and ready to share.

If you already own a digital camera and a macro lens, my top pick is the Valoi easy35. It turns camera-based “scanning” into a slick, repeatable workflow with crisp results and minimal faff.

Prefer a classic, dedicated unit? The Plustek OpticFilm 8200i SE remains a superb choice: it pulls exceptional detail from 35mm, pairs with excellent software, and is sensibly priced. Need to handle medium format, prints, or big batches? Epson’s Perfection V850 Pro Photo flatbed is the workhorse - versatile, consistent, and admittedly pricey, but built for volume.

In this guide, I’ll break down the main options - dedicated slide scanners, negative scanners, specialist flatbeds, and camera-based rigs - so you can pick the setup that fits how you shoot and how you like to work. Let’s dive in.

The best film scanners in 2026

Best 35mm film scanner

I have picked the OpticFilm 8200i SE as my top choice as it strikes the perfect balance between image quality, ease of use, and price.

Apart from its black rather than blue finish, the OpticFilm 8200i SE could be mistaken for its baby 8100 sibling. It's almost identical on this inside too, but that's no bad thing, as that means you're assured top-notch scanning quality, providing you're prepared to wait a while when using max 7200dpi scanning resolution.

There's really only one key feature that separates the 8200i SE from the 8100, and that's its dedicated infra-red scanning channel. Combined with the iSRD feature in the bundled SilverFast scanning software, any dust and scratches on your negs are automatically detected and then removed from the digital scan - clever stuff.

The downside? The 8200i SE can cost quite a bit more than the 8100, making it rather less of a bargain. But if you regularly scan multiple negs that are likely to need dust and scratch removal, then the 8200i SE could be a real time-saver and worth the premium. The price difference between the two scanners is smaller in the US, making the extra convenience of the 8200i SE very tempting.

There is also a Plustek OpticFilm 8200i Ai available, a flagship model that adds color calibration software into the package - useful for color transparency scanning, albeit at a much higher cost.

Read more: Plustek Opticfilm 8200i SE review

Best 35mm film scanner on a budget

This is the baby of the OpticFilm range, yet it still boasts a respectable 7,200dpi maximum scanning resolution. It sits below the OpticFilm 8200i SE (above) in price but misses out on the infrared scanner of its big brother.

The OpticFilm 8100 also has a real optical negative and slide scanner, and not just a digital camera sensor in a scanner body. This does, however, mean the 8100 is no speed demon. Each 35mm film frame takes nearly 4 minutes to scan at max res, but 3,600 dpi is more than adequate for most film stocks and you’ll have a scanned frame in 1 minute 20 seconds.

Though the front panel has a QuickScan button that automatically scans and saves a frame to your computer desktop, it’s best to load up the bundled SilverFast software that provides comprehensive scanning options and pre-scan image enhancement.

Even without messing with the settings, and scanning at 3,600 dpi, the 8100 is in a league of its own for scan quality, extracting bags of detail from our 35mm negs and transparencies. It also lets you scan the entire film frame with no overzealous cropping. The 8100 can struggle to reveal every detail in the shadow areas of high-contrast 35mm slide positives, but this is our only nitpick.

Best for camera scanning film

The Valoi easy35 isn't a film scanner per se, but rather an ingenious device that lets you "scan" your film with a digital camera and macro lens. Camera scanning has been around for quite a while, but I have never discovered a system that makes it quite as easy as the easy35. It has changed the way I think about camera scanning and film scanning – and deserves its place on this list.

In fact, the only reason that it isn't higher is that it's not quite the complete package, and there are a few caveats to using the device that means it's not for everyone. The big downside to the easy35 is that unless you own a decent digital camera and macro lens (and one of the right focal length), as well as a copy of conversion software and editing software, then you won't be able to scan a thing.

But if you already own all the required kit, or if you shoot film a lot then this might be a worthwhile investment, but for the casual film enthusiast, it's a lot of initial expense.

However, if you want to go down this route, then the easy35 is the fastest and simplest method of scanning I have ever used. With a few different cameras and lens combos I tried, it made producing brilliantly lit, flat, and consistent frames the most minimal of effort, with the system sealing out all outside light and the holders doing a great job of preventing stray light coming from around the outside. The easy35 comes with a standard 35mm film holder, but you can also buy holders for 35mm sprockets, half-frame, and a lot of other smaller formats.

I was sold on dedicated scanners, but after using the easy35 and seeing the ease and quality of camera scans, I have completely shifted to using the Valoi easy35 as my main method for scanning all my film.

In the UK and Europe, you can find the easy35 at Kamerastore.

Read more: Valoi easy35 film scanner review

Best for automated 35mm scanning

The OpticFilm 135i from Plustek is a hard one to recommend wholeheartedly. The scanner packs amazing hardware, with high-resolution 7200 dpi quality, an infrared channel for identifying and automatically removing dust and scratches, as well as a fully automated film holder that can scan up to six 35mm frames or six mounted slides at the touch of a button.

Sounds amazing no? Well, the trouble is that the included software – Plustek QuickScan Plus is just a bit lousy. This is one of the only Plustek film scanners you can buy (and the only one on this list) that doesn't come with a copy of the superior SilverFast SE Plus in the box. QuickScan Plus' processing of images leaves a lot to be desired in terms of peak quality, with a lot more digital noise and inaccurate colors than is ideal.

Why is it on this list? Well, if speed over ultimate quality is your main concern then, the 135i with QuickScan will suffice.

