warren_hatch

I've blithely asserted that the TC800-1.25 teleconverter probably doesn't have a rattly aperture lever because it's designed to work on an E-aperture lens that doesn't need one. Out of interest, can anyone confirm that? I don't have much experience with $10k+ lenses...

Andrew, you surmised correctly. The 1.25 TC does not rattle the way the others do.

It has been a while since I picked up my F-5, but here is what I remember....

• 1) True.
  
• 2) I don't know what Meta35 is and have only ever used Photo Secretary to read the data.
  
• 3) I last checked a year or so ago and my MF28 LCDs were fine after more than 20 years.
  

<p>Mine is serial number 209525 and has been sitting on the shelf for a few years. <br>

Dropped in 2 new CR2025's, charged the camera's battery and the LCD looks as good today as it did 20+ years ago.<br>

I had forgotten how nice the F5 feels in my hands. I may need to burn some film this week.<br>

Warren</p>

<p>Yes, I've used the camera SDKs. There is an application you need to complete before being allowed to download an SDK, but nothing prevents individuals from going through the vetting process. The time from submitting an application to receiving the download link is a matter of minutes.<br>

The SDKs are reasonably well documented and complete. However, the native Nikon MAID interface is at a fairly low-level, so many of us choose to employ Thomas Dideriksen's wrapper (offered for free at SourceForge). The wrapper supports C# and VB, is well maintained and easy to use. Note that if you elect to use the SDK wrapper, you will still need to download the SDK for your camera in order to access one of the binary files included with the Nikon distribution. </p>

Dimity,

In you latest post you mention 'assigning' profiles at least twice in order to get your images to sRGB. Andrew is the ultimate authority on

these matters, but I suggest using Photoshop's 'Edit/Convert to Profile' command to accomplish your change from one color space to

another. Perhaps I read your post too literally, if so I apologize for wasting you time.

Kind regards,

Warren

The exposure level of the imprint is adjustable. The data back can set the imprint exposure automatically (based on

the film's ISO) or you can set it for values: L, M, H1, and H2. 'L' is suggested for film speeds 25-64. 'M' is for speeds

80-160. 'H1' and 'H2' handle the ranges 200-400 and 500-3200 respectively.

When the data back is in Auto imprint mode, it should show you the imprint exposure level in the upper left corner of

the LCD below the letter 'A'.

I never needed to override the auto levels. But, if you need to do so: 1) hold down the Function button and spin the

main Command Dial until the function indicator becomes a little vertical bar; then 2) hold down Select and spin the

Command Dial through the exposure values.

It is harder to explain than it is to do it. Play with the controls for a little while and you should get the hang of it.

<p>Don,<br>

Have you looked at the EXIF data from the blank frames? Phil Harvey's EXIFTOOL might provide some valuable insights with respect to the failure. If you don't want to deal with learning a new (and incredibly valuable) tool, send me a pm and I will take a look at the EXIF data and see what might be gleaned.</p>

<p> </p>

The SB-900's Guide Number in Auto FP High Speed synch at 1/500 is 67.3 for a 200mm lens. If Jim sets his D-200 to

ISO 1600, this becomes a GN of something like 269. Even without any ambient light, Jim's SB-900 will give him perfect

exposures from 40 feet at f/5.6 and wider. Toss in whatever ambient light is available in the gym, and he might even get

away with dropping to ISO 800. Bring plenty of fresh batteries.

Jim,

P-mode on the Nikon will not give you a shutter speed sufficiently fast enough to stop the action.

You will need a shutter speed of something like 1/500.

Put the camera in Manual mode, dial the shutter to 1/500, set the ISO to the highest it goes that produces acceptable

images for you, then select an aperture that gives you an exposure within a half-stop or so of the camera's meter. Then

turn on the SB-900, put it in TTL mode (not the BL flavor). Take a few practice shots watching for exposure on the

faces, depth of field, and whatever shadows you might be throwing on the back wall. Balancing those factors will

determine your aperture, flash exposure compensation, an ISO.

Redeye may be a problem if you are shooting with longer glass, if you cannot get the flash off-axis

Good luck,

Warren

<p>

<p >This is not the type of post to which I would ordinarily respond, but the absence of one name among the worthy contributors mentioned above compels me to reply.</p>

<p >Ellis Vener has been an invaluable resource to me and the rest of the photo.net community for a very long time. I personally have learned a tremendous amount from him regarding the art of photography, the complexities of our business, and the science behind what we do. His posts are without peer for their insight, succinctness, and accuracy. </p>

<p > </p>

<p >Thanks Ellis.</p>

</p>

<p><!--StartFragment-->

<p >Ken,</p>

<p >I looked into this back in 2002. As an owner of a handful of Force 10's (who happens to be something of a computer geek), I was really looking forward to being able to control the lights through their RJ-45 connectors. </p>

<p >Unfortunately, Speedotron's implementation was somewhat lacking. Particularly troublesome was the need to acquire a proprietary ‘junction box’ (which retailed for maybe $100) to connect the lights, camera, and Palm. As I recall, some of the earliest Force-10’s also needed a firmware upgrade in order to support the Palm software.</p>

<p >I never bothered to order the junction box, but I did download the instructions. Just shoot me an e-mail and I’ll forward them to you.</p>

<p >If you are still interested, I’m fairly sure I could provide you with a means to locate the software. </p>

<p >Kind regards,</p>

<p >Warren Hatch</p>

<!--EndFragment--></p>

The condenser is an important part of the projector's optical system. You must have one. The condenser for the 75mm projector lens is different than the condenser for the 150mm (which in turn is different than the 250mm). Physically, it is a 2.5 inch by 2.5 inch piece of galss mounted in a metal holder. It sits behind the projector's side cover (the one with slots).

You can no longer get a replacement from Hasselblad (I tried recently).

Warren

The Nikon 9000 can deal with a number of different formats including 35mm, 6x4.5, 6x6, 6x7, 6x8, and 6x9. Unfortunately, it cannot accept your 4x5 target. Sorry.

I've spent a ridiculous amount of time attempting to calibrate and characterize each of the devices involved in my photographic processes. I am far from finished, but I?m happy to share with you one lesson that seems to be emerging from my studies. It very much corroborates Patrick's remarks above that suggest there are tangible benefits to be seen from proper profiling of scanners. I've got a lot more work to do, but what I?ve learned so far is that the fundamental keys to worthwhile input device profile are precise exposure control and accurate color temperature measurement. If you cannot accurately allow and adjust for the exposure and color temperature variations in your image capture, then a scanner profile?s effectiveness is substantially reduced. This suggests to me that a single scanner profile that attempts to representing all film types, exposure adjustments, and shooting conditions may be of marginal benefit. This has led me down a path that is introducing me to chromatic adaptation theory, a variety of color measurement techniques, a renewed interest in long-forgotten college calculus, and a lot less time for capturing images.

My advice: stick with Nikon?s profiles unless you are nearly as meticulous (and obsessed) as I am in getting 100% accurate color renditions. As a compromise, check out Wolf Faust?s targets for the film you customarily shoot. Get a 35mm target (which is all you need), calibrate, and go.

Bob, While this suggestion isn't entirely consistent with your second requirement, it does satisfy the first and third: consider limiting access to forum content for non-subscribers.

Under my suggestion, subscribers would continue to be able to view all forum content. Non-subscribers might only be allowed to view the contributions of their fellow non-subscribers. The non-subscribers could be informed that there are N additional relevant postings on a particular topic (available to subscribers) as a means of getting them to contribute.

Simply limiting access to your postings and those of Ellis should be enough to get many folks to dig into their wallets.