michael_kwiatkowski

On the east coast of the US (better for shipping charges) You might go with B&H photo. That

is where I go 90% of the time. And, the exchange rate would be favorable to you right now.

Also, you could check with Robert White in the UK, although I don't think they carry Kodak

film.

If it worked while holding your finger there it is probably just the broken part. I just took a

look at mine to see if I saw a fix for you but it is hard to figure out. If you had the broken

chunk I would say go to HD or Lowes and buy some 2-part epoxy and epoxy it back on. In

the absence of that, if you are handy, go look at some hardware at a home store and see if

you can see something you can make work. If all else fails, contact Jobo as they still have

all the parts for the cpp-2. It is worth fixing as the expert drums are easy to use and

produce nice development. BTW, I believe the motor Jobo uses is a Mercedes windshield

wiper motor made by Bosch.

There are some great responses here. I would say it depends on what context you put the

word wise into. Is it wise if you want the best image quality (by far) for the price range you are

talking about? Yes. Is it wise if you enjoy the process and don't just want to tell everyone you

came back with 5000 images from your photo trip (machine gun photography)? Yes. Is it wise

if you are looking for something from photography beyond the final image? Yes. Is it wise if

you enjoy being in the darkroom rather than sitting in front of a computer? Yes. Is it wise if

you want to shoot 1/500 @ f5.6? No. Is it wise if you want to come back and show prints the

next day? No. Is it wise if you want to be able to take photographs very quickly and move on?

No. You can go on and on forever like this. What does wise mean to you....

For me, I have 35mm, medium format, dslr and 4x5 cameras. There is nothing more

enjoyable and satisfying than making photographs with my 4x5. It is not the easiest, quickest

or most practical camera to use. However, I know if I came across a really nice scene to

photograph and I only had my dslr with me, I would be saying to myself "I wish I had my

4x5". I know because it has happened and that is how I know what is wise for me.

I don't know how few the "next few days" are, but you can order one online from Adorama for

49 bucks for the 5 liter kit. That is where I get mine from as I cannot get mine locally. Good

luck to you.

Putting a lens on a camera takes seconds. And as Steve said, whatever lens you store on

the camera, you'll probably want to use the other one...... That would not even be on my

list of factors when considering what camera to buy. Setting up a field camera is simple

and can be quick if you practice a bit before going out in the field. The Shen-Hao seems

like a great first large format camera. You can use it for a while and get a feel for it and

see if there are any other features, etc you need. It might be a great camera for you and

you might have it for the rest of your life. No reason to spend more money or get

something more complicated up front.....I hope you enjoy your new adventure

I agree with the other three. The Nikon is a great lens. Sharp, light and small. The only

advantage of a 5.6 is a bit more light for focusing, you'll probably never take a photograph

at 5.6. I really like mine.

It is simple, especially with a Jobo. I remember back when I was first thinking about

processing my own e6 at home, from what I read it sounded like it was difficult. People

made it sound like if you were a quarter of a degree off or a few seconds over/under the

film would be ruined or you would get big color shifts, etc. Not really the case. The only

thing that makes it more difficult than black and white is there are more steps and it takes

more time. If you are precise in your black and white development methods as you should

be, than the same approach will get you good results with a 6 step e6 kit. Also, for me it is

much less expensive. Each 4x5 sheet cost me about 45 cents to process at home. I use

40ml of each step per sheet and the 6 step kit cost about $55 with shipping. My local place

was starting to get crazy with their prices ($2 plus) and I had a 40 min drive each way.

That's 2hr 40 min of driving to drop off and pick up. And, although they did a nice job, I

do just as well at home. Don't be afraid. <a

If you can't find a guide don't be leery about going it alone. There is so much information

available you should be put together a nice schedule for the short time you have. A guide

might be nice if you have many days to get to the out of the way places, but you should

be able to do a couple days on your own. As Chuk said take the train or get a car once

outside Tokyo. The trains run like fine clockwork and the roads where you are going are

easy to get around. But, I do love the trains there especially the shinkansen It's like flying

on the ground, except on time. I have taken the train to the Fuji area many times

(Kawaguchi-ko) it is always a nice, quick trip. I hope Fuji isn't covered in clouds for you.

Have a great trip.

I don't think that the results will be different once the film is washed and dried. However,

different chemicals can affect wash times and what other chemicals might be needed. For

instance, with the TF4 fixer by photographers formulary some mentioned (and I use) a water

stop bath is recommended and there is no need for Hypo Clear. Right there you eliminate the

extra odor, chemicals and expense. Other chemicals have their own requirements. You will

find that developing your own film offers you more flexibility and creativity than you will ever

get from a basic lab.

