bob fowler

Try Carol Miller at Flutot's Camera Repair in Whittier, CA. She does great work on leaf shutters. flutotscamera@earthlink.net is her email.

The Hassy will serve you well for many, many years. It's already "yesterday's news" in technological terms, but that's a good thing in this case because film cameras are, for the most part, a mature technology whereas digital technology is still growing.

 

Once you experience a medium format negative or chrome, there really is no looking back! I think it's a good choice.

This evening, I put up a page on my web site that has a chart which shows how much syrup and water you need for HC-110 dilutions A through H, in working solution quantities from 100ml to 1000ml at 50ml intervals. The page also has links to other HC-110 resources.<p>You can see it <a href="http://mysite.verizon.net/fowler/photo/hc110.htm" target="_blank">here</a>.

Working for the Army, I have to do these all the time. They're commonly called "grip & grin" shoots.

 

Tips:

 

1) Get a head count of how many awards so you can plan your shooting (and roll changes if shooting film)

 

2) Arrive early, a half hour before the ceremony should be fine

 

3) Wear nice clothes and comfortable shoes

 

4) Shoot at least 2 or 3 pix of each awardee

 

5) Make sure one of the shots is the awardee and the boss making eye contact (usually while shaking hands)

 

6) Don't fuss too much getting the shots. It's OK to ask them to hold it so you can grab another pix, but don't make the ceremony drag on because you aren't ready.

 

7) Flash on a bracket that puts the light well above the lens is probably your best bet.

 

8) If the ceiling is low and your flash has enough oomph, use a Sto-Fen Omni-Bounce - they really help soften shadows.

 

9) If your flash has the capability of using an external HV battery for faster recycle times, USE IT!

 

10) More than likely, the boss will also give a short (or long) pep talk to the employees. Grab a couple of pix of the boss talking and try to get some with the employees in the shot.

 

11) Try to get a group shot of the awardees with the boss after the ceremony for the company newsletter. Those are usually good for an extra print sale.

 

12) If they have refreshments after the ceremony, politely refuse any offered. You're there to work not eat.

 

My $.02

<a

href="http://www.manchesteronline.co.uk/business/general/s/146/146929_

300_jobs_saved_at_photo_firm.html">Some really good news</a>.

Film is my acquisition medium of choice, 6X6 is the format for the majority of my wedding and about half of my portrait work. The rest is shot on 4X5 or 5X7 inch film.

Wow! Are those shops on Augsburger Strasse still there? I used to shop at them when I was stationed with the 298th Army Band at Andrews Barracks back in the 1979-1982 time frame! I bought a lot of old Agfa gear from them...

<i>"I'd reccomend a digital SLR for portraits simply for the fact that you can use a myriad of lenses for it as opposed to a "fixed" lens that non-digital SLR's would have."</i><p>What <u>are</u> you talking about?

<i>"With our process camera; we just use the electrolux model XXX!"</i><p>Ahhhh.... A manly vac in a manly way. From the days when men were men, and sheep were nervous!

Pro-Set - 86 Lackawanna Ave., West Paterson, NJ. 973-256-6626.

The QRS-35H from Custom Brackets (http://www.custombrackets.com) rotates CCW for verticals. I use it with a Nikon FM2n on an MD-12 (with an AH-3 tripod centering plate under the MD-12) and it works like a champ.

It's my opinion that the 50mm f/1.4 SMC Takumar was one of, if not THE, best 50mm lenses ever produced for color and sharpness.

No, they aren't rare, they show up all the time. FWIW, it's a pretty good lens. I had one in Nikon F mount (non-AI) that I really wish I had held onto. It's major drawback is the filter size, 67mm, which is rather large for a slow-ish 28mm lens. They were made in the 1970's. I believe Kiron was the source that Vivitar used for manufacture.

I'm not sure if there is a way to make a direct comparison/conversion of CC to DM filters. DM filters are designed to impart a specific mired shift value regardless of the color temperature of the light source involved. I'm not so sure if that's possible with CC filters.

Nope, they're not filter threads, they're for holding the retaining ring for the front element. Try to find a slip on series VII or series VIII filter holder. I have an adjustable series VIII holder that I use on my 14" R.D. Artar that has 3 thumb screws to seruce it to the front of the lens barrel. Series VIII is the best option as you can screw 67mm filters directly into the adapter.

Vick, I have an article on my web site where I discuss the basics of color temperature meters and decamired filters for in-camera color correction. I don't specifically talk of CC filters (I'm a big user of DM), but you may find some of the info useful. It's located <a href="http://mysite.verizon.net/fowler/photo/dmfilters.htm">here</a>.

<i>"The cheap slr I have to use sometimes at work on the other hand would allow several blinks between raising and lowering of the mirror...</i><p>Not all professional SLR's even HAVE an instant return mirror. Hasselblad comes to mind, so does Bronica...

<i>"there was a great link in this forum last year on his set up. I wouldn't even begin to know where to look for it Steve. But he used all mole richardson tungsten and carbon arc lamps, up to ten or twelve of them. there was a wide shot of one set up and it looked like a nightmare with lamps and blacks flags. make up would melt off the subjects face it was so hot. and then under the enlarger it looked like a bit of diffusion printing."</i><p>Hurrel's negatives were <u>heavily</u> retouched - for a good example, look at the work he did with Joan Crawford, NOBODY has skin like that!<p>While you <u>can</u> reproduce his lighting style with studio strobes, you really need to do it with proper hot lights - i.e. spots and broads. A nice high ceiling in the studio would also be a big help...

I have a roll of 3/16" red lith tape and a roll of 1/4" black photo tape in a dispenser on my desk for holding film on the glass of my T1200. Never had problems that way...

I took a bit different approach on mine. I use one set up for both my 12" and 14" Artars on my 5X7 Eastman. You can see the details here:

 

http://mysite.verizon.net/fowler/photo/packard2.htm

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Yup, it's supposed to lock. Unfortunately, many of these cameras have seen a lot of abuse over the years and the rack and pinions may be a bit loose and not lock.

Expensive? I just bought yet another Bronica SQ-A with 120 back and 80mm PS lens for $200.00. I don't think THAT is expensive at all...

First, light sources have color temperature, NOT lenses. Certain lens coatings can have an effect on the color rendition of a lens, but even that is very slight. I would be more concerned about variations between emulsion batches more than between lenses.

 

As for 180mm lenses, all of the makers have good examples. You'll pay more for greater coverage and speed. Mine is a Sironar and I'm very happy with it. I wouldn't overlook Nikon or Fuji, they are fine lenses.

<i>"Generally, what kids of camera would Kodak have been producing these for?"</I><p>Simple, everything. The whole idea behind series sized filters was that you didn't need to buy a new set of filters in sizes to match a particular lens, just different size adapter rings. I have series sized filters in sizes from Series 4 (tiny) to series 9 (massive). The most common ones I use now are series 7 and series 8, though I often used series 6 back when I was shooting a lot with a Speed Graphic. My most often used series sized filters are sets of Tiffen decamired light balancing filters.<p>As for adapters, they were made by many different companies, not just Kodak. You can find them in both the slip on style for lenses without filter threads, and screw in for those that do.