david_myers2

I know this is across the countrym but Mora Camera in Washington, DC is wonderful. Small, one person operation with excellent service. He only works on Nikon equipment. I have had a dropped 28 PC fixed, a 20 realigned, 2 lenses AI'd, and a body aligned this year and he has done excellent work for a very reasonable cost.

 

Hope this helps. David Myers

Let me offer a few more ideas. One, to really experience studio lighting, I would suggest you take a course from someone such as Tom Wolfe at Glen Echo Park. Tom is a master of lighting and he can show you how to keep it simple. I think the class goes for 6-8 weeks and costs less than $200. Here is the url for the glen echo workshops:

 

http://www.nps.gov/glec/classes.htm

 

I would also suggest that you consider not working with a tripod. Instead, for the first few rolls of film, get some delta 3200 (rate it about 1600) and shoot away. Get comfortable with the process. An additional benefit is that it will make it easier for the model, you can move more quickly and look for nice compositions. Moving a tripod around is a bear and you will more than likely end up with something very formal looking. Another suggestion, try some large still lifes first to get a feel for the way light plays on the subject. Experiment with the foam core board to see how it fills in the shadows.

 

Finally, there is a website of a portrait photographer who works mostly with available light - he is in Canada. I can' think of his name right now--anyone else know who I mean--wonderful work. Starts with an H! Old age is setting in.

 

David

Doesn't it come down to what we are shooting and the look we want for the image? For example, when I am working on human figure projects in a studio I shoot exclusively with 6x7 since I want lots of tonality, limited grain on large images, ... . When shooting human figure work with available light, I tend to go with 35 and the faster lenses. Landscape work, where we have time to set up, invites the MF, and so on. They each have their place and it just depends on the project and look that you want.

Just having come back from just a short trip to Sweden in the last few weeks, I have to agree with the other posters concerning the advantages of having a small digital or a 35mm packed in the bag. I had grand plans of shooting with my Pentax 6x7 -- even brought the heavy gitzo tripod with me, but in the end I used mostly my 35mm. The weather was miserable--we are talking no contrast--and the mood wasn't there for me. Instead, I took my Bessa R2 with 35mm lens every where as I walked the city. I know the Pentax 6x7 with a couple of lenses is a lot more to haul around than you were planning, but I still think something small, where film is of little concern, could fill the bill. I know from now on, I will always have the bessa r2 with me when shooting either MF or even when I haul my Nikon system around.

David

you guys are great, thanks for the information. just what I was looking for. The metering should not be a problem for her since the meter in her fm is dead and she uses a handheld meter.

 

thanks again

I just purchased a used Nikon PC 28/3.5 lens for my daughter who

needs to be able to control perspective when shooting buildings for

her college courses. The only problem is that it didn't come with a

manual. Can someone give us a few pointers on the basic elements of

its use--I see we can rotate the lens 360 degree and I see the "shift

knob." Any suggestions welcome. thanks in advance.

 

David

Should I expect higher contrast with lower iso films? I do a lot of

shooting in the studio I would like to have more control on the

constrast. I generally shoot fp4+ at 80 and process for about 15-20%

less than the recommended time.

 

I have heard that Tri-X, for example, is less contrasty, all else

being equal than lower iso films. I shoot medium format, so grain

should not be a huge issue.

is there a simple explanation of why an increase in development time

increases contrast instead of just moving up the entire tonal scale?

Why the greater separation in tones?

 

Thanks in advance, David

Steve, any thoughts on cost (street cost) and timing? I have been thinking about getting a 45 (have a 55) and now think I should wait and see what comes out in the next 6 months.

 

David

All of a sudden I am noticing a very slight pinkness on my b&w

negatives. I shoot FP4+, develop in sprint developer and fixer. I

develop for about 7 1/2 minutes at 68 degrees, use a water rinse for

1 minutes, fix for 3 minutes, wash 2 minutes, hypo clear for 3

minutes, and wash for 3 minutes. What should I look for in the

process? I have to admit I am not as careful about water temp for

the processes after the fix.

 

Thanks in advance, David

Can folks suggest the best focusing screen to get that will increase

the brightness of the screen (original that came with bodies)? As I

get older I would appreciate more light when focusing. Also, I could

be interested in a screen with a grid. Thanks in advance.