My recommendation though would be to purchase a license of SilverFast (or similar software – VueScan) this is an extra expense, but with the right software, the OpticFilm 135i is hands down one of the best hardware scanners you can buy for 35mm film.

Read more: Plustek OpticFilm 135i review

Best all-rounder

I hadn’t used a film scanner in years, not since I tested the Kodak Slide N Scan. While it was fine, I was never tempted to buy one myself – the image quality just wasn’t there. The HP FilmScan 5” Touch Screen Film Scanner, however, has changed that.

While its output still isn’t razor-sharp, it captures color, brightness, contrast, and dynamic range in a way that feels far more faithful to the original film. I don’t see much benefit in upscaling to the 22MP option, but the results are good enough that, this time, I’d actually invest in one. For me, it’s a keeper.

Part of its appeal lies in the thoughtful design. I usually find touchscreens an unnecessary gimmick, but here the 5-inch display really works, making the scanner quick, intuitive, and enjoyable to use. It comes with a slide holder and adapters for different film formats, so setting it up and running through old collections is refreshingly straightforward.

Performance is solid, too. Scans take just over two seconds apiece, which feels fast enough to keep momentum when working through large batches. The images could use a touch more sharpness, but the overall look is pleasing and much more in line with the original slides and negatives than I expected.

Price-wise, it’s a little higher than some alternatives, but you’re getting a smooth, modern operation, a generous screen, and reliable results. Taken as a whole, it’s a film scanner that balances speed, usability, and quality well enough to make it genuinely worth having.

Read more: HP FilmScan 5” Touch Screen Film Scanner review

Cheapest camera scanner

This is not the option to buy if you are looking for the absolute best in professional quality from your scans – but for its affordable price, the JJC Digitizer will give you a way to capture your negatives with enough detail and quality for sharing on social media or just for posterity.

The design is incredibly similar to the design of the Valoi adapter above, however, at less than half the price, although its value is reflected in the build quality with an overall cheaper plasticky feel. The key difference in design from the Valoi is its open back, whereas the Valoi is a completely sealed black box, the film loading and scanning portion of the JJC is a critical design issue and allows too much light in and to bounce around the frame which gives some uneven lighting around the edges – and the JJC just can't keep up with the stellar consistency of the Valoi easy35.

The JJC Digitizer can scan 35mm film in strips of six, or mounted slides two at a time, which isn't as quick as scanning whole rolls, but better if your film is already cut. You can technically scan half-frame film, but without a bespoke holder, there is a lot of light bleed on the middle edge. The film holder is good, although like the Plustek scanners is a bit flimsy and fiddly to load, but it keeps the film flat with sharpness throughout the frame.

However, the biggest downside of the JJC (also a big issue for camera scanning in general) – despite the kit being very affordably priced, to get scanning your negatives, you also need a digital camera, macro lens, and conversion software, which if you don't, the JJC Digitizer is suddenly no longer so much of a bargain and you are better off looking at a dedicated scanner like the Plustek.

Read more: JJC Film Digitizing Adapter Set review

Best cheap film scanner

If you're part of the shoebox generation, chances are you've got a treasure trove of memories stored in the form of exposed negative film and transparencies, stashed away somewhere in the nooks of your home. You might not need these to be scanned to a professional quality, instead just preserved for posterity. The Kodak Scanza is the most affordable option on this list for doing just that.

The Scanza is a convenient solution to breathe new life into those cherished memories, allowing you to easily convert them into digital formats without much know-how. With minimal hassle and effort, your old photos can seamlessly be copied on an SD card that can be transferred onto your computer, or phone, or shared with the world.

Its user-friendly interface is easy to follow, simplifying the otherwise daunting task of digitizing film. However, where the scanner lets itself down is with its delicate art to handling film which makes the process a bit trickier than is ideal.

Now why did I preface this by saying this scanner is best for just preserving memories? While it does a commendable job at transforming analog into digital, there's a lot of room for improvement in the realm of image quality. Digital scanners are not a patch on their optical scanner brethren. If you want quality that you can show off online, or in prints then look to the Plusteks and Epson scanners higher up this list. But for everyone else, the Kodak Scanza might do a decent enough job.

Read more: Kodak Scanza Digital Film Scanner review

Best simple to use film scanner

When compared to the Kodak Scanza Scanner (above), which sits at a slightly lower price point, this alternative option presents a few enhancements in design although not really bettering the cheaper model in scan quality.

In terms of performance, scanning with this device is notably swift. It efficiently processes scans, delivering prompt results. However, it's essential to note that while the speed is impressive, the resulting image quality might not reach the heights of quality or detail that some users may be hoping for. Images taken with a digital scanner lack the crispness and clarity of a dedicated scanner, however, for just digitizing memories for personal use, then this might be acceptable.

But a noticeable improvement that might make this a more worthwhile purchase over its cheaper sibling is its generously sized screen, allowing for better previewing of scans and offering a more engaging experience when viewing images in Gallery mode or slideshows after the scanning process.

Another divergence lies in the control panel. Here, it opts for a different layout, relying solely on pushbuttons, which are easy enough to use, but I expected the larger LCD to support touch functionality, which seems a given in this day and age. However, despite this limitation, operating this scanner remains straightforward and efficient, even if the quality could be better.

Read more: Kodak Slide N Scan Digital Film Scanner review

Best film scanner for Super 8 film

Digitizing old reels of cine film used to be much more complicated, as you needed to find a working projector, as well as a video camera and a screen. But this ingenious device does it all in one – allowing you to convert your Super 8 and normal 8mm cine films into MP4 digital files.

