joe_freeman

Hello all, First off, I haven't a clue about scanning, so I'm

trusting all of you can be of some major help.

Here's what I do now....Make 8x10 contact prints on Azo.

Here's what I want to do with the scanner... Get my pictures (with

as much an accurate representation as possible) (of course) on the

web and get them onto a cd that I could send to galleries and the

like.

Here's what I have... $300, maybe $400 if the quality is that much

better.

With the reading that I've done, I see that scanning negatives is a

big thing...I don't want to do that, my finished print is much

different from my negatives, color and all.

I'm obviously looking for the names of specific scanners since I

would like to buy one within the next couple weeks.

I see a lot of writing on Epson's perfection 3200....

Thanyou much for any comments!

I was photographing in the Adirondacks last weekend. I live 20 minutes south of the park...

Places to go-

Tongue mountain on Lake George. Now if you're heading north on I-87 get off at exit 24. Right at stop sign, continue until the blinking light at the 9N intersection. Left at light. Now you'll be driving for about five to ten minutes (depending on who you'll get stuck behind) before you see the Tongue mountain trailhead. You'll know it's the one I'm talking about b/c there will be a pond just after it(like 200 ft) at the edge of the parking area.

OK, here's a secret. From the parking area, cross the street and walk south until you can make your first right into a trail. The trail isn't too obvious, but you'll see a fallen tree that has been cut to allow use of the trail. Go in and continue to go south on the trail when it splits. You'll find the stream that you passed on the way to the parking area. (You can still see the road from here) Walk west up the stream, and in not too long a time you'll come to a waterfall. The whole area is great to photograph in, but mind you, you'll have to have a Weston eye as opposed to an Adams eye.

Now don't bring your camera when you walk there. If you like it, go back and get it. If you really like it, go get your camera and walk up the main trailhead just south on the same side of 9N that you parked. You'll cross a bridge, and not long after the trail will split. Stay left. Go up a little more until it get's steeper than the grade you've been hiking. Just as soon as you notice the change in grade (you'll all of the sudden be breathing heavily) you'll see some of the botton of fallen trees. Keep your eyes peeled b/c right soon after there will be an extension trail off to the right. Take it 20 ft to a much more dramatic area than the one across 9N. This whole hike takes me 10-15 minutes.

Keep in mind the Adirondacks aren't the Sierras. I hope you're not looking for "grand vistas".

If all this hiking doesn't suit you, continue driving north on 9N until you see the scenic overlook pulloff. Nice view of Lake George.

Also, there is the Ausable Chasm off exit 35 of I87. They have a website, put it doesn't by any means do the "grand canyon of the east" justice. Definately worth taking a look at if you'll be that far north.

Any more questions, just ask.

Mass Art. Such master photographers as Nick Nixon and Abelardo Morell are teachers there (I believe they are still there). And, since it's a state school, prices aren't all that high. Plus you're in Boston... so many museums and galleries and other students who are very eager to share and learn new ideas etc.etc.

 

Another school (I'm not too informed on it though) is the Rhode Island School of Design. Definately look into it. I have a feeling they aren't cheap though.

A way to obtain very selective areas of toning is by painting rubber cement on the areas you don't want to intensify. Wait for it to dry, then put it in the toner. When all finished toning, rinse the negative, peel off the rubber cement, and wash. Sounds a little wierd, but it is a very effective meathod.

I just skimmed through the responses, so forgive me if I'm repeating anyone; as far as I know, Barnes and Noble is still selling his daybooks. A few months ago I picked myself up a copy...both mexico and california in one book.

Anyone using packard shutters? If so what are your thoughts on them,

pro, con, things to look out for, things to look for?

First, thanks for all the replys.<p>

I just checked Schneider's website, and even they claim that when converted, their lenses will not be sharp, around the edges at least. Everything I'm experiancing is in accord with what they say. No matter how much I play with focusing once closed down, it will not come into focus.

I don't think diffraction is so much of an issue at 90, b/c when using it at 300 at f/90, I have no problems. I'm not hoping to get this lens to perform in a way it's not able to, but, what I would like to know is what convertible lenses do you guys find to be sharp at all their focal lengths? thanks again.

