bill_pearce1

<p>Who came up with that lame idea of signing the matte? Is that the convention in any other form of visual art? Nope, cause the signature will not stay with the piece. If you sign on the matte, be very sure you use the best matte board, so it will last.<br>

I sign on the print, just under the image. I have seen others that sign on the reverse, and some that sign on the bottom of the image.<br>

Lots of options!<br>

Bill Pearce</p>

<p>Matt,</p>

<p>I've shot quite a lot of model train photos, and been published in several of the modeling magazines, so here's my thoughts:<br>

You MUST use a tripod, and a good one. The flimsy ones that are sold at places like wal-mart or ritz photo just aren't stable enough. With a tripod, you will need a means of remote release if one is available for your camera (ah, the days when a simple three dollar cable release would work on any camera!). If one isn't available, use the camera's self timer.<br>

Light. Lots of it! Big honkin quartz lites are best. Those quartz work lights sold at home centers can work well, but may need some diffusion. Remember, you will want to stop down as far as possible for good dof.<br>

Realize how lucky you are. O scale is so big that you probably won't need to fool with software like Helicon Focus.</p>

<p>Bill Pearce</p>

<p>I am familiar with the companies that do conversions of cameras where the anti-ailiasing filter is replaced with plain optical glass to give higher resolution. Most of these seem to be done to already quite good slr's, but I have a different idea.<br>

Does anyone know of someone that does those conversions to the Sony R1? I was dissapointed when they bought Minolta, as the R1, a good but slightly flawed camera, was thrown to the curb. I would like mine to be so modified.<br>

Thanks for your help,</p>

<p>Bill Pearce</p>

<p>Victor,</p>

<p>I don't know about cheap, but here's my experience. I was sucked in by Epson's alleged reputation once, and won't be fooled twice. I got a Minolta Multiscan. It handles 35, two an a quarter, and important to me, Xpan. Much better than a flatbed. This is a victim of the sony buyout of minolta, so you will need to find a used one.<br>

Much wil be said abou tlamp availability, but I haven't heard of anyone having one go bad.</p>

<p>Bill Pearce</p>

<p>You will never ve sorry with the 28/2. Never!<br>

I have it and the 21/2 and both are as good as you can get, but I got mine before all the Canonistas found it for their FF digitals, so the price hadn't shot up.<br>

Another to consider is the little 28048 zoom, mine is sharp and contrasty.</p>

<p>Bill pearce</p>

<p>I use mine with my M9 to good result. Yes, it isn't light, but compare it to a current nikon or canon lens.<br>

Bill Pearce</p>

<p>If you are trying to use the principal of hyperfocal distance, then the AF needs to be turned off. Once the hf distance is set on the lens, then you shouldn't change things.<br>

I' assuming ( Yes, I know what my fifth grade teacher said about that.) that ayou are using lenses with good dof scales. Note that these may be a bit optimistic for digital.</p>

<p>Bill Pearce</p>

<p>I've had my Xpan for about ten years, and I still love it. The biggest roadblock to the Xpan is processing and printing. Outside of a local lab where they worked with me to get color machine prints, getting processing and printing was exceptionally hard. You could take the film anywhere for processing, but if they don't pay attention, all your frames will be cut in two.<br>

It's easy to use. It gets fantastic photos. It in no way requires a tripod. I have used it a lot as a travel camera. I love it.</p>

<p>Bill Pearce</p>

<p>Don't discount the 90. Panoramas don't need to be ultra wiiiiiiiiiiiiiiiiiiiide. I use my 90 more than my 30.<br>

Bill Pearce</p>

<p>The strap that came with my new M9 is very similar to the upstrap, so much so that I'm surprised there's no litigation. I'm as happy with it as my upstraps, which are an essential part of owning a camera. Although they are not supple, or beautiful or a piece of fine art, they do keep the camera on your shoulder like no other. Great for shooters, lousy for fondlers. Get one or the other.<br>

Bill Pearce</p>

<p>Although lacking in tact, Paul is right. The Hasselblad is an early modular camera, and in no way is it environmentally sealed. Use in high humidity requires consideration, and no AC.<br>

Some have had reliability problems with Hasselblads, and others like myself have had none. I can't seem to find a reason that some are harder on cameras than others.<br>

Bill Pearce</p>

<p>I have used this lens for travel, as it is light and small, and is reasonably sharp. I recommend it highly.<br>

Bill Pearce</p>

<p>I have a hyperdrive unit and it works well. I also took a netbook and portable HD on a recent trip to Africa, and there were no problems.<br>

I woldn't count on burining to CD oe DVD if you wnat to make a long term backup. I have some home-burned CD;s that went south in less than two years.<br>

Bill pearce</p>

<p>I have a hyperdrive unit and it works well. I also took a netbook and portable HD on a recent trip to Africa, and there were no problems.<br>

I woldn't count on burining to CD oe DVD if you wnat to make a long term backup. I have some home-burned CD;s that went south in less than two years.<br>

Bill pearce</p>

<p>This is an older lens, and could stand an update, but aside from the 70-200, which Nikon lens doesn't fall into that catagory.<br>

I've used one with both my D3 and D700 to good result. Don't pixel-peep and you'll be fine.</p>

<p>Bill Pearce</p>

<p>I would beware of buying used stainless steel reels. It is very easy to drop one and bend it slightly, which makes it impossible to load correctly. Look for someone with a good return policy, and get a knowlegable friend to test the reel with an old roll of film.<br>

Otherwise, it is easy to process your own B&W. Next, a darkroom and enlarger?</p>

<p>Bill Pearce</p>

<p>My 17-35/2.8 is the lens I use most on my D3 and D700. I like it a lot.<br>

Bill Pearce</p>

<p>I have had excellent results with the Calumet branded batteries.</p>

<p>Bill Pearce</p>

<p>When I was shooting film, I traveled mostly with primes. I never traveled with more than one zoom, Generally the Zuiko 28-48. With my Xpan, there was no choice.<br>

I never, never, never felt limited. Although after a trip to Italy with the D3 and the 17-35 I got some good shots, there was never a time when I wouldn't rather have had something smaller and above all, faster.<br>

Bill Pearce</p>

<p>To hankhold the 200-400, one would need to be both young and strong, two things I'm not. I tried a friend's lens in anticipation for a safari this Sept. and realized it was going to be impossible to use.</p>

<p>Bill Pearce</p>

<p>It shouldn't be rocket science, as almost all film is scanned and printed now. That's how mimi-labs are made, and most should print slides and negative film all the same.</p>

<p>Bill Pearce</p>

<p>Don't forget things like Kokak 160NC and Plus-X.</p>

<p>Bill Pearce</p>

<p>Paul,</p>

<p>You're missing a buttload of important parts. The thing that holds up the head is composed of two hinged arms on each side, and a long lever on one side that lifts and lowers the head on the carrier. Cobbling these parts together could prove to be difficult.<br>

Know any closed Pro labs? Even ones that are still in business may have parts available. This is a great enlarger, don't mess it up.<br>

Bill Pearce</p>

<p>Gee, let me think. I've got a D3 and A D700, and my most used lens is the 17-35/2.8. My stufff looks great, and my clients think so, too. I use it for commercial/industrial work all the time. No problems. Tell the camera store guy that I said he's a jackass.</p>

<p>Bill Pearce</p>

<p>Note that Kodachrome's longetivity is based on dark storage. They don't last as long under projection as E6 chromes do.</p>

<p>Bill Pearce</p>