paul_viapiano

A cyan cast on S9000 and matte paper is very common. I find it more troublesome on the better matte paper, such as Hahnemuhle Photo Rag. I was able to get most of it out by using the Transfer function in Photoshop's Print with Preview window (toggle the Color Management tab and set it to Output).

 

Print up a 21 step grayscale wedge on the paper you'll be using and see where the casts fall. The Transfer function allows you to dial in or out the specific ink color (C,Y,M or K) at various steps in the wedge.

 

It's a lot of work and to tell you the truth, is imperfect, but combined with a slight warm toning, it's about as neutral as the S9000 can get.

 

Another tip, if you haven't tried it, is to print a Grayscale image using Same As Source in the Print with Preview window, and disable any auto color/ICM management in the print driver. I've had great results using this method with Hahnemuhle's Fine Art Pearl.

 

I'm looking to move to the Epson 3800 or possibly Canon's upcoming 9500(?) when it's released. The 3800 suppposedly gives beautifully neutral prints (so does the 2400) and hopefully Canon's will echo their ipf5000 neutral printing.

A lot of people say that 16x20 is the largest they'd print from a 4990 scan, but I think you could go larger.

 

You'd have to look at a sample in person and then determine what is best for you and your work.

My daughter is the same age and I take my RZ with me on all kinds of activities with her, but the funniest thing happened a few weeks ago. We went to the local botanical garden and were deep inside the grounds. When it was time to go she wanted to be carried to the car. I told her that I couldn't carry her because I had the camera. She said, "Daddy, I have an idea. You leave the camera here and then you can carry me." I just cracked up...

 

I carry the RZ in a small Tamrac Expedition 4 backpack with just one lens (110mm), one extra back and a Sekonic light meter. It makes for a nice compact kit.

For all of the 2400 owners:

 

How is the neutrality of the B&W prints via the ABW settings?

 

How do the toning on prints look to you?

 

I haven't seen any samples from this printer, even though it's been out for a while...

Also, make sure the film is loaded correctly. A lot of people load it backwards, upside-down, and every which way...

 

M is for multiple exposure and will NOT advance your film, but it will recock the shutter to allow you another shot on the SAME frame.

Agree with everything the first responder said, plus...

 

The "murder marks" (bent edges and creases) in the film show that the film was loaded very haphazardly and probably with much difficulty.

 

Practice with a sacrificed roll of film until you can load it perfectly. There's a great guide at:

 

http://www.inficad.com/~gstewart/ss_reels.htm

1. Yes, check mirror lockup. If the lockup port on the lens is showing a red line, screw a cable release into it and unscrew it again to see if it goes away.

 

2. Check that the lens is not on the "T" setting.

Last week, I used Kodak Readyloads with my Polaroid 545i holder for the first time. I only shot 2 sheets, a double of the scene, for testing purposes. One of the transparencies was perfect, the other lightly fogged on the top 25% of the sheet.

 

Regarding the film flatness, I just read that if you are using f22 or smaller there shouldn't be any problem with soft edges or corners.

 

I haven't tried Quickloads yet, but I will soon, as I have a few boxes sitting in my fridge.

The Mamiya RZ67 Pro II with 110mm lens, 120 back and waist-level finder weighs exactly 2640 grams or 5.8 pounds.

 

With the AE Prism Finder FE701 in place of the WLF it weighs 3430 grams or 7.5 pounds.

Just use water, works perfectly...don't complicate things.

I have the Sekonic 608 and I love it.

 

The spot meter is esp useful for B&W zone system exposures, or for metering transparencies to get subject brightness range.

 

The incident is great for everything else, plus flash. I love the way the flash can be balanced with ambient light as well. Ability to use Pocket Wizards is a big plus, too.

 

I would say get the best you can afford esp if you'll be using it for business.

How do you figure the exposure time?

Prazio spray was recommended by a moderator on the LF forum. Just Google for them and look at their scanning/mounting products. I haven't tried it yet but will very soon...

Try scanning emulsion side down...let me know how it turns out.

 

I have scanned many negs, 120 and 4x5, emulsion down on a 4990 and have never had NR problems.

My wife got me an Epson V700 for Christmas from buydig.com for $450. It came this week and she insisted I test it before Christmas (yay!)...after one scan of a color negative (usually the hardest to get the color correct with) it gave me an almost perfect match and the quality was better than any other scanner I've seen in the under-$1,000 price range.

 

It's a keeper...

John...

 

How about some pricing for your services. Your website doesn't list any...thanks!

The photos look like a variation of the Dragan effect that is currently making the rounds (and has been for a long time). A good effective look, although some are tiring of it...just look for "draganizer" on <a href="http://www.atncentral.com/download.htm">this page.</a>

The Photoshop Artistry book by Barry Haynes and the Martin Evening book, both mentioned above by other posters, are probably the best Photoshop books for photographers. I would add Photoshop Restoration and Retouching to the list as well...but the Haynes book is the one that really turned me around.

David...you may be correct.

 

I'm in southern California. Time of day was approx 1 pm.

 

With a meter, things usually work out fine, but w/o the meter and using the exposure guide above, I was surprised at the darker exposure.

 

I think 1/125 at f11 would've done the trick...

 

Thanks, all...

Hello all...

 

I went out with my family a few weeks ago with my Mamiya RZ. Not wanting to

carry all my stuff with me for a casual afternoon, I opted to use the

recommended exposures on Kodak's data sheet, basically 1/125 at f16 for bright

sun with distinct shadows, etc...

 

Almost all my exposures are about a stop underexposed.

 

Has anyone else noticed anything like this with 100G or other ISO 100

transparency film?

 

Thanks!

I agree...65mm and 110mm would be a great starter kit and possibly the only lenses you will ever need.

FWIW...People have been led to believe that digital is less expensive than film, when in reality, printing on an inkjet at home costs approximately 70 cents per 4x6 when ink and paper are figured in. This is in addition to time spent in Photoshop...

 

This amounts to $25 and change per 36 exp roll...true, there are no film costs but there is the initial expense of digital equipment (cameras, scanners, computer, software, backup drives)which may take a long time to amortize against those rolls depending on the number one may shoot per year.

 

Also, one may have to become versed in color correction, and all the attendant skills when one "allows" technology to "enable" them to "do-it-yourself"...

Also...you realize that Wilson's portrait work relies heavily on Photoshop alterations, right?

Why not plain old Kodafix? Works great every time...

TXP 320 can offer excellent results. Expose it at 160 and place your zones accordingly. I use it and dev in HC110 Dilution H, and it yields the most beautiful negatives. Adjust your dev time to lighting conditions, as described in Barry Thornton's book to essentially "pull" the film. Absolutely beautiful results...