david_m._young

Hmm.... I know Chip's work, and there's a lot I like about it. Seems if you don't like the look and feel of the more "zen-like" images, you probably don't care a lot for Michael Kenna's work either. (I greatly prefer Kenna personally, but I can see a lot in Chip's work that I like as well).

Quality of the prints? I have to know that they're top notch as those I've seen in the past (I also know Chip's darkroom manager, and he's one of the best printers I've ever seen.... and have had some of my exhibition silver work done by him as well).

4x5 FEET?!?! Never seen em that big, but I'm sure Chip has his reasons.... not to my taste though and I'd have to believe that it's not REAL collectable at that size.

Comments fatouous and precious... well.... I've seen a lot of photographers that so the same, especially in their artist's statements. I've been guilty of that as well and have actually been looking at my current one with that in mind (although I feel there's a lot of truth in there too). You wanna see BIG examples of that, look at the modern art world outside of Photography and read reviews of shows. WOW.

And someone said something about: "Marketing more important than talent and pratice? We see it in music, movie and now our beloved art??? "

Now, I'm not going to say anything about Chip in this regard, as I don't necessarily believe this is the case (well.... maybe the 4x5 foot pieces).... but can anyone say "Thomas Kincade - Painter of Light"

No question.... New Lab is the best.

D.

Hey.... been using a CPP for several years and I can't recommend them highly enough. A couple of tips:

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I've got a link explaining the "new electronics" and can send it to you if you drop me an e-mail (I'm replying to this from work and the link is at home). As I recall I didn't see any appreciable advantage to them and haven't updated. Either way you can buy the kit from Jobo and install it yourself.

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Get the CPP or the CPA... you'll want access to the Expert Drums for 4x5 and the CPE can't handle it.

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the cold water solenoid allows you to hook up a cold-water source to your processor so the water won't warm up on a hot day.

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Me??? I don't see a need for it. On those days that he water warms up, I put a couple of "ice packs" into one of the chemical bottle slots. It's important to not use ice cubes, or any free-floating ice as it can get into the water pump and break it. I picked up a few of those blue plastic "ice replacement" thingies that they sell at the local market, and keep them in the freezer. The packs keep the temp own, the heater warms it up, and they balance each other to the perfect temp.

<br><br> a drum with film in it is not going to change the temp in a CPP or CPA... there's just to much thermal mass to balance it. Don't worry and keep going.... there's no beter way to do E6 at home.

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Hope this helped!!<br>

Cheers, D.

Konica better.... Huh... Not in my book.

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Maco is avaiable in 120... I haven't made a personal decision on that one, you may like it.

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Or... get a used 70mm back for your hassie, a few 70mm cartridges (cheaper at a swap-meet than on the auction sites), and order some Kodak Aerographic 2424. 2424 is exactly the same as HIE except twice as wide and it's in a 150 foot roll that you'll have to load in the cartridges. Developing is an additional matter, but Jobo makes 70mm reels that take up to 5 feet of film (they also make a *very* expensive reel that'll take up to 15 feet...but I think it's prohibitive).

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Hope this helps.<br>

D.

I agree with Stephane... it is a bit much.

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Of course the FS's could always be posted to the <a href="http://www.photo.net/gc/domain-multi"> Photo.net Classifieds </a> where For Sale and For Auction messages are supposed to be posted rather than the leica forum.

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Cheers,

D.

You mean the same Kodak that has discontued HSI (High Speed Infrared 4x5 and 8x10 sheet film).

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You can buy 70mm HIE cut down to 120/220. You can shoot Maco in 120 (Not the same effect)

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You can get a 70mm back, a loader, a couple of cartridges, and a back, shoot medium format HIE and process it on a Jobo. Works for me and it's highly unlikely that Kodak will discontinue it as it's used extensively by the military and ariel agriculture photographers.

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Cheers,

D.

feh....

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Buy it in 100 foot rolls, get a daylight loader from B&H, Adorama, or used on E-Bay. Process it yourself in a JOBO where you've bought the 70mm reels (comes in 5 or 15 foot length reels).

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I do it because it's the only way I can reliably shoot Kodak Infrared in medium format. Why would you want to??? Cheaper and easier to use 22O film that you can have processed at any pro-lab.

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Cheers, D.

Well, I use DHL for international. I've sent various things many times and they're consistently the fastest, cheapest, and most relaiable. I happen to go to the office, but if you have a question about it, call 'em up and ask. As a side note, I noticed that DHL is the carrier for the US Postal Service's "global express mail", so I'd guess you can go to any post office and get the same service.

I also use the Post Office's Express Mail for domestic. They don't x-ray either, and it's cheap and fast.

Hey guys.... it's a simple solution. DHL. You pack the box in front of them, tell them no x-ray, and the package is waiting for you when you get there.

If you don't want to process the film while you're there... DHL back again. I'll tell ya, it's cheap insurance and you're guarenteed no x-ray problems.

Ernie,

I shoot 70mm almost exclusively in my Bronica, specifically Infrared but my answers should generally apply:

1) Loading a cartridge is easy, I've done it straight from the 150' reel in a changing tent, but I wouldn't recommend it. You can order a daylight loader from B&H that's made by Alden (go to B&H's website and search on 70mm). NOTE that the actual limit is 15 feet in a cartridge! Note also that you can get many Kodak emulsions already in cartridges.

