john_calafut

<p>I've been using Praus Productions of Rochester, NY for nearly 10 years. Always top quality, their optical prints are stunning. <br>

<a href="http://www.4photolab.com/">http://www.4photolab.com/</a></p>

<p>Another vote for Praus Productions. Their darkroom prints are excellent for both B&W and color.</p>

<p>When the lab I use for optical prints advised me that they were out of Supra Endura, they offered me the option of either Crystal Archive C or Supra VC. I requested a contact sheet of each in glossy surface from my set of Pro160C negatives. The Supra VC had less contrast (not necessarily objectionable), but it had a slight greenish tint, reminding me of the effect fluorescent lighting has when corrective filters aren't used.<br>

The Crystal Archive C had more contrast, more neutral color, and sharpness appeared better - possibly due to the higher contrast. I ordered a couple enlargements on this paper, which came out fine - with the high quality I've come to expect from optical prints. My intention was to specify this paper going forward, but after reading in Steven's post above that type C is gone, it sounds like I'm back to square one. :-(</p>

<p>As I look at the comparison chart in the link posted, the new Portra 160 is just Portra 160NC with finer grain. I didn't really think the grain needed improving, and it leaves a hole in the line up where the vivid version used to be.</p>

<p>Maybe you can file flat spots on generic caps so they don't interfere. Not elegant, but might be a cheap way out. If it works, just remember to keep both off or both on at the same time! :-)</p>

<p>TLRs are a great way to get into MF, and in my opinion they offer value beyond being a stepping stone to other MF types. My introduction to MF was with a TLR eight years ago, and now a Mamiya with a modest assortment of lenses continues to meet all the needs I have for a camera.</p>

<p>Kat, I go through the mail. I request contact sheets for review, select those frames I want enlarged, then send the negatives back for printing. Sometimes for expedience I get the negatives developed locally. If you are confident of your negatives, you can skip the contact sheet and leave the rest to Praus' judgement. I like to maximize my involvement, however.<br>

I haven't tried Superior Custom Color, but they sound interesting too.</p>

<p>I agree with Patrick - I haven't seen a color digital enlargement that matches what optical is capable of. But I diverge from him a bit in that I pay more for optical. The cost is justified by the quality, and for me it is definitely worth it.<br>

Praus Productions in Rochester NY has been giving me great results. It's worth a try at least once if you've never had optical prints made. Film and optical printing evolved together, and still produce the best results that I have been able to achieve.</p>

<p>For a repair shop near you, the closest I have experience with is Zacks Camera Repair in Providence, RI. They repaired a Mamiya 250mm twin lens for me.<br>

<a href="http://www.zackscamerarepair.com/contact.htm">www.<strong>zackscamerarepair.com</strong>/contact.htm</a><br>

Hope this helps a little...<br>

John</p>

<p>Praus Productions in Rochester, NY does excellent optical printing.<br>

John</p>

<p>Praus Productions - Rochester, NY. <a href="http://www.4photolab.com/index.html">http://www.4photolab.com/index.html</a><br>

The color enlargements they do for me in their darkroom never fail to impress me.</p>

<p >I think it was between $10 and $15 for processing and 12 5X5" prints.<br>

Why not give them a call?</p>

<p>I don't live in South Jersey anymore, but when I did these people used to do a good job for me:<br>

<a href="http://www.bestphotoinc.lifepics.com/net/Default.aspx">http://www.bestphotoinc.lifepics.com/net/Default.aspx</a></p>

"3 or 4 years between CLAs per lens?! Wow thats 1 lens away every year then."

 

Yep.

 

Thank you all for your insights and advice. I think it's time for me to find new service.

 

John

I've been using a Mamiya C330f for several years now with excellent results pictorally,

but in my collection of four lenses there always seems to be one or another that is "getting

sticky". My feeling is that it seems I always have one out for CLA, or am carefully watching

for the signs of needing it. Now, for instance, the fall foliage season is showing signs of beginning

here in Connecticut, but my 250mm only fires on the second attempt, and if I send it out, the

season will probably be over or past peak when I get it back. Frustrating...

 

From my records I can see a 3 or 4 year time between CLAs per lens, but since

the lenses need it at staggered times, I have a constant feeling of Deja-vu about having them

serviced.

 

Can anyone tell me if this is typical of leaf shutters? or in this case, Seiko leaf shutters?

Should they go longer between CLAs?

I "exercize" the lenses regularly, and I guess I just get a little dismayed every time I have to send

another one out.

 

Regards,

 

John

Try these people:

 

 

http://www.framefit.com/

 

 

I've gotten rectangular mats with square openings from them before -

their website is very interactive.

Don't forget that polarizers have their least effect on the sky when pointed directly toward or away from the sun. The maximum effect is in a direction 90 degrees away from the direction of the sun. Also, if the sky is totally filled with clouds and white, there will be little effect.

Mamiya did. The 105DS lens for their TLRs has it. The other focal lengths don't however.

I had my Mamiya TLR on a tripod and a person passing by thought

I was a surveyor.

I can recommend Praus Productions in Rochester NY. They have consistantly done excellent optical enlargements for me. Their website is http://www.4photolab.com/

I haven't heard much about Mamiya bellows going bad from normal wear.

They just extend straight out and back in, without any tilts, shifts or swings that seem to put a little extra stress on large format camera bellows. Outside of abuse or mishap, they seem to last just fine. My Mamiya C330f dates from the '70's or '80's at the latest, and aside from having checked out the bellows when I bought it four years ago, I have rarely thought about it since. Jochen is right about the advantage it provides in minimum working distance.

Check out these people: http://www.4photolab.com/

 

They offer traditional analog printing and I've used

them for C-41 enlargements. The results were better than

any digital prints I've received from three other labs

I've worked with! Wai-Leong is right about the cost though.

I use them for just my best stuff.

 

John

I like the way they compress perspective and make hills look steeper.

Relating to their TLR forum, does anyone know what became of the

resident expert Han Verhulst? He was in the process of writing a book that I was very interested in.

Definately don't ditch an otherwise good TLR just because the light meter doesn't work! Handheld meters are a lot easier to use than you might think at first, and I now prefer them. What Ivan said is exactly true.