loren_sattler

To soften up the AZO you might try a soft developer.

<p>I thought the movie was riveting, but not great. I feel it went too far by over exaggerating the plot and I found the ending disappointing. It was very entertaining and reminded me of "Network" as well. </p>

<p>Here is a link to Kodak's technical publication for Tri-X. Scroll down to the manual processing section for specific instructions on agitation:http://www.kodak.com/global/en/professional/support/techPubs/f4017/f4017.pdf<br>

Many people are afraid of over agitation. In my opinion far more problems arise from under agitation than over agitation, primarily uneven development. If you are worried about over agitation, consider that sheet films are typically developed with continuous agitation when done in a tray or rotary processor. <br>

Vigorous agitation supports even development of the negative and can increase contrast. If you get too much contrast, reduce the time in the developer while maintaining the agitation method to control the outcome. </p>

<p>I tried Arista fixer in the past and found the recommended dilutions for film were too weak for the times indicated. I switched to Ilford Rapid fixer and have not had problems again.</p>

<p>A couple of years ago I was also given a Zeiss Ikonta (531..?) from an estate that my brother in law was handling for his family. It is a beautiful 6x9 model from about 1936 with a Tessar lens. It also looks almost new. The shutter was completely frozen from lack of use. I sent it to Midwest Camera Repair in Wyandotte, MI. They CLA the shutter for about $100. It now performs perfectly. <br>

Unfortunately it competes with my Rolleicord IV for my attention. The Rollei is so light and easy to hand hold (strap around your neck and fire shutter with cable release) it usually gets favored when I am leaving the house with a camera. </p>

<p>I have had the best luck using a K2 Yellow filter,and pulling development approximately 15% from my standard when shooting snow scenes in bright sunlight. My standard for medium contrast light is Tri-X 400 rated at ASA 200, D76 1:1 for 8:15 minutes with 6 rapid tank inversions (5 seconds total) every 30 seconds. For bright, contrasty light (such as bright sun on snow) I reduce this to about 7 minutes. Negatives print well on #1-1/2 to #2 contrast filters with a condenser enlarger.<br>

I have not had such pleasing results with a red filter. I believe it may pull too much of the blue light from the snow, but I am really not certain why. The yellow filter may not make the sky as striking (if there are clouds), but the snow can be very alive.<br>

Hope this helps. </p>

<p>I have had the best luck using a K2 Yellow filter,and pulling development approximately 15% from my standard when shooting snow scenes in bright sunlight. My standard for medium contrast light is Tri-X 400 rated at ASA 200, D76 1:1 for 8:15 minutes with 6 rapid tank inversions (5 seconds total) every 30 seconds. For bright, contrasty light (such as bright sun on snow) I reduce this to about 7 minutes. Negatives print well on #1-1/2 to #2 contrast filters with a condenser enlarger.<br>

I have not had such pleasing results with a red filter. I believe it may pull too much of the blue light from the snow, but I am really not certain why. The yellow filter may not make the sky as striking (if there are clouds), but the snow can be very alive.<br>

Hope this helps. </p>

<p>Try this website showing catalog info for vintage lenses:http://www.cameraeccentric.com/info.html</p>

<p>Doug, I have a Nikonos you can borrow. Send me an email. Loren</p>

<p>I am the opposite of Mukul. My favorite camera (of many) is a 2-1/4 Rolleicord. I find myself printing the negatives square most of the time (as taken), although I will willingly print rectangular when the subject calls for it.</p>

<p>My favorite camera these days is my 1953 Rolleicord IV. Very light and portable, take anywhere camera. Just need a couple of filters for B&W. I can hold it very steady with the neck strap and a cable release. Great performance in a small package!</p>

<p>Nice work. I bought a Kodak 2D 8 x 10 view camera about 3 years ago. I can't get motivated to use it regularly. My subjects are more spontaneous I believe. Also, my old lenses are not very sharp. I had the same idea, contact printing 8 x 10. Beautiful!</p>

<p>Another photo, side view</p><div></div>

<p>Attached are two photos of my recent purchase, an Ikoflex model 1A with Novar-Anastigmat lens (viewing lens is marked Teronar). The camera appears to have had little use. The lenses are clear and free of any noticeable scratches. The shutter sounds correct above 1/50th. Below that it will not fire. The focusing knob is quite stiff, but has loosened some with exercise. </p>

<p>I downloaded a copy of the owners manual, but it is does not show step by step instructions for loading film. I have gotten it to load and fire with a film wrapper (no film), but after a couple of frames, it will not allow you to cock the shutter and fire. Also, the film counter is confusing. I am having trouble trying to get it to start at #1. Can someone advise if the camera is malfunctioning, or am I missing a step or two in loading the film?</p>

<p>Viewing with the Ikoflex is very dark and difficult to focus. My favorite camera is a Rolleicord IV of the same vintage. I improved the operation of this significantly by installing a much brighter screen from a Mamiya RB67. Does anyone have any experience brightening up the viewing? Also, will this camera be a good user if I spend some money on servicing it? I shoot B&W. Any comments will be appreciated. </p><div></div>

<p>Do you own a second lens? Same problem? I once had a 55mm Mamiya lens for my C330 and it would not focus sharp on any plane. It was one of my bad ebay purchases. My guess is it was poorly made or someone messed up the inner elements. <br>

