brendan_hohls

<p>No one has mentioned how the active focus sensor on the F6 also lights up in the same way that it does on the F100, albeit with eleven versus five sensors. I have only looked through an F5's viewfinder (and have not owned one like I do an F6 and an F100) and the active focus sensor seems to be indicated in a much clumsier way. I love how customisable the F6 is in ways that are practically useful.<br>

I have no regrets buying an F6 with the extra battery pack, mainly for the vertical release, but I like the extra weight on heavier lenses too.</p>

<p>Something that is also important for me in lens choice for portrait work in my small home studio is how much I have to fight with my background to stop it from intruding.<br>

When I am shooting a full body shot then I don't have as many options and am forced to go wider (probably to a 50mm f/1.8 or sometimes the long end of a 20-35mm f/2.8), but I always battle to get a composition where something that I don't want in the background (edge of the 3 metre wide backdrop etc.) doesn't intrude. When I can shoot a tighter portrait then I can go for an 85mm and spend more time getting the model's facial expression right without worrying as much about what might be intruding.<br>

I always have a range of lenses at my disposal just in case, but I find it least stressful to be able to go to either a 85mm or 105mm focal length.<br>

An environmental portrait is obviously a different kettle of fish and wider often is easier - not to say that a mild telephoto lens won't be usable though.</p>

<p>I find that what works for me is to already do a quality control step when I decide what to mount. Anything that I find interesting or potentially useful down the road gets mounted. I have a slight catalogue on a spreadsheet (that is currently not up to date) where I categorise the slides acording to general and specific categories and I also have some quality codes for images that I may want to use for specific purposes. Of the slides that I have mounted - about 18 500 - I don't plan on throwing any out.<br>

Regards</p>

<p>Brendan</p>

<p>Hi<br>

I wrote a response yesterday that didn't seem to stay stuck....<br>

A question that someone else may have asked that I have missed, but why not take two cameras along with you on such an important trip? I wouldn't trust my luck with just one. That way you can also load your favourite Velvia 100 in one body for landscapes and have Provia 100F or Astia 100F in the other for people shots.<br>

Enjoy your trip.</p>

<p>Sorry, please excuse my double posting.<br>

Brendan</p>

<p>I don't have specific experience of the model that you are referring to, but I would also have extended the slide arm to its full extent and then expected the tray to come out.  Just a thought, have you then tried to slide it out or merely lift it up?  Maybe it needs to slide out like a slide tray would?<br>

Brendan</p>

<p>I don't have specific experience of the model that you are referring to, but I would also have extended the slide arm to its full extent and then expected the tray to come out. Just a thought, have you then tried to slide it out or merely lift it up? Maybe it needs to slide out like a slide tray would?<br>

Brendan</p>

<p>Thanks so much for the responses and apologies for responding so late. I am also fairly convinced it is the lab because other film from the same batch has not done that. i am away from my home base at the moment, but left some of the offending results from then and will follow up on my return. Unfortunately there are not a lot of alternatives left in Pretoria, South Africa, as far as labs are concerned.<br>

Regards<br>

Brendan</p>

<p>I took some studio photos using two rolls of Fuji Provia 100F and had them E6 processed by my local Prolab. When I got them back I immediately noticed an overall underexposed appearance on many of them in spite of checking with an incident meter and having made successful images with my D700 set at ISO 100 at the same apertures and studio light settings. The really strange thing though was the violet/purple colour in all darker and shadow areas. The model's black hair has turned out purple/violet, the part of her body in shadow shows the same effect, and even the normally black space between frames has a purple/violet colour cast. Additionally in the shadow areas, her black bordered tattoos showed up lighter than her skin in the same areas!<br>

The Prolab says that the other rolls in the batch were fine and they are not to blame. They say that the film could have been exposed to heat but that is highly unlikely on my side since I store the film in the fridge prior to using it and drop it off for processing quickly afterwards and without it being in the heat. I obviously have no control over how it is treated before it ended up in the Prolab's fridge.<br>

Has anyone out there experienced this or have some thoughts on the matter? Some of my friends in my slide group think that it may be the result of over-development.<br>

I am not too bothered about the "ruined" results because I shot mainly digital on the day for the model, and the effects look weird enough that I may even use one or two of them. And no, I haven't had any scanned yet so that I can share them with you yet. Sorry.<br>

Regards</p>

<p>Brendan</p>

<p> </p>

Hi e e, regarding your comment about exposing for the moon, someone suggested the "Moony 11" rule, similar to th "Sunny 16". Basically use the reciprocal of your film speed as the shutter speed combined with an aperture of f/11. In my experience this does show up quite a bit of detail on a full moon. If you rely on the camera's light meter the moon will be way over exposed because the moon is so much brighter (reflected sun) than the rest of the sky is. Sorry that this is so late.

Regards Brendan