Anyone who grew up before the digital age likely has boxes or binders filled with old negatives and slides. For years, I looked at these tangible pieces of the past and thought about how incredible it would be to bring them into the digital world – not just for viewing on a screen, but to share them easily with family scattered across the globe. The sheer volume felt overwhelming, and the thought of losing those irreplaceable memories to time and physical degradation was a constant, nagging concern. Finding an efficient and quality way to preserve these precious film and slide formats became a genuine need.
- OF 135i can automatic batch convert 35mm Slides and Negative film, perfect for people who have shoes box full of negatives and slides
- 7200 x 7200 dpi (69 Megapixels) for 35mm Negative film and mounted slides. 48-bit input, 24/48-bit output
- Built-in infrared channel can detect dust and scratches on the surface of the original negatives and slides. It is highly useful for defect removal without retouching the images.
Deciding on the Right Path to Film Preservation
Before committing to a film scanner, it’s essential to consider what you need it to do and whether this category of device is truly right for you. Film scanners exist to breathe digital life into analog film, allowing you to archive, restore, and share images captured on 35mm negatives and slides. They are typically sought after by individuals with large collections of film who want more control and potentially higher quality results than commercial scanning services or flatbed scanners with film adapters might offer. The ideal customer is someone with a significant archive of 35mm film (negatives or mounted slides) who is willing to invest some time and effort into the scanning process. If you only have a handful of images to digitize, a service or a quality flatbed might be sufficient. Conversely, professional photographers might need scanners with even higher dynamic range or specialized software compatibility. Key considerations before buying include the resolution offered, the type of film supported (only 35mm for this model), the presence of dust and scratch removal technology, the scanning speed, the included software, and importantly, the level of automation. You also need to think about your computer’s operating system compatibility and the physical space the scanner will occupy.
- SAVE OLD PHOTO MEMORIES: 1422MP Digital Film Scanner Lets You View, Edit and Convert Your Old Color and BandW Negatives 135, 110, 126mm and 50mm Slides 135, 110, 126mm to Digital Files and Save...
- PRESERVE OLD MEMORIES - Quickly and easily converts 35mm/110/126/Super 8 film negatives & 135/126/110 slides into high resolution 24MP digital JPEG files
- Keep Old Memories Alive: 22MP Digital film scanner lets you view, edit and convert old color and B&W negatives [135, 110, 126mm] and 50mm slides [135, 110, 126mm] and Super 8 slides to digital files...
Introducing the Plustek OpticFilm 135i
The Plustek OpticFilm 135i presents itself as a specialized automatic film & slide scanner designed specifically for 35mm film. Its core promise is to simplify the daunting task of digitizing large volumes of negatives and slides through automation. When you purchase the OpticFilm 135i, you typically receive the scanner unit itself, a power adapter, a USB cable, a film strip holder, a panoramic film holder, and a mounted slides holder. Compared to some of Plustek’s more enthusiast or professional models like the 8200i or 8300i (which often include more advanced software like SilverFast), the 135i is positioned as a high-volume, user-friendly option. It aims to be for the person with shoeboxes full of film who wants quality digital files without getting bogged down in complex manual settings. It might not be the best fit for professional archiving or critical photographic work where maximum control over exposure and colour is paramount, as its included software is simpler.
Here’s a quick look at some pros and cons:
Pros:
* Automatic batch scanning significantly speeds up processing large collections.
* High 7200 dpi resolution capable of capturing fine detail.
* Built-in infrared channel assists with dust and scratch removal.
* Includes holders for both film strips and mounted slides.
* Supports export to third-party editing software.
Cons:
* Included software (QuickScan Plus) is basic and lacks fine-tuned control.
* Dynamic range can be limited, struggling with high-contrast scenes.
* Infrared dust/scratch removal isn’t perfect and can sometimes affect image detail.
* Scanning at high resolutions can be slow per frame.
* May produce colour casts or require significant post-processing for accurate colours, especially with older or less common film types.
Exploring the Capabilities: Features and Real-World Use
Using the Plustek OpticFilm 135i over an extended period has given me a deep appreciation for its strengths and a clear understanding of its limitations. My primary goal was to digitize thousands of images spanning several decades, captured on a variety of 35mm negative and slide films.
Automatic Batch Scanning: This is, without a doubt, the headline feature of the OpticFilm 135i and the main reason many people will consider it. The automatic film transport system works with dedicated holders for film strips (up to 6 frames) and mounted slides (up to 4 slides). Once loaded, the scanner pulls the holder through automatically, capturing each frame in sequence. This is a significant time saver compared to scanners where you manually advance each frame. For someone like me, dealing with potentially hundreds of film strips, this feature alone is a game-changer. It allows you to load a batch, start the scan, and walk away to do other things, drastically reducing the active time spent babysitting the scanner. The promise of clearing out boxes full of negatives suddenly seems achievable. However, it’s worth noting that while the transport is automatic, loading the film into the holders still takes time, and the software isn’t entirely hands-off; you often need to review and save images between batches.