It might be sold under the licensed Kodak brand name, but it is widely compatible with 7in, 5in, or 3in reels – converting the film to digital and saving the output onto SD memory cards. There is a small 2.3-inch LCD so you can see the film before and during recording so you don't waste your time recording damaged or blank film.

Scanning is done at two frames per second – so a 3-inch 50-foot reel will take about half an hour to digitize. Once recorded, the unit can playback the footage to your TV so everyone can see it on the big screen.

Unfortunately, there is no support for audio recording directly, so if the film has a soundtrack you will need to record that on another device and combine them in separate software. Another downside is the scanner is fairly large, and with its protruding reels is a bit of an odd shape, so storing it can be a bit of an issue.

Read more: Kodak Reels review

Best professional setup

Valoi has become one of the most interesting names in the growing world of home film digitisation, and its 360 Professional System is aimed squarely at photographers who want more control than a lab scan can offer. Rather than being a traditional scanner, this is a camera-scanning setup, designed to let you photograph your negatives using a digital camera and macro lens. For film photographers who already own the right kit, it can be a fast, highly satisfying way to digitise both 35mm and medium format negatives.

In use, the Valoi 360 Professional System feels impressively well thought out. The process is hands-on without being awkward: level the film, feed it through the duster and holder, check focus on the grain, and then work through each frame using the Advancer. The tolerances are tight enough to keep the film properly positioned, but not so tight that feeding strips or rolls becomes frustrating. Scanning a roll before cutting it for storage makes the most sense, as the Advancer allows you to move from frame to frame quickly and consistently.

The real strength of the system is speed. Compared with many flatbed or dedicated film scanners, the Valoi 360 can feel refreshingly efficient, especially once your camera and copy stand are dialled in. The rubber rings on the Advancer grip the film smoothly, the holders work well across 35mm, 6x6 and 6x4.5 formats, and the whole setup feels stable in use. Dust is still part of the film-scanning experience, of course, but the included duster helps, and a blower nearby should keep most issues under control before any final clean-up in post.

Build quality is excellent throughout, and small details, such as the grippy rubber feet, make a bigger difference than you might expect by keeping the whole setup firmly in place. Paired with a good light source, such as the Cinestill CS-Lite, the system delivers a nicely controlled workflow with even illumination and plenty of flexibility. For photographers who enjoy the craft of shooting film and want that same involvement when digitising their negatives, the Valoi 360 Professional System is one of the best home-scanning solutions available without stepping into truly specialist, high-cost territory.

Read more: Valoi 360 Professional Scanning Kit

How to choose the best film scanner

So how do you choose the best film scanner? It depends on both how many negatives or slides you have and what format they are in.

Let's start with film formats. The most common film format is 35mm; this is the standard roll of 24 or 36 exposures that you usually find in drug stores or preloaded in disposable cameras. Other common types of film are mounted slides (which are positives mounted within a white cardboard or plastic border) and medium format or 120 film, which is several times larger per frame than 35mm.

Flatbed scanners are the most useful for scanning multiple varieties of film formats, as they have a large scanning surface, so if you shoot perhaps both 35mm and 120mm film, then a flatbed scanner like the Epson V850 is an easy choice – although it has been discontinued, so you'd likely need to pick one up second hand.

If you only need to scan 35mm film, a dedicated scanner like the Plustek 8200i SE might be a much smaller and more convenient option, and typically offers higher resolutions and image quality from its more controlled and dedicated sensors. There is also the option of camera scanning using a setup like the Valoi easy35, although this does require additional equipment, like a digital camera and macro lens.

Now, how about the quantity of film you have to scan? If you are looking to scan large quantities of film, then a flatbed scanner might be the choice for you, as they are capable of scanning multiple film frames automatically with minimal user input. Dedicated film scanners typically require a bit more manual interaction to move films through the scanning process and only scan one frame at a time. The Plustek OpticFilm 135i tries to bridge the gap between quality and speed, but still takes more input than a flatbed scanner.

Lastly, where you will use the film determines what maximum scanning resolution you will need. Don’t be swayed by sky-high scanning resolutions. Unless you’re digitizing extremely slow film speed, 3,200 dpi will be more than enough for most smaller films, or even medium format. Film does not have the same resolving power as today's digital sensors, so don't expect miraculous detail.

How we test film scanners

It may sound obvious, but the best way to test film scanners is by scanning a lot of film, so that is exactly what I did. I worked through roll after roll, using a mix of film stocks from different manufacturers, with varying colour profiles, film speeds and black-and-white emulsions.

The negatives were also shot on several different film cameras, which helped test each scanner’s consistency across different frames and formats. Finally, I scanned both freshly developed film straight from the lab and older negatives and slides taken more than a decade ago, to see how well each scanner handled age, detail, colour and overall image quality.

While I have my ideal settings locked and loaded, I appreciate not everyone might like my tastes in color and contrast, so I test each scanner at a variety of resolutions and settings and compare the results to give a broader range of how the scanners might handle different photographers preferences.

In the resulting scans, I look for a variety of factors including image quality, focus accuracy, sharpness, color accuracy, and color vibrance/saturation to assess it against how I would expect each film to look if scanned at a professional lab based on my prior experience and reference samples.

Last but not least, I also assess the build quality and ease of use of every scanner, as well as any software provided (or perhaps not provided) with the scanner, and assess how this affects the functionality and usability of each model.

Price comparison

The best book scanners are specially designed to make capturing the pages of a book quick and easy. Instead of waiting for the lens to move across the page, like in a normal flatbed scanner, these devices feature a camera that sits high above the book.