I don't know of a site with the complete information you are seeking. There is a good book

on developers that is easy to reference and read. It is called the "film developing cookbook"

put out by focal press. It has explanations on different developers and their effects on film

from D-76 to PMK Pyro. It is a nice book to have around your darkroom.

Light is light and both meters should read the same when measuring a 1 degree spot. One or

both of the meters is off. One way to get an idea would be if you have a slr or a dslr with a

spot function to take a reading and compare the two meters to. If you plan on using the

pentax it would be good idea to get it calibrated as you don't know what kind of life it has

led to this point. If you google "spot meter calibration" there are a few places to choose from.

One the other hand, I have used a spotmeter V off and on for 18 years and it is still right on

the mark.

I would guess that color photographers are more likely to use an incident meter than black and

white photographers. Again, a guess. I know some color photographers who use a digital

camera to check exposure. I use a spot meter for everything. I like the precision of it and I like

to be the one who makes the decision about where the shadows and highlights fall in my

exposures. If you know your film, meter and development methods well, a spot meter should

be easy to use. Also, if you are making a photograph of something a ways away, in different

light, taking an incident reading of where you are standing won't be of much use. I carry an

incident meter but I can say I have never used it. I thought I would, but I haven't.

I would agree with some of the others here. If your time off is in the morning, I would

wake up very early and head to Tsukiji fish market. It is a great place. Just be careful

because it is controlled chaos there in the mornings with all the fish deliveries going in

and out. I would then have some sushi and sake at one of the stalls there. It does not get

any fresher. Then, jump on the Yamanote train line and head for the Harajuku stop.

Harajuku/Shibuya is a geat place with a lot of shops close together and many younger

people dressing up in different fashions. Tons of opportunities are there. Also, the Meiji

Jingu shrine is located off of the Harajuku stop on the Yamanote line.

Just as Frank stated, it should not be a problem if the film was stored properly through it's

life. Also, it should be good for quite a time to come, especially in the freezer.

In the strictest sense, the word latitude does refer to the films ability to handle over or

underexposure. However, dynamic range and latitude are linked. The latitude of the film

does have a correlation with dynamic range. In a film that has a 10 stop range, a

over/under exposure of 1/2-1 stop might not be a photo killer. But in a film with a 5 stop

range, a 1/2-1 stop exposure error is magnified when compared to the 10 stop range

film. I don't know if someone can point out a film with a small dynamic range but a wide

latitude. If you really want to understand a films latitude, looking at a films curve and

learning to understand it as Michael Briggs stated can be very helpful. When confronted

with a situation you think might be hard for your film to handle, try using your spot meter.

Meter the brightest and darkest part of the scene. If you know the films range, you will

then be able to see if the scene will "fit" on the film and make your exposure decisions

accordingly.

You will have more problems finding time to photograph everything you want to. May is a

great time as the falls and the Merced river should be running full and the weather can be

very interesting. The road to the high country (glacier point, etc) should still be closed then

as they close it for the winter. The snow will probably not be melted enough for the road to

open by then. Have a wonderful trip.

The scans are not the best. However it is obvious that the scenes are far beyond what

velvia can handle. Most scenes in sunlight are beyond what slide film or negative film can

capture. Negative film has a greater range though so you have a better chance at getting

something acceptable. With slide film, any scene with more than a 4-5 stop range is

outside of what the film can capture. In that case, you should forget the picture and move

on, or make an exposure so the highlights won't be "blown out" and hope the dark areas

are not too distracting.

Latitude refers to the dynamic range but also to the reaction of film to over or under

exposure. With negative film, you are more likely to get an acceptable image with a bit of

over or under exposure. Because slide film has such a small range, every bit of over or

underexposure is magnified. Therefore, even 1/3 of a stop one way or the other has the

potential at times to ruin an image.

All that said, Scotland is a very beautiful place. I would love to visit there again.

Using a developer in this manner has a compensating effect. In other words the developed

film will have very low contrast. Part of what happens is that the developer in the film gets

exhausted. Since new developer is not being introduced by agitation, development of the

film is held back resulting in low contrast. This method can be useful where a n-1 or n-2

development (for those using the zone system) is not enough. The only downside would

be the risk of uneven development with no agitation. Usually there would be a small bit of

agitation every 10 min or so to introduce new developer to the film. Larry does not seem

to have a problem though. As far as film and developer, tri-x and d-76 is a pretty

bulletproof and flexible combination.

