tim_delorto

<i>...dropped the negative and accidentally stepped on it and walked a step or two until he realized that it was on the bottom of his shoe.</i><p>I think this guy has worked at about half the labs I've ever been to.

I had the exact same thing happen to my Paterson contact printer. I got a piece of 1/4" foam rubber from the craft store, which was yellowish. Since I couldn't find any in black, I bought a package of black Rit dye and dyed it. Cut it with a straight edge and razor knife, glue it on, and you're done. It looks as good as new.

Michael, although it is possible to get good results using T-Max and Rodinal, your original post sounds as if you would rather be using Tri-X. You can if you just go down to your local mini-lab and ask them for their discarded 35mm cartridges. They will all have about 1/2" of film sticking out, onto which you will tape your beloved Tri-X, place it in your bulk loader and load to your heart's content. Some will be DX coded and some will not. That shouldn't matter for your vintage camera, but you can save the 400 DX cartriges for a point & shoot.

To the terms of a contract,</br>

<br>Never assume.</br>

<br>Just be glad you're the photographer,</br>

<br>And not the groom.</br>

Congratulations on such a find. The rest of us must have been asleep. Until it was discontinued APX25 was my favorite film, and I always developed it in Rodinal. You will not believe how sharp APX25 can be in this developer.

And those who really should know better... don't. See this page http://www.bhphotovideo.com/bnh/controller/home?A=details&Q=&is=REG&O=productlist&sku=258109 to purchase your very own 120mm film spool (for use with most medium format cameras). :-)

Check out Digicraft in Portland, Oregon. http://www.udevelop.com/pages/scanning.htm. They will do up to 200Mb Flextite scans for $35. They did one for me from a 4x5 negative and did a nice job.

How far do you drive to Freestyle, and how much is gas in LA? Do the math and you may find that shipping charges are miniscule in comparison. Good luck.

If you like Kodachrome 200, you'll love E100GX. It has the same warm look. I'm afraid Provia 100F would be way too blue at that elevation. I used to shoot a lot of K200, and now wish I hadn't. It's hard to scan and about the grainiest slide film out there.

According to the MSDS, which can be found at http://www.jessops.com/downloads/pdf/jesped500.pdf, it contains Hydroquinone and Potassium Hydroxide. Sorry, I've never used it, but I hope this helps.

I've seen a lot of plywood in my life, but none that looks like the Velvia 100 shot of the apartments. It seems nuclear yellow has now replaced nuclear green. A little over the top, I'm afraid. A nice fall shot of aspens would probably burn a hole in this film! I was really looking forward to trying this stuff out, but now I'm not quite sure what to do with it.

I have ONE green cap left which just may end up on eBay soon. Be advised that it will come with a hefty reserve. ;-)

John, I have a Crown Graphic AND a 90mm Angulon and I understand fully what you are trying to achieve. You want the front standard on the dropped bed to give you front tilt, right? Sorry to say, you can't do that with this lens because, like you said earlier, "dropping the bed moves the lens too far from the rear standard." It is for this reason that I am looking at field cameras so I will have front tilt without having to do the drop bed trick. And, no, the bed doesn't get in the way of the 90mm lens's field of view so you don't have to drop the bed for that purpose, as some here thought you were asking about.

Fred, just get out there and shoot until your fingers fall off! The film will be fine. It's just a flat sheet, that is all. What I WOULD be worried about at those temps is 35mm which has sprocket holes that can get ripped up when the film is cold and brittle. Besides keeping yourself from freezing, the only problem you should have is keeping your breath off the ground glass and lens. Other than that, go out and have fun shooting!

Steve, just how cold was it up there in Prince Rupert? Film can become very brittle in sub-freezing temperatures. A similar experience happened to a friend of mine while we were snowshoeing in the Sierra Nevadas about 25 years ago. He was shooting 35mm Ektachrome for a college class and I was shooting 120 neg. After attempting to rewind a roll (using the hand crank, which of course was all we had in those days), he opened the back and found torn, brittle film from the extreme cold we had been in all day. So, I wouldn't blame the camera OR the film manufacturer... probably just lousy conditions.

Piet, ACU-1 is distributed by Brandess-Kalt-Aetna Group. Use this link for their website, then click on "contact" for their email address. <A HREF="http://www.bkaphoto.com/index.cgi?section=Black+White&display_product_in_frame=ACD-32&cart_id=7291792.11131">ACU-1</A>

<p>You can download a PDF file of the Velvia 100 datasheet from Fuji's Japanese website: <A HREF="http://www.fujifilm.co.jp/ppg/datasheet/163AR096A.pdf">VELVIA 100</A> Although it is in Japanese, there is enough English in it to understand a few things. It looks like the 100 version is only available in 135, 120, and 220, even in Japan, so I wouldn't expect to see it anywhere in sheets.</p>

