scott_walton2

Steve Grimes emailed me at one time and stated that the use of contact

cement (as I recall) is what is used today. Email him directly. Very

personnable and KNOWLEDGABLE!

I seem to recall someone saying they used a very thin (use a wipe to

put it on) layer of vaseline.

A Pro Lab should be able to help you out. Process around New England is

about $3-4.

Ah yes, TMX... isn't it wonderful. If you like the Delta, change to it.

If you like the TMX, try a more diluted photoflo or better yet, go to

using LFN (Low Foaming Agent) made by Ethol I think. It is in a very

small dropper type bottle that you just squeeze out 1-2 drops. I also

use it in my pre wet to break the surface tension of the water. A

little bottle will last a long time.

James, At work we sometimes use the MSA Respirator with the Combination

Cartidges GMF-H (formaldehyde and organic vapors) in the photolab when

mixing the different developers we need. Not much else is really

needed.

I too have the air release cable from Hunt's. It does work well.

Cheers

I would imagine a substrate used for Liquid Emulsion would work.

LIQUID EMULSION - SUBBING FOR GLASS

This is an excellent subbing for for glass.

.Remember to

wash new glass before doing anything else.

<p>

Hot distilled water

750ml

Gelatin **

5g

2 % Chrome alum solution **** 20 mls

Add water to make 1

Liter

<p>

To make the 2% Chrome Alum solution

Dilute 5g of Chrome alum in 250 mls of distilled

water.

<p>

You should make up the Chrome alum solution,

fresh

before using. It is not very stable as does not

keep more

than a day.

<p>

Use hard bloom gelatin (250 bloom) and Chrome

Alum

available from Photographer's Formulary.

<p>

Special thanks to Martin Reed & Sarah Jones

authors of

"Silver Gelatin," published by Amphoto, N.Y.

Licha, I would take a look at Luminos's Photo Emulsion. They have a

system of chemicals including a base varnish. Go to:http://

www.luminos.com/mainframe.htm or mix it up:LIQUID EMULSION - SUBBING

FOR GLASS

This is an excellent subbing for for glass.

.Remember to

wash new glass before doing anything else.

<p>

Hot distilled water

750ml

Gelatin **

5g

2 % Chrome alum solution **** 20 mls

Add water to make 1

Liter

<p>

To make the 2% Chrome Alum solution

Dilute 5g of Chrome alum in 250 mls of distilled

water.

<p>

You should make up the Chrome alum solution,

fresh

before using. It is not very stable as does not

keep more

than a day.

<p>

Use hard bloom gelatin (250 bloom) and Chrome

Alum

available from Photographer's Formulary.

<p>

Special thanks to Martin Reed & Sarah Jones

authors of

"Silver Gelatin," published by Amphoto, N.Y.

<p>

This was taken from the Tech Tips from the address above.

Cheers

I agree with Ryuji about PX and D76 but I would use the Divided version

of D76 and with your prints, Ethol LPD. Very nice tones and seperations

when used in combination.

If it were a cloudy day, you will want to push process the film by

about 10%. This will boost the highlights and give a stronger gradation

If it were a sunny day, the processing time was probably not enough

causing a "pulled effect" there by having the highlights mushy causing

the lower contrast. When film is processed, the shadows develop to a

point and then the highlights keep being processed until the stop bath.

With this in mind, a push on a cloudy day will give a punchier negative

but a push on a sunny day can render your highlights bullet proof and

unprintable.

Hope this helps.

Cheers,

Scott

It sounds like Bromide Drag caused by to much agitation. If you can,

slow the agitation down and that should help. This is VERY common when

using Technical Pan with Technidol.

Cheers

I agree with J. Chinn and of course Conrad. If you are out and

something doesn't strike you in the overall picture, look down. Yes,

macro to some extent. I was out shooting dunes and I didn't like what I

was seeing so I looked down and I came upon an image of a blade of

grass being blown by the wind in an arch. I shot close and came up with

a composition of a smile in the sand. It was stunning. Look ALL around

you and you WILL see images. Slow down and feel the area and you will

be amazed at what you will come up with. Don't get me wrong. I'm a

technical commercial shooter and struggle for the artsy pictures but I

have been told my work is unusually beautiful.

Cheers

I feel that if you manipulate c41 to much you will get cross overs that

are nearly impossible to correct for. Process normally (exposing for

the shadows) and print on a higher saturated paper. Kodak has NC and

also VC and of course there is always Fuji papers that are a bit more

saturated... You really don't have that much control as yopu do with B/

W!

Cheers

The bellows draw always seemed to be a bit much with the conversion

lens. To my recollection also, alot less sharp than the primary lens. I

have since bought the lens that I need to cover...

I have been shooting with my Tech III for about 10 years. I agree on

the above prices and no, I don't think there are better ways to

spend... well other than going up to a IV or Master.

We use the 400NC and I like it. Try printing on a higher contrast

paper. Kodak makes 3 grades of color paper. Boost it up a notch or

print on Fuji...

First off, STOP YELLING. Now then, you can have them printed by a pro

lab and pay $8-15 all depending what size you want or print them

yourself if you have a darkroom but it sounds like you don't. If you

were to print them yourself you would need the appropriate enlarger,

trays, chemistry, darkroom, timer, containers and various other

implements...

Snip the corners off of the beginning so that they feed in easier...

other than that, stainless steel reels.

They have the best replacement bellows of all (http://

www.camerabellows.com/). The other company is in Florida (http://

www.flexproducts.com/) but they don't guarantee that a bellows will

compact as good as the original. This put up a red flag to me being

that I shoot Linhoff Tech III and want to be able to close the camera

up. I would send it off to to England if I were you. Great service and

not that expensive!!!

Cheers

He has been a guru around these parts for years! To be honest with you,

the job he did for you doesn't come close to what he really can do with

lens and shutters!!!

In LF I would chose Ektapan and for higher speed, TXP. For medium

format Ilford Pan F. All developed in Divided D76 or Diafine for higher

acutance. The smooth tones of Ektapan are amazing!

Get a Brightscreen or Beattie intenscreen and do away with the dark

cloth... just a thought that works for me.

Do not discredit Fuji lens. They are sharp and nicely contrasty. I have

been using them for years!

Cheers