tim geiss

I'll pitch in my 2 cents worth...and that's really all it is...because I covet both tools as you do...

 

In any case, I have always been instructed to invest in glass first because it will hold value and function longer than a body will. For example, try picking up a 17-35 AFS lense used today and it still demands close to $1K even though it has been out for years. It is still considered supurb in its range. Compare that to my F100 or a D1/D100 and consider their current resale value...not so good. I know you're not looking to buy only to resell later, so let's look at it from a functionality standpoint. In 3 years, I'm betting the 70-200 will still be a performance rockstar, comparable to or higher than today's price(depending on exchange rates and rebates...I wish I had bought @ 1350 after rebate). At that time, the D200 would likely have come down in price due to subsequent digital bodies. Newer bodies would likely surpass the D200's features in areas such as the AF module. I know it's all speculation, but since you have a relatively new body (my impression from reviews was that the D200 AF was not much faster than D70), I'd go for the glass.

 

Like I said though, this comes from a guy that wants both...I'm jealous of whichever you decide.

Has anyone heard anything concrete about the Multi-cam 1000? I read rumors that it's a modified 2000, but I don't understand the naming paradigm if that's the case. I have bodies with a Multi-cam 900 and 1300, and I don't think I could go back to the 900 full time...I know I'm spoiled. I read the entire dpreview for the d200, but I didn't see any mention of the AF speed/accuracy...maybe I skimmed too fast in my zeal. Anybody? Thanks.

Thanks everyone for your helpful responses. I noticed that the impact battery had more capacity than the Canon, but I wasn't sure it would be noticeable, let alone better.

 

I'm going to double up for less than the price of one Canon. Thanks for giving me the confidence to do it.

Tim

I recently lost the battery for my Digital Elph and I looked to B&H

for a replacement. They offered the canon one for ~$47 and a generic

Impact brand battery for $19. It's more than a 2-for-1 ratio, so I

thought about giving it a shot. I know the old "you get what you pay

for", but I have bought generics for some other photo equipment

before. Does anyone have an personal experience with an aftermarket

battery for a digit P&S?

 

Thanks,

Tim

John and Shridihar,

I am in a similar situation. Although I have yet to go digital, my N80 has only seen use once or twice since I bought my F100 almost 2 years ago. I threw an ad for it out in photo.net's classified along with the battery back and a sigma kit lens. I have yet to receive even a low-ball offer. I was asking about 50-60% of the retail price for a barely used camera, and didn't get any response. I am torn as to whether to salvage a few bucks through KEH or just hold onto it in case someone I know joins the hobby.

 

later

I'm sorry to say that you are out of luck. Your only option with that camera is to get your lenses "chipped" so that they can meter. That could be a costly endeavor if you have a few lenses. For information on that, search the archives. I'm certain it has been discussed numerous times. I was in the same boat and I use to meter with a CPU lense and go from there...not exactly scientific, but it got the job done...Sorry, Tim

You'll love it. That is the same amount I paid for my F100 and it has been worth every penny. Enjoy the Andes.

Oh yeah, I meant to say that I like the Kodak E100VS as well. And since many people argue that it has a red/yellow bias, it might fit perfectly in Moab.

I second the Velvia 50 suggestion.

 

Also, be careful in your metering. The powerful sun that I encountered there caused me to overexpose some slide film that I shot last fall. Since you are an experienced MF photographer, I'm sure you won't have too much trouble.

I agree that the 80-200 should be left at home. The 17-35 lense is excellent, but its weight is approaches that of the 80-200. It is by no means light. I think you and your back would be happiest sticking with your 35 and 105 primes while adding the 24. All three would be easy to carry and leave more room for film. I realize that this setup lacks a long lense, but that's a trade-off for comfort.

 

Be sure to bring the 105 if you choose to hike Huayna Picchu. It's amazing how far down Machu Picchu looks from up there. It is definitely worth the steep hike.