This allows you to scan each page in much less time, and turning the pages is a lot easier too. Look out for handy extras like a quicker activation switch (like a foot pedal) and software to overcome the natural curve of the book's pages.

In the article below, we've picked out the best book scanners at a range of prices. Our top pick overall is the Czur ET Max, but that's quite expensive, so we've also selected a range of more affordable choices as well.

Alternatively, if you want to digitally capture other types of material, check out our guides to the best document scanners and the best document cameras.

Best book scanner: our top picks

The best book scanner

The best book scanner overall

The CZUR ET26 Pro, also known as the ET Max, takes the best features of its predecessor (the CZUR ET24 Pro) and elevates them to new levels. This makes it our slam-duck pick as the best book scanner for anyone who needs the highest quality and efficiency.

The most significant upgrade is the jump from a 24MP to 38MP camera, which provides an astounding level of detail and sharpness. This is particularly useful for digitizing old, intricate texts, and for preserving images with exceptional clarity. The ET26 Pro's software, powered by an upgraded dual-core processor, is incredibly fast, too, allowing you to scan a page in as little as one second.

The patented laser-based curve flattening technology has also seen improvements, delivering even more accurate results on thick, bound books. This means your digitized pages will look perfectly flat, with no unsightly distortion from the book's spine. Paired with the magnetically-detachable side lights for glare reduction and the hand and foot pedals, you can power through large volumes of material with ease.

Like the rest of the ET series, the ET26 Pro automatically handles image processing, including smart page turning, background purification, and fingerprint removal. It supports a wide range of output formats and includes highly reliable OCR software to convert your scans into editable and searchable documents. With its ability to output a live 4K feed, the ET26 Pro is a powerful and versatile device; equally at home in an office, library, or lecture hall.

The best basic book scanner

The IRIScan Desk 6 is a versatile, entry-level document and book scanner, making it a good option for scanning small books and A3-sized materials. With its 13MP camera and 300 dpi resolution, it provides high clarity in document scanning. And while its color accuracy in photographs is not perfect, it does a decent job of capturing text-based documents and basic images.

The OCR (Optical Character Recognition) supports an impressive 138 languages, and the device includes a unique text-to-speech feature, making it ideal for users with dyslexia or those needing audio accessibility. Plus this scanner goes beyond basic document digitization and features video capture capabilities with a built-in mic, enabling Full HD video recording at up to 15 FPS.

This functionality makes the Desk 6 a great tool for teachers, presenters, and video conference hosts who need to share document views or demonstrate techniques in real time. The device connects easily to software like Zoom, Skype, and Google Meet, making it highly adaptable for remote learning and professional presentations.

The USB-powered design adds convenience, and the foldable arm ensures it is compact and easy to store when not in use. The included rubber mat keeps documents stable during scanning, further improving the overall user experience. For more details, read our IRIScan Desk 6 review.

The best handheld book scanner

If you're looking for a wand-style portable scanner, the IRIScan Book 5 is our top choice. Able capture resolutions up to 1200 dpi, it can handle detailed document and image scanning. One of its most appealing features is the ability to scan directly to a microSD card, removing the need for a computer and enabling scanning on the go. You can digitize text and images seamlessly into JPEG, PDF, or multi-page PDF formats, and the device's Optical Character Recognition (OCR) ensures even small font sizes (as small as 8 pt) are captured accurately.

While its lightweight build makes it easy to carry and operate, the IRIScan Book 5 does have drawbacks. Battery life is limited, with full charges lasting only around 100 scans at standard resolution. The small integrated display screen is helpful for checking scan settings and low-resolution previews but doesn’t allow for detailed image evaluation. This means transferring files to another device is often necessary to confirm quality.

Despite its flaws, the IRIScan Book 5 excels at its core function, delivering high-quality scans with vibrant color replication. It's particularly suited for professionals or students who need a compact scanning solution for books, photos or documents. For more details, read our IRIScan Book 5 review.

Best for archiving

Rather than directing a high resolution camera downward, like many document scanners, the ScanSnap SV600 conducts linear scans, adjusting focus as it goes to avoid the potential for distortion in the image corners.

While the lights remain in the same spot, the brightness adjusts as the scan swoops across the page too. Software efficiency tools are impressive: an A3 landscape in three seconds and the scanner is happy with bound pages up to 30mm thick too. It can compensate for curvature, producing perfectly flat-looking scans, and detect and separate multiple documents on the bed.

ABBYY OCR is included, making extraction of scannable and editable text feasible, and indeed the quality should help. Resolution is good, with 150, 200, 300 and 600 dpi modes (all at three seconds), which should please the design agencies, studios, galleries and professional archiving services in mind.

The best book scanner for lectures

Many of us are involved in sharing parts of documents, including books, in live online presentations and lectures. Step forward the modern-day overhead projector: a document camera. One of the favorites is the very portable IPEVO V4K Pro, which takes one of the most popular designs on the market and refines the microphone with smart AI noise reduction.

The camera can easily be directed at a book, either to produce a live view or to capture still images, on a Mac, PC or Chromebook. It’s not equipped with all the rapid page processing tools of the Czur or SV600, but it can definitely tackle capturing a few pages for work, which is why it sports a higher resolution autofocus camera than required simply for 1080P live streaming. We also like the fetching bottle green shade, and its relatively low cost.

See my Ipevo Do-Cam review for details about a sibling device, the 'on-the-go' equivalent. (The V4K range also has variety, with a 120 model sporting an extra-wide lens.)