 

David

Let me offer an alternative approach. Think about purchasing the body and a single, prime lens. Perhaps a 50/1.8 or the 35/2. Use the one lens as much as possible until you feel you want a new perspective and only then buy another lens. Learn about depth of field, learn about composition, learn about getting close to a subject, learn about light, and keep the rest simple.

 

I have a full slr system for both 35 and 6x7, yet I find that I do generally just as well carrying around a rangefinder with a 35mm lens as I do with the other equipment. Yes, there are situations that demand the other equipment, but you first need to learn the basics before you branch out.

I will be on business in Stockholm in Feb and will have several days

of free time. Can folks suggest some interesting locations for

around the city of urbanscapes and landscapes? I love shooting in

the evening or with low light (much of the time in Feb in Stockholm I

suspect) with water as part of the image. Also, I will be shooting

only b&w.

 

thanks in advance for any tips, David

Perhaps not quite the answer you wanted, but two years ago I traveled in Zimbabwe--shooting from both a Landrover and from foot. I found that an 80-200/2.8 and a 300/2.8 AFS with a 2x converter were a great combo for the truck. When walking (with a gitzo tripod) I would take the 300/2.8, convertor, and a 20/2.8. From the Landrover, I would use the 80-200 on one body and the 300 on another--be sure they provide you with a beanbag and you carry something to cover the cameras while riding--no time to be digging in a bag for equipment and it can be very dusty.

I am considering using either fp4+ or apx 100 for human figure work

with studio lighting (120 film). What are people's experiences with

these and what developer/film combo's work well; i have used apx 100

with rodinal 1:50 and fp4+ with sprint developer. I have used both in

different settings. I want a long range of tone and expect that the

lighting can create some high constrast situations.

 

Thanks in advance.

John, you mention high contrast situations and using a lower EI. I agree, but what is your comment on development times? Would you recommend that with high contrast situations you also reduce development time?

 

David

I am considering buying a 35 lens from voitlander. I see three

different versions 35/2.5 pnacake, 35/2.5 classic, and 35/1.7. Other

than the speed difference, can folks comment on the optical quality

of the lenses? Weight is a modest issue, so this may push me in the

direction of the two 2.5 lenses. Thanks in advance, David

In a recent exchange about Pyro, one responder commented on the issue

of shooting in studios and the need to expand tonal range in the

midtones. I face this problem. Are there any suggestions on how to

go about this at the processing stage/shooting stage? I am shooting

generally with 6x7, FP4+, developed in d-76 1:1, 8 1/2 minutes at 68

degrees. Thanks in advance,

 

David Myers

I have been using a polaroid back on my p67 for about a year now. I

keep thinking that it might be interesting to use type 55 film when

shooting still lifes -- one exposure to check the set up (okay,

however many it takes) and one exposure for the final shot with the

change in expsoure needed when making a negative rather than a

positive. Anyone here ever to this with a P67 or MF. I know the LF

folks do this all of the time. Comments or suggestions on how to

save the film for a period before developing? thanks in advance.

 

David Myers

Last night I processed a few roles of fp4+ (120) in sprint developer. I noticed this morning when using a loupe that a number of frames had black specks on them--yet, nothing seems to appear on the film surface. I used distilled water for the developer and atap water for the wash and fix. Any thoughts on what this could be?

 

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David

Is there something very close to d76 developer, but in liquid concentrate form? I hate making up the packaged d76 (or illford look alike) only to have a period of inactivity in the darkroom for several weeks and needing to start over again.

I'm not sure which lens you are using, but Pentax has a 165/4 leaf shutter lens and there are used 90mm ls lenses available. This is the one weakness of the camera. Otherwise, I love my P67s.

 

David

After looking through the archives I found what I needed--what a

great resource.

Okay, this is a stupid question , but I need help. I just purchased a p67 with an npc polaroid back, used, and forgot to ask how to cock the shutter with the back attached! What do I do? thanks in advance, David

I am interested in switching from a pentax 67 system to the hasseblad

system. I am considering the 500cm and 501c bodies. Will both of

these bodies work with all C and CF lenses? I am lost with the

distinction between these lenses. Any tips and comments will be

appreciated. Thanks in advance, David