PaulWhiting

Moving On: that was so simple! I had already tried that but my mistake was I doing a right click. As they used to say in the DOS days, SPSF (Sound of Palm Smiting Forehead). GC: That worked, too!

Hello, Is it possible to send a private message to another member? Thank you! Paul

Looks like your deleted post nevertheless made it to my email Inbox! Hope you don't mind my answering here. But to respond to your suggestions there, no there is no bulge to the side that I can see and, yes I can very very carefully move the back a mm or so to the side due to some play in the setup. And if I do that just right, the tab will indeed contact the raised portion near the rim. So I can get by, as a workaround, but it's kind of a hassle... not a very elegant solution!

Thanks, Ferdi, I believe I'm in the UTC+7 zone... you might not see this till tomorrow morning! Actually I used to have a 5a, and I'm familiar with the different positions of the pressure plate. As far as I can tell, it's identical to the V in that respect. I'm assuming the V back is the original. Is this the photo you wanted? You'll note that on the raised portion there's a bare spot where the tab should rest. And on the raised portion, the nearest side shows a longer bare spot where the tab was going down along the side missing contact with that portion. I should have said "where the tab should make contact." I do appreciate your feedback, thanks so much. Paul

Hello again, Ferdi, Attached is the photo of where the back doesn't close all the way, when I get it closed. You can see how the gap varies in width. Regards, Paul

Excellent answer, Ferdi, thank you. Don't go away! I need to take some time for a detailed reply and perhaps upload another photo. What time zone are you in? I'm in MST, in Montana. Your description is spot on. Couple of quick responses for the time being: The tab does move in easily, the problem is that the tab does not always touch the raised portion in the back, it misses that portion and the tab is not pushed in. And on my V that raised portion is on the back, not the pressure plate. Would you mind re-checking that raised portion on your Va? My IV has that raised portion on the back too, not the pressure plate. I can get the back to close if I move the tab slightly to one side, it has some sidewise play to it. Then if I'm careful how I move the back to one side (it has a bit of play also) the back will close. Also, the back was dented at one time, and in a CLA done by the previous owner the dent was straightened out. However I think it still shows some effects of that dent. I'll take a photo and upload it but can't do that right now. It may be that the after effects of that dent cause the tab to miss that raised portion. Thank you so much, stay tuned! Paul

.... I found a strange solution! The back to my V won't close all the way. I think this has something to with the tab. My IV's back closes nicely, all the way, and I can rotate the latch to hold the back firmly in place. On a hunch... I put the IV back on the V body and then the V back on the IV body. Both backs now close easily and can be latched. !!! Go figure... anyone have a solution? I think it has something to do with that tab. This happened a few months ago and I was able to firmly push the tab to one side, but that trick won't work this time.

Very helpful, Supriyo, especially your affirming my use of the protective spray. In fact I'll take a work print, spray it, and deliberately try and smudge it. I won't try ketchup and fries, though :) As for lighting... our local art museum has recently "upgraded" their lighting, converting to LED lighting. It is such a cold light, it must register high on the K scale. Artists are not happy with it. You're right, lighting is extremely critical. Paul

Thanks to you both. Actually you represent two points of view quite well... it's up to me to make the decision, I guess! Paul

My photos are black and white, and I've been showing them matted, framed, and under glass. I'm using a set of six carts ranging from 100% carbon ink in one cart, the remaining five being various dilutions. The paper has a mat surface. The print ends up being mat, not even semi-glossy. Viewing the print under glass takes away some of the richness of the carbon print, and some folks are showing such prints without glass. I'd rather not use glare-free glass, the prints are a bit soft. I do spray the print with Premier Art Print Shield, for protection - the spray is not glossy. I'd like to hear some pros and cons of displaying the print without glass. I suppose one con might be the accumulation of dust. At any rate... let's hear some opinions! TIA, Paul

There seems to be some folks who are not familiar with Carbon Dilgital Printing. Thought I'd post a short response and hope it proves useful. Maybe someone can direct me to the forum dealing with this technique. Many people are not satisfied with the quality of the black in a printer just out of the box. The key to carbon printing is to replace all the color carts with different dilutions of carbon. For example, in my 1400 I use six cartridges ranging from 100% black (carbon) to about 2% (if memory serves). Sometimes one cart may use a very small quantity of cyan to cool the slight (very) warmth in the carbon. I've had shows where some of my prints were traditional darkroom prints and some were carbon digital prints. My favorite paper was on Ilford Multigrade paper. Another favorite was Agfa, it had a very slight warmth much like the carbon print.These traditional prints were displayed side by side with the carbon prints on PremierArt Fine Art paper especially designed for carbon inks. There was no easily discernible difference between the two kinds of prints, besides which the carbon prints are more long lasting and resistant to fading - even when the darkroom print is selenium toned. These are results obtained by a testing site called Aardenburg Imaging and Archives in Lee, MA. Thanks all, Paul