Best with two cameras

The Aura Mate Pro is Czur’s answer to the mobile worker’s book scanner and presentation tool; a document scanner equipped with much of their processing functionality from their dedicated devices with extra features for online meetings. Not least of these is a second camera in the post; ideal for a lecturer sharing a book or a students in a Zoom class, though the addition of Wi-Fi might be more useful more often.

As well as working with your computer (Mac and Windows), you can use your phone. And while this device might be portable, the inclusion of a foot pedal shows it takes book scanning seriously. OCR software and page flattening is included, too. The lamp-like design also includes a 320 x 240 px preview LCD.

FAQs

How we test

We test book scanners using the supplied accessories using a standard text document, a bound book in monochrome, and a bound book with colour images. Because a significant part of the process is also the conversion to different file types, we check them for efficiency, and – if offered – we look at the quality of the Optical Character Recognition (OCR).

Compare prices

I firmly believe that one of the best scanners for documents and photos is well worth investing in. Nowadays, more and more services can only be accessed digitally. Which means there are more and more situations in which we need to scan things like bank letters, passports, signed documents or proof of address in order to get anything done online. And especially if you run a business, you'll find a fast and reliable scanner will pay for itself sooner rather than later.

To help you find your ideal match, I've listed the best scanners on the market today for this article. However, if you'd prefer a scanner and a printer in one, rather than a dedicated device, read our guide to best all-in-one printers.

Alternatively, if you want a scanner just for negatives or slides, check out our roundup of the best film scanners. And if you need to scan books, see our list of best book scanners. In the meantime, let's crack on...

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Best desktop scanners

Best scanner without Wi-Fi

If you don't need a Wi-Fi or Ethernet connection to your printer, and are happy with using USB, then the Canon imageFORMULA R40 has a lot to recommend it. Print speeds of 40ppm/80ipm are impressive, and you can stick a whole 60 sheets into the automatic document feeder at one time. You also get single-pass scanning for duplex pages, and multiple output options.

The 600dpi resolution isn't the most impressive on this list, and there's no touchscreen. But if you have a lot of documents to scan, as quickly as possible, this is a great choice. For more details, see our Canon imageFORMULA R40 review.

The newer Canon imageFORMULA RS40 is very similar, but adds the option to scan stacks of photographic prints.

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Best scanner for documents

Need to digitize long reports, or lots of individual documents? Then you want a scanner with an automatic document feeder (ADF), which allows you to add a bunch of pages at once, and leave the scanner to get on with it. If so, we'd recommend the Epson WorkForce ES-500WII.

If you don't need Wi-Fi connectivity, though, you may prefer the otherwise identical (and cheaper) Epson WorkForce ES-400 (see at Amazon) or the Canon imageFORMULA R40 (above).

It comes with Wi-Fi connectivity, scans text accurately, and reproduces all kinds of media well, from business cards to photos, thanks to its high resolution of 1200dpi (dots per inch). It has a capacity of 50 sheets, so you can leave a big report to scan without constantly reloading pages. And it can also scan both side of each page if you wish.

It works quickly, too, zipping through a steady 35 pages per minute. Other scanners on the market can beat some or all of these specs, but they're more expensive, and overkill for most people's needs.

Read the full Epson ES-500W II review.

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Best scanner for photos

The Epson FastFoto FF-680W is a great option if you need to scan lots of photos. With a capacity of 36 photo sheets, it’s great for processing large stacks of old prints, and the resulting images are high quality.

How high quality is up to you: you can choose between modes for easy sharing (300dpi), archiving (600dpi) and enlarging (1200dpi). The lower the dots-per-inch, the faster the device scans, with 300dpi images taking just one second; great for getting a family archive into the digital age. The scanner is also cleverly designed to avoid tearing, creasing or otherwise damaging your valued prints in the process.

The Epson FastFoto FF-680W isn't just for photos, though. It also does a good job of scanning all kinds of documents, a you can load up 100 standard sheets into the feeder at once. We also love the plastic guides for various widths of paper, with marks for 4x6in and 5x7in photos.

See our full Epson FastFoto FF-680W review

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Best scanner for passports

If you're looking for a small scanner that can easily fit on a busy desk, here's one of our top recommendations. Not only is it nicely compact, it offers fast speeds of 40ppm (the equivalent of 3.5 seconds per sheet) and some sophisticated features.

These include smart facial recognition, which allows it to recognizes faces on ID cards and passports. It can also get data directly from the machine readable zone (MRZ) on passports so names, numbers, and nationality can be extracted automatically.

More broadly, this scanner includes an automated document feeder (ADF) and offers active skew correction, to minimize paper jams and incomplete scans.

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Fast scanner for old family photos

If you need to scan a lot of family photos, quickly, and are willing to take a hit on quality, I'd recommend the Plustek ePhoto Z300. When reviewing it, I found this sheet-fed scanner to be easy to set up and use, and reliable in operation.

In my tests, it lived up to the promise of scanning one 4x6 color photo in two seconds and one 8x10 size color photo in five. That means that if you have hundreds, thousands or even tens of thousands of photos to archive, it's possible within a relatively short amount of time.

The downside is that at this speed, you can only scan at 300dpi. You can go up to 600dpi, but that slows things down to 18-20 seconds to scan a 4x6 print and about 40-45 seconds to scan an A4 print or document. So really, the main reason to get this is to scan a lot of pictures where you don't really care too much about the quality.

Unlike the pricier models on our list, you don’t get any fancy features such as double-sided printing or Wi-Fi. But it is easy to use. It’s very affordable. And it comes with some okay image enhancement software, allowing you to quickly enhance and restore old faded images with a click of your mouse without having to mess about in Photoshop.

