jimdesu

>, but if you drop any camera from four feet onto cement, it will

> almost certainly be going to the repair shop.

 

Not my converted Medalist! =)

Get a used Imacon -- It's great for small format and large format as well, so no matter which way you go, you're ok. I did this and have been happy as a clam.

There's no way that they're not coming out with a digital camera in the future -- having 85mm as your longest lens (even w/ a rangefinder) would be ridiculed.

Depending on just how "ultra" achromatic it is, it could be pretty handy for IR photography.

They're great -- I'm going to pick up three rolls of 220 they just finished developing this evening after work.

There's some 120 left at Adorama, but no 35mm. I just bought 20 rolls of the 120, wish I could afford to buy more -- after this the only slow color will be in garish chromes. sigh.

Yes, I checked gamut, selected the profile for the printer, &c.

 

I *did* at one point choose for a particular layer to only use the L data, but that was just for a single layer, and didn't remove the color overall.

 

Unfortunately, now that it's in RGB, I can't back anything out. Any ideas as to how to fix it?

I printed other color stuff last night just fine.

Hi there,

 

I finally finished spotting my last 6x9 scan, and started doing the

fun playing w/ it last night (in Photoshop 7). I used LAB color to

do the manipulations -- when I tried to print the image on my Epson

2200, all I got was black & white! Even though the screen image was

clearly in color.... I tried converting the image back to RGB, and

it still prints only in B&W.

 

Can anyone help?

Does your camera do multiple exposures? Instead of messing with a flash unit, do a pre-exposure on zone 2, and you'll get more shadow detail in your Velvia. A styrofoam cup or expodisc work well for this.

One of the biggest mistakes that folks make is to use zooms to frame the things being photographed, so when you're using your zoom, select the focal-length that you need, then focus, frame, etc. <b>without altering the focal length</b>.

(just kidding) =)

If you're scanning, you can get the sepia for free by scanning the b&w neg as color. I do it all the time on my Imacon and love the result.

Makes sense to me. Their real market for tech pan is document duplication, if I'm not mistaken; this is going digital big-time.

 

For those of us who like to use weirder film combos it sucks, though. At least they still carry EDUPE, so I'm ok, but it makes me feel sorry for all the hi-res b&w guys.

Unfortunately, I don't think so. The flange to film distance is 45.46mm, and to make an adapter would increase that spacing, meaning you'd lose infinity focus. The reason you can go the other way is that almost all other 35mm mounts were designed to be wide enough to be able to swallow an M42 lens.

The big questions, I'd think, are "do you like rangefinders" and "do you need/want movements?

 

If "No" to number 1 or "Yes" to number 2, then get a 2x3 graflex.

If "Yes" to number 1 and "No" to number 2, then I'd recommend a converted Kodak Medalist -- the lens can't get un-parallel from the film plane and if you drop it your toes are in more danger than the camera is. =)

The yellowing is great, though, if you shoot B+W: no need to have all those d*mn yellow filters on hand.

Yeah, the site comes up, but it doesn't actually discuss the process! I've looked at a number of the google references, and all of them that I were able to find mentioned this process as historical data about other processes such as carbro, and, except for a book-sales site, I couldn't find anything about the process itself. I'm ok w/ purchasing a book, but I'd like to learn enough about the process to know if I'm interested enough to lay down the cach or not.

Hi there,

 

I've been google'ing for info on the ozotype process, and haven't

been able to find any technical information on the subject; does

anyone know of a link to such information?

 

thanks,

 

James

Get a 20mm (flektogons are quite nice) or wider. Interior shots of cars need a LOT of depth.

 

just $0.02

I concur w/ James. I shoot NPH for landscapes and I find that zone 3 is consistently the best place to meter.

The problem is that you have to print large to get detail; a chemical print at 4x6 can show a lot more detail than my Epson 2200 can.

If you're willing to deal with variable EI and color correction in a tungsten film, I'd recommend my friend EDUPE. It's a duplication film and can be a pain, but it has a look that I can only describe as "even", that your black&white-in-color comment reminds me of.

 

just $0.02

Hi there,

 

My Pentax LX has suddenly started having its mirror lock up whenever

I'm in automatic mode (I don't know if the shutter's locking open),

and unlike the prior article, there's definitely film in the body.

When I use a fixed shutter speed, however, this doesn't happen. My

question is: would a low battery cause this behavior? If not, are

there any other things that folks can think of that'll cause it? If

not I'll have to start using my K2 again, which means I lose double-

exposure.

 

thanks,

 

Jim

Hey there,

 

Does anyone know of a wide-angle lens that'll cover 16x20 at

infinity? Is there any ULF equivalent to my 20mm Flektogon?

 

thanks!