shel_belinkoff2

Hi gang,

 

I understand that the rubber coated eyepiece from the later model M

cameras can be used on the earlier M cameras. Is this is a do it

yourself job, and what's involved in making the replacement.

 

Apart from Stephen gandy's stick-on donuts, which I've used, is there

another alternative to making the metal viewfinder eyepice less prone

to scratching eyeglasses. I recall seeing a rubber or plastc piece

that slipped over the eyepiece, but can't seem to find it again. I'm

not thinking about the big eyepiece cup that was available at one

time, rather, a small piece that slips on to the viewfinder eyepiece.

 

Thanks!

 

Shel Belinkoff

What is the longest Leica lens that will fit on the M-series

without a Visoflex? What of other brand lenses? What might

be the fastest lens of 135mm or longer that will work?

 

shel belinkoff

Hi,

 

Thanks to everyone for their suggestions. There were some films mentioned that I'd completely forgotten about, such as Velvia 100.

 

Doug, where do you get your Kodachrome processed? I might want to try it some day, but a) my recollection is that it takes a week or more to get back from the lab, and b) I've heard many horror tales recently about film being damaged, lost, and poorly processed. Could you comment on that?

 

Paul, I appreciate your suggestions for color neg, but I really want to explore the transparancy films for the time being. The Portra 400UC might be nice to try for another time. You know I'm thinking about a DSLR, but that's an issue for another time and place <LOL>

 

Roger, I've used and LOVE Scala, but you're right, this was in inquiry into color film, which I'm a novice at using compared to B&W.

 

Again, thanks to all ... kind regards,

 

Shel

Hi,

 

Been thinking about experimenting with a saturated and

contrasty transparency film like Velvia for rainy and

overcast days. I'm gonna try some Velvia today ... however,

I seem to recall having heard that V. doesn't scan well. Is

that really the case, and, if so, what are the problems.

 

Is there another film like Velvia to try ... was thinking

about the Ektachrome E100 saturated version. Any comments

about that film? Maybe too "blue" for such situations and

in need of a warming filter?

 

Shel

Hi,

 

Been thinking about experimenting with a saturated and

contrasty transparency film like Velvia for rainy and

overcast days. I'm gonna try some Velvia today ... however,

I seem to recall having heard that V. doesn't scan well. Is

that really the case, and, if so, what are the problems.

 

Is there another film like Velvia to try ... was thinking

about the Ektachrome E100 saturated version. Any comments

about that film? Maybe too "blue" for such situations and

in need of a warming filter?

 

Thanks!

I like APX 100 in Rodinal. Generally tend to use the 1:100 dilution. Developing times depend on the EI and contrast of the scenes. Generally EI 50 or 64 and 1:100 for about fifteen minutes. Agitation of two inversions for about five secs once per minute.

I like the M3 or M2 with either the 50mm or 35mm 'crons.

"I believe they have largely disabled backwards compatibility with pre-A lenses, by deliberately cheapening the mount: that means that unless a lens has an A setting the camera won't know what aperture

you are using - unfortunately this rules out all the K and M lenses that were so beautifully built. Pentax affectionados refer to this new bayonet as the 'Crippled Mount'. "

 

That's history ... a few weeks ago there was a firmware upgrade that allowed the K and M lenses to be used with the new mount with improved compatibility. And, surprisingly, the earlier screw mount lenses always worked. The lens that Marc was using was a screwmount lens, iirc, circa 1969-70. Paul and I are both on the Pentax list, and I recall Paul mentioning the lens he used.

 

shel

 

That said

That's an 85mm/1.8 Marc ... quite a nice lens. The backward lens compatibility of the istD is outstanding.

"If you live in a CIty that has a Pro Lab, the turnaround for slides can be 1.5 to 3 hours and they will be mounted. "

 

That's a pretty broad generalization. Living near a big city (San Francisco) my experience is quite fifferent. Slides can be returned unmounted in one long strip, sleeved, or mounted. The images can be put directly on to CD as well ...

Care to speculate on what it may be? Or can read the Japanese

site? The camera is shown with collapsible Leica lenses, looks like a

Bessa body, but it also appears to be digital, has an Epson nameplate:

 

http://www.itmedia.co.jp/pcupdate/articles/0402/13 /news003.html

 

Shel Belinkoff

If you're going to process your own, and if you're in San Francisco, check out the Photo Center by Duboce Park. Check SF Parks and recreation for the specifics wrt address, hours, etc.