 

And PS, watch out for day 2 of the hike. That is some serious vert.

 

PPS: Be sure to rise before dawn on day 4 so that you can see the sun rise over Machu Picchu...breath taking.

 

Have fun,

Tim

You will quickly learn that this is an expensive endeavor...

 

I use Allied Photocolor on Forest Park Pkwy for my slides. I prefer the service there and it costs about the same as Schillers. They are also very steep for prints. High quality demands a high price.

 

So in short, I don't know of an "in between" processing option. I have used Walgreens to do negative-only processing and it was around $2 if I recall. I was satisfied with the results. This is an option if you are scanning your negatives. Another low-cost option is Walmart or Sams (same Fuji machines). As far as B/W developing goes, I have heard that Commercial Black and White (downtown area) does an excellent job (also about $7 for development and a contact sheet).

 

I'm torn on the issue. While I do think premium processing is worth the cost, I can understand the reasoning behind taking the economical road. As a beginner, it might be more valuable to go cheap so that you are financially able to take A LOT of pictures. There is no substitute for repitition and volume.

 

Good luck and have fun,

Tim

Gentlemen,

Thanks for your prompt responses. I will look into that Lyson Printshield. I have 50 sheets of this semi-gloss paper (I bought it when using a 1280 at school) left and that product sounds like it might allow me to finish it off. After that, I plan on switching over to matte papers. I knew there were problems printing with pigment inks on Glossy, but I wasn't sure in what form they manifested. Thanks again.

All,

 

I recently purchased a 2200 and am fairly pleased with the Color

prints that is has produced. My problem is that the prints don't

look as much like a photo lab quality as that of my friend printing

off of his Epson R300 (@$180). I am satisfied with the color

balance, contrast, saturation, etc. What bothers me (and sets them

apart), is that when I tilt the print under direct light (any

source), I see a reflective nature in the colors and more

specifically, at the edges in between the colors. It appears to be

happening predominantly in the shadow areas.

 

I am printing on a Red River semi-gloss paper using the corresponding

profile with photo black ink. Is the paper too glossy? Is it

problem using the photo black instead of matte black ink? Should I

or shouldn't I use the "edge smoothing" option from the advanced

printing options. What other options might I try? This doesn't have

anything to do with metamerism?...I thought that was only an issue

when trying to achieve neutral B/W prints...

 

Obviously, without seeing all of my settings, this could be hard to

diagnose, but if anyone has experienced this, please share.

 

Thanks,

Tim

What are people's favorites for very saturated negative film? I know

they won't be able to touch their chrome counterparts such as E100VS

and Velvia, but what are the closest? I would be interested in

knowing this for both iso 100 and 400.

 

I saw a few votes for Reala 100 in the archives, but didn't get much

more info than that.

 

Thanks,

Tim

I haven't headed that way in a while, but I do recall that there some quite scenic areas around the Lacrosse, WI area where you cross over the Mississippi from WI to MN. On the other side, Winona has some great East-facing views.

 

I did a Chicago/Cali trip via Badlands MANY years ago and from Central MN to the Badlands, the only point of interest that I remember is Mt. Rushmore.

 

Sorry I can't advise further. Have fun.

Tim

I wonder what the odds are that within the next year, Nikon will add this to the list of lenses on which they offer rebates. Any guesses?

First of all a comment to Keith - I think it is ridiculous to say that Peru is no more dangerous than any major US city. Bottom line is that it is. That said, there are many things you can do to keep yourself safe.

 

I lived in Peru for six months and spent time in Arequipa, Puno, Cuzco, and Lima among other spots. Obviously, Lima will be the spot in which you will have to be most cautious. It is all the simple stuff that was mentioned like using gaffer tape to cover "nikon", using inconspicuous bags, traveling in groups, and using the many tourist and regular police. My biggest suggestion is to always be observant in high target areas such as main plazas, border crossings, etc. There were a few times in which I got a strange feeling I was being watched and followed, only to have the person I was with concur. We simply moved out of those potentially dangerous situations.