You can scan documents, too, although its capabilities here are limited, so you wouldn’t want to buy this scanner for that purpose alone.

For more details, see my full Plustek ePhoto Z300 review.

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Best portable scanners

Best portable scanner

This scanner is lovely and portable, folding down to a compact carrying size of just 285 x 95 x 40mm and weighing just under a kilo. And yet it can hold up to 20 sheets, which is impressive in a scanner this portable.

It comes with an auto document feeder and single-pass duplex scanning. Page lengths of between 70mm and 356mm are supported. The companion app is brilliantly simple. And there's even a separate motorized slot for business cards.

For more details, read our Canon imageFORMULA R10 portable scanner review.

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How to choose the best scanner

How do you choose the best scanner for you? Wel, first ask yourself how much scanning you're likely to need. If it's just the occasional photo or receipt, then you'll be best off with a traditional flatbed scanner, where you lay down and scan one sheet at a time. If you need to do more, though, a sheet-feed scanner will be better, as this type lets you scan several pages at once via an automatic document feeder (ADF). Alternatively, you could opt for a hybrid scanner, aka combo scanner, which combines both a flatbed and a sheet-feed scanner in one.

Secondly, think about whether you'll need to carry your scanner to different places, or if it'll just stay on one desk. In the latter case, you'll want a desktop scanner. However, if you travel a lot, a portable scanner may be better.

Also think about how you want a scanner to connect to your computer (via USB, Wi-Fi, or both) and how fast you'll need your scanner to work. Finally, do you want to speed things up further with double-sided scanning (aka duplex), and what level of resolution you're likely to need in your scans.

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How we test the best scanners

When we test scanners, we evaluate each model according to a series of criteria, including image quality, focus precision, sharpness, color accuracy, and vibrancy/saturation. We also scrutinize each model's build quality and user-friendliness, and thoroughly assess any accompanying software for both functionality and usability.

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If you have a shoebox of old prints sitting that you wish you could scan quickly to create a digital image from your old film photos, the new Canon ImageFormula RS40 scanner could just be the thing you have been looking for.

The RS40 is essentially just an updated version of the recently-introduced Canon ImageFormula R40 - but adds an automatic print feed that will vastly speed up the digitizing process. RS40 can scan up to 40 photo prints in one go, and at an impressive speed of up to 30 prints a minute – so significantly quicker for archiving your image collection than using a flatbed scanner. Canon also claims the feature is jam-resistant - as uses ultrasonic sensors detect overlapping pages, and a Double Feed Release (DFR) system restarts your system quickly in the event of a jam.

The ImageFormula RS40 uses a CMOS sensor with a 600ppi resolution - and  saves images as either JPEGs or TIFF files. It can handled instant prints, and can handle photos up to 10x8in in size. As with the R40, you also have use of a duplex document scanner that can scan a batch of up to 60 sheets at a time.

The scanner software also offers a range of AI editing features for your scans.  The auto correction function analyzes the scene of a photo and then automatically corrects brightness, and enhance the image for onscreen display. The device also comes with  face-editing features, including face smoothing, face sharpening, and red-eye removal. In addition, the paper texture correction settings reduce dull patterns and and the effects of fading on old prints.

The unit measures 291 x 250 x 245 mm when stored, or up to 291 x 600 x 382 mm when in use; it weighs 3kg.

The Canon ImageFormula RS40 is on sale now for recommended retail price of $479.

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Got a collection of old film negatives gathering dust in a drawer? You could bring them into the digital age using one of the best film scanners, but Lomography has just launched a fresh way to scan your negs using your digital camera, or even smartphone.

The DigitaLIZA+ and DigitaLIZA Max scanning kits can hold 35mm, 120 or special format negatives, with the film holder positioned on top of a separate backlight panel. You then photograph each illuminated frame with a camera of your choice.

The DigitaLIZA+ is the more basic of the two kits and is designed to work with your normal digital camera - compact, mirrorless or DSLR. Slip a 35mm film strip into the holder and the backlight below illuminates each frame, ready to be 'scanned' by your camera fitted with a macro lens. A frame advance knob on the holder makes it easy to quickly and precisely advance each frame, while a removable bubble level is on hand to ensure the scanning kit and your camera stay perfectly straight.

120 negs can be loaded into the backlight panel section, and an adapter frame is inlcluded to enable and 127-format film to be scanned as well. Thanks to the modular design, it's also possible to remove the backlight panel and use your own lighting source for greater scanning control. 

The DigitaLIZA Max kit includes the same 35mm film holder and backlight modules, but adds a smartphone holder stand, plus an additional base plate for greater stability. The inlcuded stand allows you to clamp your smartphone and suspend it at just the right height above the negs to get perfectly framed 'scans' every time, simply by photographing each negative using your phone camera. The whole set-up is somewhat reminicent of a classic film enlarger, if you squint, a lot! Alternatviely, remove the stand and you can scan using any digital camera.

But while the DigitaLIZA concept may be fresh, but it's not entirely a first. Alongside the launch of the D850, Nikon released its ES-2 Film Digitizing Adapter Set which would attach to a Nikon macro lens, leveraging the resolving power of the D850 (along with its built-in color inversion setting) to capture high res 'scans' of 35mm negatives.

Likewise, cheaper dedicated all-in-one film scanners also use a built-in camera sensor to capture digital image 'scans' of your film (we use the word 'scan' in inverted commas, as simply taking a picture of a negative isn't acutally scanning it).