Sandy, Yes, I'm very familiar with inksupply.com. I've ordered most of my materials for carbon ink prints from this company. The products are fine and well-suited to this process. It's a little tricky to navigate sometimes, and some folks are having trouble getting their orders processed. I've had good luck myself so far. Regards, Paul

I believe I was in fact guilty of thread drift! So I've posted my question in the Beginner Questions, ie on which forum should I use for carbon printing. Paul

I'm asking this in the Beginner Questions because although I've been a member since '02, I drifted away for a while and when I returned photo.net had taken a new look. Also, during my absence from this site I was learning about b/w digital printing and QTR, found in some Yahoo! groups. But lately, there hasn't been much activity over there and my question is in which forum here am I likely find the most activity on carbon ink printing. I suspect it would be the Digital Darkoom forum. The Black and White forum seems to focus more on traditional darkroom printing. Or perhaps what I'm looking for would be in still another forum that I've overlooked. Finally, the carbon ink I'm using for my inkset for is getting harder to find and maybe some users here know of a source. I don't use Piezography, I use the method developed by Paul Roark. Thanks all! Paul

by "that question", I mean my last question... which forums should I frequent for carbon ink printing? The "stand development" question has been answered.

Thanks, rodeo_joe, for the quick response. I think I'll pass on that technique... but helpful to know what the term means. Another newbie question: Is this forum focused more on traditional darkroom photography, with perhaps some posts on what I would call hybrid photography? Whereas the Digital Darkroom focuses, as the name implies, on strictly digital photography? Lately I've been making b/w prints from either a color digital photo converted to b/w or a scanned b/w negative. My Epson printer has been reconfigured to b/w only, using various dilutions of carbon ink loaded in refillable cartridges. I learned most about this technique from Paul Roark and others over in the Yahoo! groups on b/w printing and QTR. But lately traffic is kind of slow and am looking for something over here on photo.net. For another example, where would I go for questions on "camera scanning" (as differentiated from using a dedicated scanner). I can see where, depending on my question, I may end up active in both forums. Or maybe there's a third forum I should look at. Maybe I'm guilty of thread drift! I'd be happy to post that question elsewhere... if so, where would you suggest?

I'm relatively new here... did film for many years. Now doing more digital but getting back to film after a hiatus. The term "stand/semi-stand development" is new to me, just what is that? Let me guess... you load the tank but let it stand on the table. Maybe you agitate with a stirring rod but let the tank stand. Am I close? I tried searching but I haven't caught on to the search feature here. I'm behind on that too! Thanks! Paul

That helped a lot, joe, thanks. Now for a nit-picking question (I'm good at those). Since the white paper is at a 45 degree angle, wouldn't the bottom portion of the slide be exposed more than the top edge? Or are we talking a gnat's eyebrow difference? What about the color temp of the source? I gather an LED would be cooler that a CFL, but I guess each technology's bulbs come in different temperatures. What temp would you prefer? Finally, I'm using an older DSLR, a Nikon D-90. It's only 12 mp. But I've done 11x14's (with another setup) and it ended up about 250 ppi. Seems the "standard" we supposedly aiming for is 300 ppi, but I'm very happy with my print.

Ed, I found your post helpful, thank you. Would you elaborate on what you mean by an exposure card held at a 45 degree angle? and how that combines with the diffuser on the ES-1? I'm trying to visualize what the setup looks like. Thank you!' Paul

Oops... I ran over the 15 minute time limit for editing. I wanted to say I'm open to possibilities other than the ones in the photo. For example, maybe you have the kind of knob I want and would be willing to sell it, without a swap.

To the best of my knowledge, there were two styles of Rolleicord V film spool knob. My V came back from repair (long but good repair job!) with two kinds of knob. I'm probably a little OC but would like them to match. Thanks all! Paul

Thanks for pointing out the warning. Was the warning you are referring to the one in the post right after my OP? I see two phrases that are CA, one is cyanoacrylate adhesive and the other is contact adhesive. You must mean the cyanoacrylate, right? I think I've answered my own question, but I just want to be sure. Thanks!

Matthew: Just got back from JoAnn's... there was the original cement, kind of a dark tan color, and a clear. evidently newer, version. I opted for the clear. Even though the cement won't show, I thought the natural color was not very attractive. Do you suppose the clear is just as good? Hope so! I'll do the job tomorrow am when I'm fresh and have a cup of coffee in my veins.

Thanks, Matthew, that Allene's Tacky Glue sounds like exactly what I'm looking for! We have both those stores where we live, right across from each other. I'll have to check them out.

I found Weldwood Contact Cement at my local hardware store. But I'm having second thoughts. The more I examined the plastic viewfinder frame and the area on the body where it goes, I realize most of frame's tabs were broken off. That's how the frame was originally secured to the body. You can see some of the remaining tabs in the frame's opening in my photo. Now I'm asking the members where I could obtain a new (or used) frame, with all the tabs. I did a quick search on the 'Net with no luck but perhaps someone here knows where to find a new frame.