If the lens will take sharp pictures, but the focus plane is off, perhaps someone took the lens off the board to service a sticky shutter and failed to replace a shim. A camera repairman with with correct equipment should be able to fix that easily. </p>

<p>I shoot and develop traditional B&W with three formats: 6 x 6, 6 x 9 and 35mm. My favorite camera is a Rolleicord. I will crop or frame prints in the darkroom according to what feels best for the particular photo. I notice that the vast majority of my 6 x 6 negatives get printed square, and usually full frame. These include a wide range of subject matter. My conclusion is that I prefer the square format, but don't know why. </p>

<p>I have a Mamiya C330 twin lens reflex with a CDS prism finder, and I like it. If that is what he owns, they are available on the auction site or used camera stores for probably under $75.00 but you probably want an experienced buyer doing the shopping.</p>

<p>I think that Dave has your answer on the shutter cocking. I had this problem with mine in the past. After lubricating a shutter, the lens was not mounted properly back in the lens board. The stroke of the shutter cock would not fully engage the shutter letter on the lens. <br>

The fix is very simple. Loosen the lens nut on the back of the board and simply relocate the lens so that the orientation pin is in its slot. Then re-tighten the nut and you should be all set.<br>

The nut requires a spanner wrench which is not easy to find. I made a wrench by taking two (long style) quick change screwdriver tips and mounting them on a handle at the correct diameter. The nut then came off easily without damage. <br>

Hope this helps.</p>

<p>From my experience, it is the opposite of what has been proposed. It is probably too little agitation vs. too much. See page 3 of 12 on the following PDF file from Kodak explaining proper (vigorous) agitation: <br>

http://www.kodak.com/global/en/professional/support/techPubs/f4043/f4043.pdf</p>

<p>I had this problem for a long time until following Kodak's procedure of vigorous agitation. </p>

<p>Interesting topic Steve, and some very good responses. <br>

IMO, photographic style is difficult to articulate. I would propose that if you took copies of little known photos by master photographers, say Weston, Strand, Adams, Lange and Kertesz and showed them to a group of photography historians, they could guess which photographer took which pictures a high percentage of the time. The subject mater would be a big help, but the style would be the convincing criteria.<br>

I would also bet that just about everyone that devotes energy to photography probably exhibits some style, at least in their best work.</p>

<p>There is an exhibit of Gordon Parks photography called "Bare Witness" at the Toledo Museum of Art February 5th through April 25, 2010. There are 70 plus photos in the show, mostly beautifully printed black and whites which represent his range of work over the years. I saw it Friday, it was great.<br /> <br /> It is free to the public. For hours and more info: <a href="http://www.toledomuseum.org/" target="_blank">http://www.toledomuseum.org/</a></p>

<p>Wow, I can't believe the depth of some of these responses! I think some are over thinking this thing.<br>

My favorite cameras are a Rolleicord and Mamiya C330, both square format. I do my own darkroom work and interesting enough, I find myself printing square format probably 90% of the time, with a large portion framed full format, no cropping (Probably from years of 35mm slides). When developing 35mm negatives, I never crop them square.<br>

IMHO, I do not think of these square format photos as symmetrical compositions. Quite the contrary, I find myself using the rule of thirds most of the time. The rule of thirds still works whether the format is square or rectangular. I believe that most of my images are balanced, but not symmetrical as would be implied by many of the comments posted here.</p>

<p>One more comment. There is nothing unique about B&W vs. color. Same principals apply. Most of my application of the technique was with Kodachrome slides.</p>

<p>I am no expert, but I have used fill in flash successfully to remove harsh shadows (such as in the eyes) in portraits in bright sunshine. This is my method with manual cameras and a non-dedicated automatic flash such as a Vivitar 285. I meter the subject and choose an appropriate shutter speed (max 60 or 80 for a 35 SLR) for the camera and or shooting situation where the matching indicated aperture setting is close to one of the automatic settings on the flash. I then fine tune the setting by trying to have the flash slightly under exposing the scene (if that were the only light source) by 1 stop or more. The slight under exporure insures that the subject will not be overexposed relative to the rest of the scene. For example, Plus-X (ASA125) on a bright day. Sunny sixteen rule says F16 at 1/125th second. For a focal plane shutter, I would move this to F22 @ 1/60th second, then set my flash for a setting 1 stop above F22. If that setting is not available, I may put the flash on manual and set the output to 1/4 or 1/16 of maximum, somewhere where the exposure from the flash will be less than the exposure from the sun. The settings can be flexible because the flash is not powerful enough to compete with the sun on a bright day.<br>

Hope this helps.</p>

<p>I have some experience shooting snow pictures in bright sun shine. My best results have been Tri-X 400 with a yellow filter, shot at ASA200 and pulled in D76 1:1 (7:15 at 68 degrees yields plenty of contrast). But, my experience is near sea level, not high in the mountains where there is probably more blue in the light. I have shot Kodachrome with a polarizer skiing in the Rockies to intensify colors. I do not believe you need the polarizer here for B&W. The yellow filter at sea level reduces some of the blue in the light and adds texture to the snow. I would guess it would work the same way at altitude. <br>

Tri-x should be a safe choice with your situation of having a lab do your work. It is very forgiving in the highlights. My knowledge of slow and medium speed films is they are more prone to blowing out highlights in high contrast situations. <br>

If your lighting is somewhat consistent and you work with a good lab, they could develop a couple of rolls, print and adjust development of the remaining rolls accordingly.<br>

Hope this helps.</p>