frank lahorgue

I've re-loaded mine with Tri-X and Arista 400 a number of times -- no problem to date. Since I've never reloaded with color. I can't comment on relative thickness.

Good luck.

Greetings John Elstad. You moved away before we had a chance to meet.

I echo most of what's been said above. Mostly, I want to control how my images are presented. Secondly, I have an inborn distaste for any form of bureaucracy.

If you or anyone else wishes to see what I do, check in at www.lahorgue.com -- you will see my portrait by Per Volquartz as well.

"life is too short to be wasted on poor wine or small negatives." -- anonymous.

I have used the Fuji quickchange system for the past year or so. The holder carries a film pack with eight sheets. The filmpack can be removed from the holder without exposing film. You can carry several filmpacks with different emulsions and and swap them around on a shoot. You can shoot all eight and then refill any emulsion you wish or you can shoot fewer, remove the exposed sheets only and then refill.

There is a little learning involved in the reload process since you get no instructions. Fuji wants you to buy new filmpacks rather than reloading used ones.

Each filmpack of eight sheets occupies about the same space as two standard holders. I think I paid around $150 for the holder itself while each filmpack loaded with Provia costs about $45, just a bit more than purchasing an empty standard holder. Once you own the system, you have a means of carrying around a lot of film in a compact fashion at a relatively low cost compared to buying new standard holders.

Overall, I think it is a system worth considering.

Frank LaHorgue

www.lahorgue.com

The reason I ask bears on my personal experience. Using BTZS tubes, I had this problem big time when I switched from D76 to Rollo Pyro. I thought the problem was related to the Pyro.

My solution has turned out a sound one. First, I move negs from holders into water in a small tray for a 30 second soak. The tubes, wet or dry, are then easy to load in the dark and are immediately capped and rolled with the normal pyro presoak.

The second change in procedure was to remove the negs from tubes after fixing. You can then see what you are doing in full light. The negs complete fixing in the same 8x10 tray into which I rolled the tubes after the stop bath.

I hope this helps......

Can anyone recommend a repair station for my Zone VI compensating

timer? Airhead tried to fix it himself and now has a real mess on

his hands. The problem now goes beyond replacing the fuse.

Thanks

Frank LaHorgue

For what it's worth, I just called B&H hoping to order some of the "old" Tri-X. They claim to have only "new" stuff for sale. Are there any sources for old Tri-X?

Frank LaHorgue

My view of the week is exactly as Wilbur has presented it -- he hasn't overstated it one bit.

I believe this was the first of Per's workshops to extend beyond a weekend. A core group, including Wilbur and me, stayed the entire week. Others showed up for a couple days before returning to work. Per orchestrated all this in an easy going, informal manner, but as I look back on it, we accomplished more shooting and got more professional attention than any more formal workshop in my experience.

The free workshop is a great concept. I think success depends on having the sort of leadership Per and his friend Harvey provided and the willing participation of those attending.

Good light to all --

Frank LaHorgue

At 66, I'll bring up the average age a bit for this forum. After a

lifetime of shooting 35mm, I started with LF six years back. Now

retired in the Bay Area, I get spend real time with my Canham DLC and

then lurk here on the forum between shoots.

A good source recently mentioned that Translight Colors, one of the

world's greatest rental darkrooms, has moved to Montrose.

After a year's use, I replaced my Bosscreen with a fresnel by Bill

Maxwell. I don't remember ever subjecting the Bosscreen to excessive

temperature, but bubbles appeared in the wax coating in annoying

places. The Maxwell is the brightest fresnel I have ever seen. The

view is excellent even with my G-Clarons. There is a degree of

granularity but it is acceptable IMO.

One advantage of the geared axis tilt is that it helps focus short

lenses with the standard bellows. Using the geared tilt, the rear

part of the camera, with GG and film holder, can be moved forward

from the rear standard which allows the lens board to move closer to

the film plane. Please excuse my syntax.

The new Epson 2450 scanner looks interesting to me and sells for

around $400 locally. It can scan LF negatives (to 5x7 I think) and

chromes as well as reflective stuff. Good question, I hope folks

will chime in on this.

Sorry this software didn't like how I entered the information above.

I'll try again:

<p>

Phil Bard -- www.philbard.com --

<p>

Ernie Braun -- www.ernestbraun.com --

<p>

two for Bob McClelland -- www.kernowimages.co.uk --

www.marscovista.com --

<p>

Chris Jordan -- www.chrisjordanphoto.com --

I'd like to underscore your selection of Paul Schilliger's site.

Here are several more:

<p>

Phil Bard www.philbard.com

Ernie Braun www.ernestbraun.com

Bob McClelland, 2 www.kernowimages.co.uk

www.marscovista.com

Chris Jordan www.chrisjordanphoto.com

<p>

Thanks for suggesting this topic.

I moved to the Darkroom Innovations method two years ago, relying on

their testing system AND using their software on my Palm Pilot. The

software supports incident readings as well as spot meter supported

zone calculations. The result? My negatives are nearly always

printable on grade 2 or 3 paper -- a major improvement for a person

working at my level. The system neatly saves a record of the

exposure for each negative indicating development time as well as

other important information. No more hand written notes.

<p>

Now, if it would only help me with concept and composition...........

Why not follow Lewis and Clark? 2004 is just about 200 years since

their trip.