Hi Gang ...

 

Over the next few weeks I'm going to attemp scanning a lot of

conventional B&W negs. I have heard a number of conflicting opinions

on the best way to do this. Most comments center around whether to

scan in RGB or greyscale. Greyscale would be nice as I could save

some space, but if RBG will give higher quality results, I'll bite the

bullet.

 

I have scanned using both methods before, although with the help of a

friend who did most of the work and setup, so I'm still pretty much

uneducated and inexperienced wrt the subtleties.

 

Scanners used will be an Imacon Flextight 626 (I believe that's the

number) and the Nikon Coolscan IV 4000dpi unit, if that makes any

difference.

 

Thanks for any help,

 

shel

Never mind ... I found an answer. Thanks anyway.

Hi ... a while ago I received a brick of Fuji Neopan F (ISO 32) B&W

negative film. It's from Japan and there's nothing on the box in any

language I understand that provides information about this film. I've

seen nothing on the Fuji web site, either. I'm hoping that someone

here knows about this emulsion. I'd like to know if it's a T-grain or

conventional film, and get some idea about processing. Anyone know

anything? Thanks!

The film will be stored for more than five years.

How long can unexposed slow to 400 speed B&W film be kept frozen

without losing

speed or fogging? Is there an ideal temperature for freezing film?

 

It's been suggested that a frost-free freezer is less than ideal

because of the frezzing-thawing cycle. Any truth to this? Comments

from experience?

 

shel

Hi ...

 

I've been using a couple of MX's along with the Leicas for a few years now. A very complimentary combination, IMO, and they fit nicely in the Domke F-803 satchel. I like the older K lenses for the Pentax, and use the 30mm/2.8 a lot. I think you'll be very happy with the combination.

http://www.leica-camera.com/discus/messages/23/22582.html?1073163141

"I'm lost with "I want my greyscale photos to match the warm tones of the original". What media are you scanning, and with what kind of scanner?"

 

 

As I said in my first post, I have scanned a warm tone photograph. Subsequent scans of other negs are going to be in greyscale. When I edit those photographs in PS, I want their tonality to match the original scan. Negs are scanned in a film scanner.

 

Just to clarify a bit further, in case the info got lost i my original message, the original photograph mentioned here is a B&W photo (a photograph made on conventional B&W film) printed on warm-toned photographic paper. I now want to take some other negatives (also made on conventional B&W film) scan them into PSD or TIFF format, and then edit them so their tonality matches that of the warm toned print previously scanned.

 

Hope this clears up any ambibuities.

Hi Chris,

 

Unfortunately, I'm either dense or your response won't work for what I'm trying to do. I want to match the warm tones of a photograph - one that is not pure greyscale. I want my greyscale photos to match the warm tones of the original. Just setting levels, from what I can see, will not do that.

 

You've assumed incorrectly that the scanned photos have different tonal ranges. They are all the same, from the same roll

of film, and all with the same exposure.

 

Thanks for jumping in though. It's always good to get input ;-))

 

shel belinkoff

Perhaps there are some PS gurus here who may have a suggestion to

solve this dilemma:

 

I have a B&W warm tone photograph that has been scanned to provide the

tonal range I want to use in some subsequent scans. How can I

transfer the tonal information to the new scans so they all have the

same deep, warm blacks and soft whites, and everything in between as

the original?

ZBattery.com has the Duracells for a better price:

 

http://www.zbattery.com/zbattery/dl13n.html

 

Also, be careful with Varta ... I've been told that Varta has been purchased by Rayovac, and several of the camera shops in my area will no longer carry thge brand as they contend that Rayovac quality leaves something to be desired. FWIW

Barry said: "... She told me once she doesn't always have time for emails. I think you need to talk to her in person. She's a great one to chat with and she will tell you true about your repair. I don't think the email way is the best way with her. Just call her and talk to her."

 

I agree 100% ... It's not so much that she doesn't have time for email, but I think she doesn't like it that well, mucg preferring to talk with her customers. And she sure can be chatty, too ... when you get started with her there's no telling where the conversation will end up <LOL> and I mean that in only the nicest way.

Why the mysterious delay? Well, when I last spoke with her she told me that she was going in for knee surgery ...