But while much faster than a traditional film scanner, these camera-based film scanners tend to provide disappointing digitized image quality. Lomography's DigitaLIZA scaners could well strike just the right balance of fast, cost-effect film scanning, while your preferred digital camera or smartphone provides high digitizing quality.

Both versions of the DigitaLIZA kit are available for pre-order from the Lomography Online Shop, though you'll have to wait until May for wider retail availablity.

The DigitaLIZA+ Scanning Kit is priced at $74.90 USD, while the DigitaLIZA Max will cost $99 USD.

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Watch the video:  digitizing slides and prints

Most of us may have said goodbye to film cameras when it comes to taking photos, but many of our most cherished memories are still locked in the pre-digital era. Whether you have drawers full of fading prints or boxes full of prized transparencies, you probably wish you could get the best of these shots onto a computer so they can be shared with a wider audience.

That said, what’s the best way of getting your old pictures onto Facebook, Flickr or your family website? The most obvious answer is to use a scanner. Flatbed scanners for prints are built into many desktop printers nowadays, while some of the best film scanners can be bought without breaking the bank.

The quality of these scanners varies, but this isn’t an issue for most of us, who just want to get pictures into the digital domain. The real issue with most scanners is that the whole process is a time-consuming affair, involving lots of patience as you scan one line at a time.

An alternative, however, is one of our favorite photography tips: rather than making do with a cut-price digital sensor, why not use the high-quality one that you have built into your camera? Photographing your prints isn’t much more complicated than sticking them on the wall and then shooting them using a tripod. All you have to do is find the right evenly-lit spot in your home.

Re-photographing your slides is a bit more complicated, because you need a lightbox – a backlighting device that photographers used to use to look at their pictures. Since few people use slides any more, these are relatively cheap to buy second-hand.

The one other bit of gear you’ll need to re-shoot your prized photos is a macro lens, which will enable you to focus close enough to the 24x36cm positive images. Check out our guide to find the best macro lens for your camera. 

1. Stick it to the wall

To re-photograph old prints, stick them on a flat wall or cupboard at chest height using blobs of Blu Tac. Avoid a surface too close to a window or in direct sunlight – you need even, diffuse lighting. You don’t need bright light because you can use long exposures with a tripod.

2. Square up to the target

Set your camera on a tripod and extend the legs so that the centre of the lens is at the same height as the centre of the print. Use Live View to frame the picture so you’re as square on as you possibly can be. Use autofocus to make sure that the detail is sharp.

3. Choose your settings

Use Aperture Priority (A) mode and set an aperture of f/8 – this is usually the setting that gives the best resolution from a lens. Now set a low ISO, at or near 100. Fire the shutter using a cable release or remote control, or, if you don’t have either of those, use the self-timer.

4. Give it a positive twist

The general shooting technique for slides is the same as prints. As transparencies need to be backlit, use a lightbox. You’ll need a tripod that can be angled to shoot directly down, and you’ll need a macro lens to be able to get close enough.

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The Pixl-latr meets a current and growing need right now. Analog photography is continually growing in popularity as younger photographers explore the medium for the first time, and even some more experienced photographers have also started shooting film again. Add to this all the film people have shot in the past and it quickly becomes apparent how much demand there continues to be for film scanning.

Film scanning is notoriously expensive when done at a professional lab, and while there are dedicated film scanners and flatbed scanners available for film scanning at home, these can vary wildly in price and image quality, especially if you need to scan medium format and large format film. These, however, can provide a cost-effective solution for photographers with large image catalog, but there is another option.

The Pixl-latr is part of a new generation of film digitization solutions focusing on the use of a film holder that’s positioned on a lightbox where you can either use a tripod or copy stand to support your camera with ideally a macro lens attached to shoot the film. 

There are other similar film holders available for digitizing film this, but the Pixl-latr provides a great balance between cost-effectiveness and image quality, making it an extremely attractive option at around $50 / £45 and perhaps less.

Specifications

Construction: Plastic
Formats supported: 35mm, 120 and 5x4 film
Illumination: Any (ideally, a lightbox)
Camera/lens: Macro lens (ideally)

Key features

The Pixl-latr is a plastic film holder that can be configured to securely hold 35mm, 120 and 5x4 film in place during digitization. As you’d expect, a lightbox is the quickest, easiest and most effective illumination method when shot from above using a DSLR or mirrorless camera with a macro lens attached; simply shoot in aperture priority at f/11 with ISO at 100, and adjust exposure compensation as required for correct exposure. The Pixl-latr website provides detailed instructions on how to digitize film using the device, so you can’t go wrong. 

The Pixl-latr is made up of 10 parts; these include ‘gates’ for creating different sized apertures for film formats, a diffuser to even out backlight and feet that allow you to stand the Pixl-latr upright so you can use window light or a desk lamp for illumination.

The genius of the overall design is the diffuser on the back of the Pixl-latr, which features a lightly textured surface designed to spread light evenly and prevent Newton rings when film is in contact with the diffuser. (Newton rings are a circular pattern that occurs when light refracts between two surfaces placed in contact.) 

Performance, quality, usability

Image quality mostly comes down to the quality of the negative or transparency being scanned, as well as whether the camera and lens are square to the Pixl-latr and film plane. Of course, ensuring that the film occupies the central area of the (camera) frame is also important because lenses are typically sharper in the centre than at the edges. 

A macro lens is best for digitization, but a standard zoom such as a 24-70mm would be sufficient. Shooting with a macro lens allows you to maximize the pixels of your camera sensor by shooting as close to the film surface as possible, not to mention that macro lenses are designed for close work so they can resolve fine detail extremely well, but you could also use a standard zoom such as a 24-70mm.