If you like the results you are getting with tmax and tri-x think about sticking with it. I would not

be against trying a few rolls of another film to see what it does for you. However, the main thing

(for me) with film is to find one or two (maybe a 100 and a 400) that suits how you shoot and

develop, then stick with it (unless you find one you just can't work with). To really understand a

film you have to spend quite a bit of time shooting with it and developing it. Even two films such

as tmax400 and tmax100 have different characteristics other than the asa. Both Kodak and Ilford

make nice black and white film. What you choose should depend on the characteristics of each

film and how it fits your style. Do you shoot in higher contrast situations or softer light? Mostly

landscapes or people, etc? Are you precise in your darkroom methods or are your methods not

quite the same all the time? While cost is an issue, if you can, just make the choice on what is

the best film for you. You can't make those same photographs again.

First, what does your negative look like? Is it very thin? Second, as some others said you

should check the bulb. I believe the bulb for that enlarger is a PH140 75watt. Third, check

for any light leaks around the lens, etc that would allow white light to shine on your paper

during exposure. Last, when using VC (variable contrast paper, a filter should be used to

affect the grade of the paper. This has an effect on exposure times with this enlarger. Other

than that, more information about your working methods is probably needed to troubleshoot

the problem.

I meter my color with a spot meter. I shoot Velvia 100. When I meter a scene, I do so

knowing that anything I place above zone 6 2/3 will be blown out. Of course that is with

my meter, etc. Strong reds, greens, and blues usually look as I want them to on

film(strength of color, density, etc) at zone 4 2/3 to 5 1/3. White clouds might be zone 6

to 6 2/3, yellow leaves zone 5 1/3 to 5 2/3. Really though you need to understand how

high you can place something up the zone scale before it "blows out". Then you can

decide where to place things on the zone scale within a scene knowing not to put anything

above that point. Do a test. Set up a scene somewhere in unchanging light and meter

the main objects within it. (hopefully with a range of colors) Then make a series of

photographs placing one object in the scene at zone 3,4,5,6,7,8. (write down where all the

other objects fall within the zone scale at each exposure also) Develop the film and see

what you come up with. See how different colors look at each zone. It takes practice to

know what things will look like when placed on a certain zone. Also, you might like things

a bit different than someone else. Good luck with this.

Don't trash them. People still use densitometers. At least those who work in the darkroom

with b&w film or even color if the densitometer is capable. They are not hard to use and

using one make film development and exposure so much easier and more precise.

Depending on the make, how old and how good of condition they are in they might be worth

a few hundred bucks....

I use the Kodak 6 step E-6 and the final rinse is the stabilizer/photo-flo "stuff" (nice technical

term!) The reason they don't like you to use it in the tank is because of the "phot-flo" aspect

of this step. Just as you should not put actual photo-flo in your tank when doing B&W. It is

hard to get out as it coats everything. Good luck with your processing.

Reads like a nice couple of paragraphs. If I wanted to be pickey, I would say the word

"structurally" in the second paragraph is not needed. You could just say.......come together

in its final form. Other than that it reads well.

As far as John's comment about light, I would say for me I don't really need different light

I just look at light a different way. I shoot color slide film and therefore I like soft light

which is also what I like for black and white. With color though I look for how the light

changes the color and feeling of the scene. When I shoot black and white I look for how

the light changes the local contast of things within the scene. For instance early

or late in the day a color photograph might highlight the beautiful colors of a sunrise or

sunset. In black and white those colors don't exist so a photograph might highlight the the

subtle differences of light and shadow or the differences in tone of certain colors when

recorded

on

b&w film. I think an important point which she does address is the ability to see in

advance how the elements of the photograph will be recorded on b&w film. For instance,

some colors will stand out from each other in color (maybe green and red for instance) but

be rendered virtually the same tone in b&w. This can result in some flat, dissapointing

photographs if not understood.

With b&w film the general rule is to expose for the shadows and develop for the highlights.

However, when having someone else do the processing you expose for the shadows then hope. I

don't know what method you use for metering, but try metering the darkest area of the scene you

want detail in then close down 1-2 stops. If the scene has low contrast close down 1 stop, if higher

contrast 2 stops. This should enable you to capture what is in the shadows with less chance of

"blocking up" the highlights. This is just a general guide though. You should also have an idea on what

speed you should rate the film at. The number on the box is just a guideline. You should really shoot

some and have it developed to get an idea the manufacturers number is in line with your exposures.

Tmax is a good film but does best with more precise exposure and development. The same goes for

the Ilford delta films although they are a bit more forgiving. The Agfa and the tri-X are the most

forgiving film you mentioned.

Tokyo has quite a few places where you can have your film developed if you are going there. Many

people over there still love film and it still holds a place of respect. If you are in Tokyo, go to

Yodobashi Camera in Shinjuku and they should be able to steer you in the right direction.

I love traveling in that part of the world. You should have a great trip.