kaiyen

<p>So in comparing the Bessa II with the RF model:</p> <p>-RF is older. not that that matters.<br> -RF is 2 separate windows. Is the Bessa II a single RF/VF window?</p>

<p>My apologies if I got the III mixed up with the II. </p> <p>I've been reading Jurgen's site and I'm a bit confused on the models. Which ones have a coupled rangefinder? Any? I know the Super Ikonta's do but what about the Bessa models?</p> <p>thanks again</p>

<p>Bill,</p> <p>Thanks. Which would you say are the "better" lenses? Jurgen says that the 3 element ones are pretty good and not to be underestimated, but I take it you are referring specifically to the 4 element ones?</p> <p> </p>

<p>lookng at Jurgen's site, the Super Ikonta C is coming in at the high end of what I can afford. I have more flexibility on the Bessa. But worth it, lens/shutter/etc-wise? </p> <p>What should I look for on an ebay sale, beyond the obvious? Bellows quality, folding, clear lens, etc?</p> <p>thanks</p>

<p>Hello all,</p> <p>I'm wanting to get into 6x9, and while I'd love some of the more modern cameras I'm thinking a folding Bessa III is my best option (and one that will draw the least ire from others...). I have found resources online for the different models, but am seeking guidance on which one would be the best for me, realistically.</p> <p>For instance - are the RF versions worthwhile? What's the change an RF is usable at this point? I don't mind zone/guess focusing - I've gotten pretty good at it over time with other classic cameras. What other features of the later models aren't worth it, essentially?</p> <p>I don't mind getting a CLA'ed model, but I'm not sure where to start with that, either. I'm way out of touch right now with resources and where to start. It's been a while!</p> <p>I know my questions are generic and general, and appreciate whatever responses you all have time for.</p> <p>thanks.</p>

<p>Thanks Keith. That's the kind of help I was hoping for...I'll look into other options. I don't think an enlarger is in the cards for me, but I'll see what my options are. </p> <p>Perhaps I'll try reversing my tripod with the ball mount at a right angle. See if that is stable enough with cable release and mirror lock up. I do intend to scan almost entirely B&W with this setup.</p> <p>Or I'll just go back to my flatbed...</p>

<p>An enlarger really isn't ideal for me, to be honest. I'd need something I can setup and tear down quickly and at will. Seems to me that an enlarger would take up more space than a simple copy stand. </p> <p> </p>

<p>I'm trying to put together a "scanning" set up for use with a DSLR (Nikon D600). I'm thinking a copy stand right now onto an LED panel/light box. I already have a Nikkor 105 2.8 macro lens. I know it has a longer minimum focusing distance for 1:1 but I'm hopeful I can get a stand that will be tall enough.</p> <p>Does this look like it might work: https://www.bhphotovideo.com/c/product/385012-REG/Digital_Pursuits_DPCS129_Close_Up_Copy_Stand.html</p> <p>Should I be looking at other options? My goal is to make purchases as minimal as possible to get started. I can look into other options to enhance the setup later, but I'd like to start off simple.</p> <p>thanks</p>

<p>I do what Peter does. I have 1 big jug with a spigot on it that has water at roughly the right temperature. This is enough for me even when I go on a developing binge. </p>

<p>thanks everyone. I've used Entrada before so I might go that route out of familiarity. The Canson papers are intriguing, and of course many agree that the Epson Hot Press is a wonderful paper. I will weigh my choices. But thanks a bunch.</p>

<p>The construction of the lid makes it light proof. The opening goes to a flat piece of plastic that prevents light from getting through. They are definitely for daylight processing (at least the one I have is!).</p> <p> </p>

<p>Thanks. I'll look for a matte sample pack. For any others - any recommendations for papers without OBAs that aren't so warm? </p> <p>I'll keep looking. I used to buy from Inkjet Art. Any suggestions for good vendors these days?</p> <p>Wow, I'm really out of practice...</p>

<p>I used PremierArt Hot Press before, now that I think of it. Is that similar to the Epson Hot Press? I liked that quite a bit...</p>

<p>Hi all - getting back into printing BW on an Epson R1800 converted with the UT-BO inkset. Any recommendations on affordable, quality matte paper that comes in sizes up to 13x19? </p> <p>I don't mean cheap - I'm not asking to get cheap, quality paper. I just mean something that isn't going to set me back a ton per sheet. Thanks.</p>

<p>I haven't heard that before - focus breathing. What does that mean?</p>

<p>Derek,<br> Based on the photo, I think I have the 3371 as well. It's held up very well over the 4 years I've had it. </p> <p>1 - absolutely still tight, legs don't move in any situation unless I move them myself<br> 2 - very fast to tear down. I tested a few tripods with the screw style leg locks and discovered I had to be careful about the sequencing but that seemed to be the same for all of them. If you do them out of order you get all kinds of movement. But they still hold the legs nice and tightly<br> It's also so light that I often don't even bother to tear it down - other than cumbersome I maybe collapse one leg section, pick the whole rig up and move. <br> 3 - I don't even know where I would send it. Never had a need. </p> <p>Very happy.</p>

<p>peter - so you find the differences in HD and MC sufficiently minor that messing around with glycol is enough of a deterrent? </p>

<p>Thanks for the information and tips. I've found the staining to help on scanning, too, but haven't used MC at all, and HD not enough, to be certain. Maybe 10 rolls total, 135 and 120, in HD. </p> <p>John - thanks for the tips on working with the glycol version. I've never used that at all. So you pour some into the contact lens cups and then use a syringe from there? Or...?</p> <p> </p>

<p>I'm familiar with XTOL. Any chance I could get an answer to the question? I appreciate the words of caution, truly. But my question still stands.</p>

<p>Hi all,<br> I've read up quite a bit on Pyrocat HD vs. MC. I'm pretty torn between them (would order the Photo Formulary versions rather than mixing my own) but most of the posts I've found so far are oriented more towards wet printing. Anyone have any quick comments specific to scanning as a final destination? I use a Coolscan IV for 35mm, by the way, and an Epson V750 for MF and LF. </p> <p>Shoot mostly TXT in 35mm for now (more street photography so speed matters) but occasionally mix in FP4 or even PanF, TXT, Acros in MF and Fomapan 200 in LF. But I'm using up my film stock so stuff gets mixed in there. </p> <p>thanks.</p>

<p>well, color from scanning can be a lot of things, including the film base, for instance. That's different than the blobs that came from the film touching. </p>

<p>While it's true that plastic reels must be completely dry, there are some ones that make loading 120 very easy. And while I find loading 120 not a problem on SS reels, I sometimes have trouble with 135. I know it'll take more practice but the film is just so long...<br> These reels from Freestyle http://www.freestylephoto.biz/55043-Arista-Premium-Plastic-Developing-Reel have this "tongue" where the film goes in. I've seen ones from Samigon look like this as well, as well as another Paterson knock-off that I've gotten. My point is that if you can get the reels with this leading "tongue," then 120 will almost "fall" onto the reel as you go. I've never had a problem loading 120 properly on these types of reels. <br> Just FWIW.</p>

<p>blast. I didn't notice the VERY NEXT THREAD that answered my question. sorry.</p>

<p>I've toyed with the idea of using a duping setup but for various reasons still scan (coolscan IV or a flatbed for MF and LF negs). What exactly is the setup for this? Are there duplication...rigs that help stabilize the camera? are you using a lightbox? pointers to web sites with info?</p>

<p>I personally like the TMAX films for portraits in D76/ID-11 (use the latter, technically). To get the right skin tone I would in fact adjust either the EI or exposure to keep the skin from getting too dark of a tone. </p>