harry_hoag

Hi All, I have a beautiful Mamiya C330s TLR Medium Format camera with 80mm lens for sale on ebay. It's fully working, great condition, only a few minor cosmetic scuffs. Pains me to sell it but I want to switch to a meduim format SLR and there's only room for one medium format camera in my life! Message me on ebay if you want to make an offer. Cheers! Mamiya C330 S Pro Medium Format TLR Film Camera with 80mm Lens | eBay

<p>Hi,<br> I'm thinking of making a 35mm camera. I want to buy a lens and build the body, and ideally I want it to be as small as possible.<br> I'd really like some recommendations of small lenses that are mountable, something in the range of 35 to 50mm equivalent prime lens. I'm not too bothered about spec at the moment, but it would be awesome if you guys could point me in the direction of some physically small lenses!</p> <p>thanks!</p>

<p>Ok thanks for that, I'll just stick with regular fuel for now then, will be a much cleaner clear up.<br> I'll keep experimenting with lights too, it's possible that was my main problem with my last setup.<br> Thanks for your help everyone, I'll try and post some results if I succeed (and don't pass out from the fumes in the process)!</p>

<p>Hi guys, thanks for all the golden tips, I'll be giving them a whirl at the weekend! </p> <p>@jd thanks for those very handy. I've been down the bubble route, but as I'm actually filming the effect I need it to last long enough for me to get the shot. Bubbles seem too unstable, I might go back to it if the oil continues to foil me.</p> <p>@edward is not diffused light better? Well I've been using a light pointed at a white bounce card reflected in the surface, seems to work well.</p> <p>Also I've had a go with unleaded petroleum already, would anyone know if diesel might work better?</p>

<p>Hi I've been experimenting a lot with trying to achieve the rainbow oil on water effect, I never imagined it would be this difficult to reproduce... something like this<br> http://www.capturemyvermont.com/photos/548516<br> Does anyone have any words of advice or better yet first hand experience to help me out?!</p> <p>I've tried unleaded petrol, various oils, white spirit.. everything just seems to float on the water as a colourless blob. Help!</p>

<p>Hiya, learning your scanner software is a good idea, I'm sure whatever Hasselblad make is excellent. However, I use a pretty cheap epson flatbed slide scanner, and I don't trust anything automatic happening on the scanning side. I bring raw 16bit scans straight into photoshop and do all the colour correction in there manually, you have much more control. From that I get great results.<br /><br />Rory Clague just wrote a great post about colour correcting negatives in DxO here (all applicable to photoshop):<br /><a href="/film-and-processing-forum/00d8yZ?start=30">http://www.photo.net/film-and-processing-forum/00d8yZ?start=30</a><br /><br />And this is a good place to start with photoshop film colour correction:<br /><a href="http://photoblogstop.com/photoshop/accurate-white-balance-adjustments-in-photoshop">http://photoblogstop.com/photoshop/accurate-white-balance-adjustments-in-photoshop</a></p>

<p>Wow, nice Rory, great to see your workflow thanks for that, and great results. I tried DSLR scanning with my 550d a while back, but quickly realised how fiddly and unsatisfying the results were, particularly for medium format. Some of you guys here seem to have got some really great results though! Mostly out of impatience (and lack of a really decent DSLR) I opted for a flatbed negative scanner which I've been really happy with.<br /><br />I'm definitely going to try manually inverting all the channels after reading Rory's post, but doing it on every picture in a roll of film is painful. I normally let the scanner invert the negative for me with no other colour correction. Then I use photoshop with a really handy automation to set up layers for setting the white black and grey points with the help of the threshold effect (let me know and I'll post an explainer too if you like). I can then manually grade to preference.<br /><br />In terms of dust & scratch removal, I really hate the automatic ICE things, they take out stuff that aren't dust and scratches sometimes and leave ugly splotches. For me, by far the most accurate and quickest way to do it is with the photoshop spot healing brush tool, it's absolute magic! Way better than the 'traditional' stamp tool.</p>

<p>Interesting idea, but I guess film is made to absorb the light that hits it. Wouldn't be much use if light passed straight through!</p>

<p>Hi,<br> This is my first post here. I've been developing my own negatives for a few months now. All my 35mm attempts have been quite successful mostly Agfa APX 100.<br> I've now developed 3 rolles of 120mm B&W film two of which were more or less ruined by some mistakes I made. Although I was thinking they were looking much worse than they should. With this third roll I developed yesterday I've discovered that you can actually see the back paper that wraps around the film visible in the negatives...<br> The film is own brand Lomography which was the easiest available 120 film I could get at the time. I know it's cheap rubbish, but I'm worried this will happen with future attempts with better film... With negatives this bad there is no point shooting on medium format!!<br> Have a look at this image, does anyone know why the paper grain and printed pattern would be so clearly visible?<br> Shot on recently refurbished Mamiya c330 f4<br> <img src="http://i760.photobucket.com/albums/xx243/i84cookie/lomo100_008.jpg" alt="" width="1024" height="1008" /></p>