 

I don't want to scare you because in all my time there, I only encountered one instance of petty theft. I loved my time there and the people were enchanting. Keep it simple and only bring what you need. Leave the jewelery and gadgets (less the camera equip.) at home. Have fun.

 

I am jealous.

 

PS: While in Arequipa, be sure to take the overnight trip to Colca Canyon to see the condors...I hope you like altitude...you must if you're heading to Puno. Check lonely planet for the good tour companies. I can't recall the name of ours right now.

I just upgraded my gear by adding a F100 to go with my N80 w/mb16, and there is no comparison between them. The focusing speed of the F100 blows away the N80 in a side-by-side test. Save the money and make that upgrade. You won't be sorry.

Wim,

 

I read the discussion last week so I thought it of interest to read your article. I rather enjoyed your your thoughts, especially since they were accompanied by those striking photos to demonstrate your points. Your comments were very enlightening for me.

 

I have been considering purchasing a 6x6 outfit to get into portrait work, but I have been hesitant. I was not sure how much it would come in handy when shooting my favorite subject, landscape. After reading and seeing what can be done in square, I interested has increased dramatically. Thanks,

 

Tim

All,

 

Thanks for the info on the prices in your respective locales. I was especially surprised to see that Adorama had a listing for it considering I hadn't seen it when I was on their site the other day.

 

Thanks,

Tim

 

PS: Cham - if you want a good idea of the feel of the lens, check out the link at the top of this thread. Also, if you look in the archives, I believe there is another review that was done quite recently.

Has anyone heard anything more concrete as to the price of this new lens? To the folks in Europe, have the dealers that offered these demo's given a likely price. If so, how would that translate to the selling price in the states (based upon pricing differences between US and Europe, not just exchange rate)? Are we talking about a $1000 premium over the 80-200 AFS, or more or less (please)? I am still fairly new to this so I have no idea how the pricing of new equipment runs other than to compare it to Canon's similar offering, the 75-200 IS USM. That zoom goes for about $1700, but comparable Nikkors appear to retail about 20-30% above Canon.

 

I am starting to save now...I have a feeling it will be some time before I accumulate enough for this one, but it is nice to dream.

 

Thanks for any info,

 

Tim

Casey,

 

I had to make a similar decision 2 years ago and I opted for the N80 because I couldn't quite buck up for the F100. What a mistake! Now I wish I had saved up for the F100 with its faster motor drive and its ability to meter with manual focus lenses. That camera will be more than adequate as long as you shoot film.

 

Not to beat a dead horse, but I agree with the others who said that the 28 f/2.8 is not necessary if you have the 24, especially if you plan on purchasing the 28-105 (I have no experience with this lense and therefore no comments).

 

Cheers,

Tim

DH,

 

I thought that the sync speed for the N80 was 1/60, not 1/125. Am I incorrect?

Is the introduction of this lens likely to have any effect on the price (or perhaps a rebate) for the AF-S 80-200? I've just begun learning about the equipment, so I don't know how much new technology affects the prices of the current selection. Thanks.

Max,

 

Maybe I don't understand exactly what you are trying to accomplish (even after looking at the link you listed). If you are trying to demonstrate the effects of over/under exposure and over/under development, why are you trying to pull the film. If you pull 2 stops and adjust the development time accordingly, your negs will come out looking like normal (minus pull processing shortcomings). Are you trying to show how the image quality (tonal range etc)is affected when pull processing or are you instead trying to show the effects of over/under development/exposure while pull processing? Regardless, I would call the Kodak Film customer service line in order to get your development times. I called there to get push times and the results were great.

 

Here is the info:

Professional Photography and Photoprocessing Chemicals:

- E-6

- B&W

- Kodak Professional Papers

 

Kodak Information Center

9 am - 7 pm

 

Mon-Fri 1-800-242-2424 ext. 19

 

I'd give them a ring.