High Resolution (7200 dpi): The Plustek OpticFilm 135i boasts a maximum resolution of 7200 x 7200 dpi, translating to a potential 69 megapixels for a 35mm frame. This level of detail is impressive on paper and means you can capture a significant amount of information from your film. For archiving purposes or making decent-sized prints, this resolution is more than adequate. Scanning at 7200 dpi yields large files, which are great for retaining detail but also require ample storage space and processing power. The downside here is that scanning at this maximum resolution is time-consuming. A single frame can take several minutes, and scanning a full strip at 7200 dpi can easily exceed half an hour, maybe even longer depending on your computer’s speed. While the *automatic* transport moves the holder, the *scanning* itself at high resolution is far from instant. For quicker previews or web sharing, you’ll likely opt for lower resolutions like 1800 dpi or 3600 dpi, which the scanner also supports and completes much faster.
Infrared Dust/Scratch Removal (iSRD): A common problem with old film is dust and minor scratches. The OpticFilm 135i includes a built-in infrared channel that scans the film for imperfections based on how the IR light passes through it. This information is then used by the software to automatically remove detected defects. When it works well, this feature is incredibly useful, saving hours of manual spot healing in post-processing. It’s particularly effective at removing small dust particles. However, like most automated systems, it’s not perfect. More significant scratches, fingerprints, or debris may not be fully removed and might require manual cleanup later. Also, the infrared channel can sometimes misinterpret image details (especially strong lines or textures) as defects, leading to unwanted blurring or smudging in those areas, particularly if the “lite” setting isn’t used or if the defect crosses a high-contrast edge. Pre-cleaning your film with a blower brush is still highly recommended to minimize the need for this feature to work too hard.
Software and Control: The included software, QuickScan Plus, is designed to be user-friendly, focusing on automating the process. It offers basic options like Positive, Negative, and Custom scanning modes, as well as settings for resolution, output file type (JPEG or TIFF), and applying the IR dust/scratch removal. For beginners or those who just want quick scans, this simplicity is fine. However, for photographers who need precise control over exposure, colour balance, and other scanning parameters, QuickScan Plus is quite limited. It lacks features found in more professional scanning software like SilverFast or VueScan, which are not natively supported by the OpticFilm 135i (though third-party support like VueScan is constantly evolving, official support for specific models and OS versions can be hit or miss). This lack of granular control means that images, especially negatives with challenging exposure or older, faded films, might come out with colour casts (a green or yellow cast is sometimes reported) or incorrect exposure that requires significant work in external editing software like Photoshop or GIMP (which the scanner *does* support exporting to). There’s also a limitation in the auto-cropping function, which can sometimes crop too tightly or struggle with variations in frame spacing, requiring manual adjustment in Custom mode.
Dynamic Range: This refers to the scanner’s ability to capture detail in both the bright highlights and dark shadows of a scene. Film, especially slide film, can have a wide dynamic range. Some users have reported that the Plustek OpticFilm 135i can struggle with high-contrast scenes. Bright areas can become “blown out” (lacking detail), and shadow areas can be “crushed” (completely black with no detail). This limitation means that negatives or slides with significant contrast differences may not digitize perfectly and could lose information compared to scans from higher-end scanners.
Film Holders and Handling: The included film holders are generally well-designed and help keep the film flat and properly aligned for scanning. The magnetic closure on the negative holder is a nice touch. However, users should be careful when inserting mounted slides, especially older cardboard mounts, as the spring tension is strong and can bend weaker mounts if not inserted carefully. Properly orienting the film in the holders takes a little practice, as there aren’t always obvious markings, though the holders themselves have arrows.
Overall Performance: Despite the limitations in software control and dynamic range, the Plustek OpticFilm 135i is capable of producing high-quality scans, particularly from well-exposed negatives or slides. The detail captured at high resolutions is impressive, and the automatic transport streamlines the process for large volumes. It’s a machine best suited for archiving personal memories rather than critical photographic reproduction. The challenges with dynamic range, software limitations, and occasional IR artifacts mean that achieving the *best* possible scan from every frame might require external editing, but the raw capability is there for capturing the image information.
Hearing from Other Users
After spending considerable time with this scanner, I looked online to see what others were saying about their experiences. It seems many users appreciate its ability to digitize large collections of old film and slides, finding it a valuable tool for preserving family history. People mentioned successfully converting boxes dating back decades. The automatic feeding mechanism is frequently highlighted as a major advantage, significantly simplifying the workflow compared to manual scanners. While some users praised the image quality obtained, others echoed concerns about the software’s simplicity and the scanner’s ability to handle poorly exposed film or high-contrast scenes, sometimes requiring significant post-processing. The infrared dust removal was often cited as useful but not foolproof, especially with stubborn defects or challenging image details. Overall, the sentiment is positive among those who need a high-volume solution for archiving personal film, accepting that some level of post-processing might be necessary for optimal results.
Final Thoughts on the Plustek OpticFilm 135i
Facing a large collection of film and slides can feel overwhelming, and the risk of these valuable memories fading or being lost over time is real. Digitizing them is a crucial step in preserving your history and making it accessible. The Plustek OpticFilm 135i is a strong contender for tackling this challenge, particularly if you have a high volume of 35mm film. Its automatic batch scanning feature is a standout benefit, drastically reducing the manual effort required for large projects. While the included software is basic and the dynamic range has limitations compared to higher-end options, the scanner is capable of producing detailed scans, and its infrared dust/scratch removal can save considerable editing time. For anyone ready to dive into digitizing their film archives and willing to navigate some potential post-processing, the OpticFilm 135i offers a practical and efficient path forward. If this sounds like the right tool for your film preservation project, you can click here to check out the product and learn more.
Last update on 2025-06-22 / Affiliate links / Images from Amazon Product Advertising API