<p>Also, if anyone needs a PDF for Velvia 100F that isn't yet available on the Fuji USA site, it is: <A HREF="http://www.fujifilm.co.jp/ppg/datasheet/163AR093A.pdf">VELVIA 100F</A> (also in Japanese.) Hopefully Fuji will get that one on their US site in English sometime soon. (How long has that film been out now?)</p>

<p><i>One possibility I see happening is that Kodak's traditional film business will be spun off as a much smaller Eastman Kodak Company... -- Jon Porter</i></p>

<p>How's this for a nightmare?... They sell it to QUALEX! That way they could ruin our film BEFORE we send it to them! :-)</p>

<p>Robert, I think you've answered your own question. You shoot 100 for special stuff and 400 for general use and sometimes have the wrong film in the camera. By putting 200 in your camera, you would guarantee that you ALWAYS had the wrong film in there. It's not good enough to be 100 and not fast enough to be 400.</p> <p>So I would go with what everyone else has been telling you: stay with 400 for general purpose (especially with those consumer lenses) and save 100 for the tripod... or the beach. :-)</p>

The last time I sent film without the can (over 20 years ago) it was crushed by a heavy parcel and the film cassette came open. It only takes once until you say "I'll never do that again"!

<p>By all means, take Mark Hansen up on his very generous offer so you can jump in now and start taking pictures. You can't get much cheaper than FREE, and after a year or two with this camera you'll be able to make a much more informed decision in buying your next one. It sounds like a great camera and it should take wonderful pictures.</p>

<p>In making tough decisions, it's always best to go with what you know over what you don't. You have no guarantees that the 124G on eBay even works. The camera "looks" in good condition, it's being sold as-is and it "might need servicing". I would stay away from that one. Marks camera works... take it off his hands.</p>

<p>Next, since you are already a student, take a photography class at your university, or maybe community college this summer. You will learn a lot just by doing, and after you've developed a few rolls you'll know firsthand what everybody has been telling you. It's not that hard to dev B/W in your bathroom.</p>

<p>Jump in, get your feet wet, and have fun!</p>

<p>Greetings, Simon!</p><p>Like everyone else has already said, a Crown Graphic is an excellent way to get into LF photography. That's exactly what I did about 5 years ago. Someday I might upgrade to something with more movements, but for most landscape photography it has been more than adequate.</p>

<p>As for lenses, for WA I use a Schneider 90mm/6.3 Angulon. It allows only very limited movements, so if you want to do architecture, get a modern Super Angulon. I say that with the full knowledge that the Crown won't have enough movements to fully utilize the large image circle of the SA, but if you ever borrow or rent a view camera for an architectural job, you already have the lens. For a normal lens, I am using a Rodenstock Sironar-N 150mm/5.6 (great lens). I haven't moved up to telephoto yet, but with 12" of bellows, you can't go very far. For some good, in-depth articles about lenses, look up the back issues of View Camera Magazine (http://www.viewcamera.com/) and see the articles by Kerry Thalmann. The articles aren't online, I just gave you the web address for a contact point. It's a great mag to subscribe to, you'll learn a lot.</p>

<p>You already have a tripod for the Crown because it's probably lighter than your RB67. Get a few adapter rings and use all the filters you presently own.</p>

<p>I don't use quickloads because I can barely afford 4x5 film as it is, so I've battled the dust demons. The best advice I can give you there is to brush out the film holder and dark slide with an anti-static brush and then brush the film before you close it all up. There are many whole threads on that topic alone.</p>

<p>The main thing is slow way down in your shooting. You don't want to be burning through the film like in 35mm or MF. It's a lot of fun and I'm sure you'll love it. And one nice thing for you guys down under, the image in the ground glass is right side up! :-) (sorry, couldn't resist)</p>

<p>Josh,</p><p>As far as the age of the lens, all I know is the really old ones are chrome and take 40.5mm filters. The new ones are black and take much easier to find 46mm filters. The black 80/2.8 is a really nice, sharp lens and would be worth getting fixed if the seller would help you out with it. But I would hesitate to throw too much money at one of those older chrome lenses. I have the black one and love it, maybe someone with the chrome lens could tell you a little more about that one.</p>

I just carry some rubberbands along. If the sticky thing is stuck, use 'em.

Simon, it looks like you made a soft focus filter out of your polarizer without knowing it and especially without wanting it. But a coating of sand, sea salt, or anything else is going to diffuse the light passing through your lens. My first guess would be to give the film and your lab guy the benefit of the doubt and go with what you know, that being your polarizer was a diffusion filter. After all, in your last post of this film (with the same lab guy), you gave it a pretty glowing review. So far, with the one roll I've shot (E100G/135) I would have to agree with your last post: it's a beautiful, sharp, grainless film. I need to shoot more of it, but I'm hoping it will be a good replacement for Provia. Keep us all posted with more results, because I for one am really interested in this film.