Image quality overall is impressive despite the low cost and seemingly simple design of the Pixl-latr. The most time-consuming part of the process, other than getting the camera and lens square on to the film plane to avoid distortion, is dust spotting once you’ve digitized images. But this is a problem with any scanning solution, so it always pays to use an air blower to remove as much dust from the film surface as possible. 

Verdict

This simple yet clever device is about as basic as film scanning solutions come because it’s purely a film holder that evenly diffuses light across the film plane. The Pixl-latr removes much of the high cost and complexity associated with digitizing film, and even if you don’t have a lightbox you can position the Pixl-latr vertically in front of a window or desk lamp using the included stand, although using a lightbox for backlighting is the best option by far. 

At around $50 / £45, depending on where you shop, this device is a breath of fresh air for film photographers and those who simply wish to digitize old films on a budget. For the best results, an inexpensive lightbox and copy stand are essential, although great results can be achieved using a tripod with an articulating centre column, or indeed one with the centre column inserted into the legs upside down to get the camera close to and directly above the Pixl-latr.

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With film photography currently enjoying a well-deserved renaissance, snapping away countless frames suddenly poses a problem. Just how do you digitize film without paying through the nose for a decent film scanner? Even if you decide to use a professional service instead, asking for a CD of your photos on top of the standard film development costs tends to cause price to suddenly balloon. 

Don't even get us started on shooting medium or large formats! If you stray beyond the standard 35mm film, then suddenly your fun hobby is going to start costing you some serious dough. However, if you want to digitize film for a fraction of the cost, then you're in luck. 

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Pixl-latr is a Kickstarter product that's reached its funding goal 39 times over. Based in the UK, creator Hamish Gill has produced an innovative, low-cost solution for digitizing black & white or color negatives. 

With this ingeniously simple product, you can keep your negatives flat and evenly backlit while you use a digital camera (or even a camera phone!) to capture a picture that you can then store digitally. 

Pixl-latr can digitize 35mm, 120 (up to 6x12) and 5x4 film formats. All you need to do is place your film into the Pixl-latr, put it on its stand in front of a window or lamp and then take your shots. 

You can even backlight your film negatives by using a white iPad screen as well. To help remove the possibility of pixels showing through from the tablet screen, the Pixl-latr also comes with a diffuser. 

While the Kickstarter campaign is now over, if you're interested in pre-ordering a Pixl-latr for yourself, you can check out Hamish's website here. While there isn't a definitive delivery date set, it appears you'd be able to expect it around October/ November. 

In the mean time, we'll be eagerly awaiting the Pixl-latr release - and so will our abundant stack of old negatives waiting for a fresh lease of life!

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Instant cameras aside, film may seem like an outdated format. However, digital SLR photography has only really been with us for around 15 years. So if you were bitten by the photography bug back in the days of film, chances are that there are dusty boxes filled with your old prints, negatives and slides tucked away safely somewhere.

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They’re no use there, so why not give them a new lease of life by scanning your slides, negatives and old photographs, and converting them to digital images? Once you’ve created a digital clone on your computer’s hard drive, you can keyword and catalogue them, share them, and of course edit them like any other digital image.

From film strip to hard drive, here's how to scan your dusty slides and negatives into digitally backed-up files.

Scanner setup

First you're going to need to set up your scanner. We’re using Plustek OpticFilm 8200i SE, which is especially designed for scanning negatives and slides. It’s bundled with SilverFast 8SE software, which also works with a wide range of other manufacturers’ scanners. 

You can download a 30-day free trial of the software from Silverfast (or apply the basics of this tutorial to your other scanner software).

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Be selective

Scanning can be a long process, so don’t scan out-of-focus or poorly exposed shots. Be picky and find your noteworthy prints in advance of starting. 

If your film was developed in a minilab, the frame number may be printed on the back of the shot, to help you identify the negative you want. 

If scanning slides, hold them up to the light (or pop them on a lightbox) to see which make the grade.

Right way up

You’ll need to ensure that the film is correctly oriented, otherwise the scanned images will appear upside down, flipped left-to-right, or both. 

To check, hold it to the light and make sure that any text – like the make and type of film – reads correctly, and note this down. 

Handle negatives by the edges and don’t touch the surface. If dirty, clean them with PEC-12, a specialist emulsion cleaning solutions. This is best applied using PEC Pads, a lintless disposable cloth. Both are made by Photographic Solutions.

Start scanning

Carefully place your negatives into the supplied caddy, lining up the individual film frames with the cut-out windows – our caddy allows strips of up to six frames (though minilabs typically cut them into strips of four). 

Insert the caddy into the scanner, and push it firmly until the first frame clicks into place. For each subsequent scan, simply push it in for another click.

The scan settings

The easiest way to get started is to click SilverFast’s ‘Workflow Pilot’ icon, top left. Change the Source drop-down to Negative. For the Task drop-down we selected Archive. 

Click the Start icon, then keep Multi-Exposure on to extend the dynamic range of the scanner. A prescan shows a preview. You can arrange the image area by moving the red scan outline. 

Set the size

The default Scan Dimensions are set to 1/4 size, which scans the image at 1800dpi. Scanning at Full Resolution (7200dpi) gives best quality, but takes longer and more hard drive space. 

Select the film type under the Negfix option, for us Kodak Gold ISO200. Tweak the Exposure and Tolerance sliders if needed, and click Continue to scan and save your hi-res image.

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