aeiffel

agitation is mandatory, you can go from intermittent to continuous.

Yep, the Lowepro equivalent are the Slingshot bags. They are very convenient but there's not enough room to have the 70-200 attached on a SLR body. I hope Lowepro will consider releasing a slightly larger model.

According to the names : E6 is Velvia, C41 is a 160 film, and B&W is some Neopan 400 (which looks way grainy, what was it souped in ??).

Don't try to install the whole package, only the application. I'm sure you can live without the project samples on your HD.

Don't worry, it's perfectly normal.<br>

You'll soon get used to it.

Edward,<br>

We need you to tell us more on your scanning workflow : which transparencies, software, settings, calibration, post-processing, etc.<br>

The coolscan is a very capable scanner, but then you have to know what the agencies expectations are, and see if it can fulfill their needs.<br>

I'd try to meet and discuss with the persons in charge of submissions approval first. You'd probably learn where the "problem" really is according to them.

Peter, I think you missed my point. Those controls affect the raw data of the CCD _before_ the file is generated. PS would be unable to process them at this stage. It's post-processing of the raw data, not of the final file.<br>

Flexcolor will work with true 16b data where PS actually work with less (can't remember exactly how much it is).

We know they're not the same thing, check what I've written again.<br>

I don't know where you've seen *real* analog gain on pro CCD scanners ? Most of them have a light source that delivers constant brightness.<br>

Now I don't get why you dismiss all the post- controls offered in flexcolor, they're extremely useful as they work on the raw data of the CCD before the final 16bit file is generated. This ensures, among other things, the smoothest and widest histogram possible. I don't like to manipulate curves at this stage unless the distribution is totally off. But the histogram and gradation tools help me capture scans with a full tonal scale, which is what I expect from a "digital neg".

You've to use the "gradations" and "histogram" tools in flexcolor, that's all you can play with. Some of these settings can be changed in the setup section too, see the "general" and "contrast" sub-sections there.

<i>When scanning in grayscale all the channels and their respective qualities are merged together.</i><br><br>

It depends on the scan software, vuescan lets you select the channel you want or performs an auto merge from the RGB data.

You'll find lots of answers on this topic in the archive.<br>

If you use Nikon Scan your approach is good (scan as positive), however if you use Vuescan or Silverfast you can directly scan your rolls as negatives with good results.<br>

I've tried RGB scans of B&W materials and compared them with greyscale ones, AFAIC I can't tell the quality is better in RGB (at least using Vuescan).

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Dunno if this old news already but I came across one of his essays on

the VII website. It seems he's a full member of the agency since

listed <a href="http://www.viiphoto.com/photographer.html">here</a>.

If your print is like its scan, then I assume it holds a massive orange cast. The film scan only seems better "white-balanced".<br>

I wouldn't worry too much on the fading issue with such a comparison.

Most probably junk in one of your solutions. Had experienced smtg similar with diafine already, I filtered it again to solve the problem.

Neopan 400 scans well and prints well at nominal speed.

<i>Please check the name on that film. If it reads 100 tmx rather than Tmax 100 the processing time needs to increase by 50%.</i><br><br>

Isn't it the opposite actually ?<br>

I used to develop the old TMX-100 for 8 min in stock D76, and reduced this time with the new version.

They distribute coupons to pre 1.1 owners cause they have lowered the price of the app.

Aperture and Lightroom are workflow management applications, designed to take over acquisition/RAW conversion, limited editing, sorting, rating, meta tagging, archiving and printing. PS concentrates on editing and provides you with almost all the tools available to manipulate your pics.

I don't think you should extend your dev time too, in my experience one year is not enough to alter the latent picture on a 100 film.<br>

However please note the recommended shortening of your dev time in a jobo only applies if you don't perform the 5mn presoak. When I switched to rotary processing I noticed most of my previous times for hand processing gave good results as long as I followed the presoak procedure.

<i>Is it worthy of a swap?</i><br><br>

I don't think so, you'd probably regret it in the mid-term. Try to rent the 28-70 for a weekend to make up your mind, I bet you'll be unimpressed by its bokeh compared to your 85.

yep that's correct, anywhere between 8 and 10mn should be ok for a first try @200. then you'll be able to refine your *own* time, taking your metering, agitation pattern, etc into account.

Marko> you'll always get more grain when printing through "very dense negs". I agree Rodinal can make it even worse.<br>

you must be overdeveloping or overexposing - or both. see if you can correct that first, otherwise you'll end up with the same problem with any developer.<br>

Bernard> the speed of tri-x in rod 1:50 seems to be more on the 200/250 side.<br>

underexposure and flat lights indeed can lead to more pronounced grain in your prints (overexposure and overdevelopment too, cf Marko's post).

Xtol 1:1 for pushing or scanning, Rodinal for grain, D76 stock or 1:1 for the classic look, and Diafine for low light work.

Steve, you say you don't see a $1.000 difference with your F100 now, but what did you expect actually ? Better pictures out of the box ? Fully automated "best-composition-and-decisive-instant" mode ?<br>

The way I see things is pro bodies offer the latest technologies to help you achieve better pictures, and of course you pay for that. But there are no miracles, these are only refined tools to help you further. They won't do the job for you and increase your keepers ratio without your own investment.<br>

I could make a long list of refinements that are worth the price difference to me. Maybe you should try to define your needs and expectations for a new film body ? It's possible you end up with the conclusion that a F100 is all you need.