2) Processing... ouch, there's the rub. The only place I found to process it normally is a place in Nebraska that charged by the 100 foot length. They specialize in bulk processing for aerial photography. I process my own, and you can often find reels on E-Bay to let you do so. I ordered my reels from Jobo, but those are limited to 5 feet of film.... same as a roll of 220, but you can order a 15 foot reel from them for 3000 series tanks.

3) Would transparencies be easier? I don't honestly know.

4) If you're shooting normal films, I'd suggest that you revisit the idea of 70mm. Maybe you could consider an A24 back to get more exposures?? If you're going to process your own, and are willing to look for the 15 foot reels, you've got an advantage, but otherwise you'll be shooting the same lengths as a roll of 220 that would fit in your A24 back.

Why do I shoot it? I love the look of Kodak Infrared (HIE) and have good success with it. The only way to get medium format HIE negs is to go with 70mm. (And for those IR fans out there who are reading this, I do know about Maco IR in 120 format... I've tried it and will try it again, but it's not the same as HIE ;-)

Cheers,

David

Anyone out there have a thoroughly *dead* Bronica ETR, ETRs, or ETRsi

body?? I'm looking for real cheap, definitely dead. More

specifically I want the back part of the body that the film back

connects to.

You got it? I'd like to have it. Drop me an e-mail and let me know

what you want for it.

David M. Young - david@cloudance.com

It's definitly a ways off... especially since it apparently doesn't work well in the red end of the spectrum, and has not been tested yet with color film dyes. But I give it until next issue before it appears in Pop Photo and Petersons.

From today's newspaper:

TECHNOLOGY: If the approach works it could revolutionize photography. By CHRIS TOMLINSON

The Associated Press Scientists say they have found a way to produce

photographic film that is 10 times more sensitive to light � an advance that could make true- to-life pictures of candlelight

dinners possible without a flash or muted colors. Agfa, the European

film manufacturer that sponsored the study and holds the patent, would not comment on when the film might become available commercially. And researchers acknowledged that more work is needed

to determine how well it can reproduce certain colors. But if the approach works, it could revolutionize photography, improving on the basic design that has been around since the 1840s. In a study published in today�s issue of the journal Nature, researchers at the

University of Paris-Sud said they have managed to capture every bit

of available light on film by adding a simple chemical. A camera focuses light from an object onto film, which is made of plastic with

a chemical layer. The film uses two kinds of light-sensitive crystals � halide crystals and silver crystals� to produce an image. When a bit of light called a photon, strikes one of the halide crystals, it breaks an electron loose. Ideally, that electron combines with a nearby silver crystal. Later, when the film is placed in a developer, the silver crystals that picked, up electrons darken and stick to the plastic while the rest are washed away. The result is a negative. One photon of light cuts loose one electron, but most of the time the electron quickly returns to the halide Instead of combining with the silver. As a result, most film is not very efficient. In dim light, long exposure times are needed to capture enough photons to create an image. The French researchers added a chemical called formate to the crystals. That kept the loose electrons from re-combining with the halide crystals. So every electron knocked loose by a photon was captured by a silver crystal. Other chemicals can keep electrons from recombining with the halide crystals, but they ruin the film�s ability to produce an image. The chief researcher, Jac-queine Belloni, said her technique could be used to make images with greater clarity or to take pictures in very low light without a flash. The new film could also widen the gap in

picture quality between conventional photography and no-film digital photography, which has been growing in popularity. One question is how the tech-nique will work with dyes that allow film to record red light.

I have a friend who's got a Rollei TLR that's not working well right

now. I'm not sure what the symptoms are, but she's looking for a

reputable repair facility in the San Francisco Bay Area. Has anyone

on the list used International Camera Technicians in Mountain View or

have another place they'd like to recommend?

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Thanks for any information...

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D.

I need some validation on my choice of equipment of moving to Medium Format, and would appreciate any or all comments.

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My requirements:

Larger negative than 35mm.

Ability to handle 70mm film.

(could also go to 4x5, but I don't want to make that leap yet)

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My choices:

Pentax 645n

Hasselblad 503

Bronica ETRsi

Rollei 6003

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Comments:

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Rollei is out simply on price. I can't see paying over $5000 for just the back alone.

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Pentax 645N: Has good qualifications, including the attractiveness of the integral motor drive, metering, and data imprinting... and I can get a 70mm back... but I don't really like the idea of not being able to change backs mid-roll. I might be able to overlook that one if there are enough other reasons to go this route.

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Hasselblad. Has the name, the quality and doesn't have the drawbacks of the 645. Also doesn't have an integral motor drive or metering, and a meter prism won't work with the 70mm back. Also a bit on the pricey side and known for being a bit sensitive to field conditions.

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Bronica: My leading choice right now. Has the advantages of the Hasselblad, without being so pricey, but I still don't have the integral metering (Meter prism doesn't mount well with the 70mm back). Has reasonable price and performance. Also will have to buy 70mm back used... they're out of production where they're current items for the Hassey and 645n.

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Comments or opinions??

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D.