Ok, I'm confused. I have a Schneider 300/500, which just does not

give acceptable sharpness results when converted. Filter or not,

closed to f/90 or not. I'd really love to have a convertible lens

that performs sharply at ALL focal lengths. I'm assuming that there

has to be a brand out there somewhere. I know Weston had a Turner

Reich and Adams had one for Moonrise. These are two guys who are

known for definition in their images. So did they just get lucky

with the lenses bought, I hear that some Turner Reichs are sharp and

some not depending on the quality control that particular day.

I'm going on a trip soon, so something I want is to be carrying 1

lens, like Weston on his Guggenhiem. All my images are 8x10 contacts

too.

Does anyone have experiance with a turner reich, a bausch and lomb

protar triple convertible, and so on... what are your results?

Please be very critical of them, the lens you guys recommend to me

has got to be sharp at all focal lengths. Please, advise me to which

ones I need to stay away from also. I know that the schneiders are

useless when converted.(when definition is required at least)

thankyou for all comments.

Hi, I was wondering if anyone has switched from a previous type film

(in particualr Bergger bpf 8x10) to Freestyle's Arista 400, because

it's cheaper? If so, what did you think? I'll be developing it in

abc pyro and printing on azo.

ALL the information you need to know to get the best possible contact prints is located in the Azo Forum at michaelandpaula.com

Another great book to really see inside his photographic philosophy is "edward weston on photography". It contains his essays on portraiture, trees....has his artist statements. A really great collection of writings.

The best place for you to go to learn about contact printing is the "AZO forum" at www.michaelandpaula.com There you will learn everything you need to know about this meathod of photography.

If I were in your position, I'd reshoot. With such an underexposure, your shadows will look very muddy. If reshooting isn't possible, I'd dilute my developer as much as possible so it works as a compensating one, developing your shadows to a greater depth while retaining detail in the highlights.

you, or anyone involved with pyro, must go to the azo forum at michael and paula's website. anything you need to know is already there.

I agree with Domenico. If your negative has dust on it, spot it. Doesn't matter if you over do it, you can then spot the print.

I'm glad that you finally got the negative to look the way you want, but I think you would have saved much time and some film if you were developing by inspection.

Take a look at Michael and Paula's website at michaelandpaula.com. Go to the writings section. There is a wealth of knowledge there.

Do you mean the little circular screens that are used on faucets? Sounds like a great idea...adding so much air it has to rise.

I'm assuming I have air bubbles all over my prints when washing b/c I

have hard water. Is that true, or does my water just have a lot air

it? I'm also assuming that these bubbles prevent thorough washing.

Any ideas on how to get my prints completely washed? I have a

Patterson washer. Raising or lowering the temp?

Try a Ziatype. From what I've seen it's almost identical to pp print. Christopher James put out a book on all alternative processes, which will give you step by step instructions.

I can't get my negatives to intensify. I have Bergger BPF 200

developed in PMK with a pinch of amidol, stopped in water, fixed in a

non-hardening fixer. I underdeveloped about a zone and tried to

intensify with selenium, but with no apparent change. I first tried

it diluted 1:4, then 1:2, then straight. The negative was in each of

the baths with constant agitation for five minutes. I thought I was

going to pass out when it was in the straight bath. Selenium is some

potent stuff. If anyone has some suggestions or ideas, I'd really

appreciate hearing them.

Thankyou for both responses. Jimmy, could you tell me what you rate your film at? I'm assuming 100. Also, how did you arrive at these times? I made some negatives the other day from different converted times, and they were underexposed. It seems as if your times will be a lot closer.

A great 210 that will cover and allow some movements at f/9 is the G-Claron. Sounds perfect for what you want. Small (copal 0) and light.

Does anyone have adequate reciprocity times for Bergger BPF 200?

I've got a chart for up to 30 seconds, (which I regularly get longer

initial measurements) so needless to say, I'd be very grateful if

someone had conversions for the longer times. Thanks in advance.

Developed in PMK forgetting to mix the A solution (pyro) with the rest of the formula. I was developing by inspection, and after a half hour without any highlights showing up, it dawned on me what was happening.....NOTHING. That left a pit in my stomache for the rest of the night.

Hey Thurston, I've been thinking a lot about trying Acros. In the meantime, I'd really appreciate it if you could tell me where I could get a hold of Sexton's Tmax chart. Does he have one for 100 and 400?

Definately a Corona with no lime.