bill_schneider1

Here's a comparison picture showing the differences in my M6 body and the newer MP body. Pictured in the red circle is a radius in the film chamber of the MP that is absent in my M6 and my M6TTL bodies.

The stop lug on the M6 classic baseplate hits the radius, preventing the baseplate from closing. The lug hits the radius with about 0.100 inch left to go before the baseplate closes.<div></div>

Here's a comparison picture of an MP baseplate (top- which is the same design as my M6TTL baseplate) to an older M6 classic baseplate. The welded stop lug (circled in red) in the older baseplate fouls a radius present in an MP body.

Because of the lug, this type of baseplate will not fit my MP body.

Bill Schneider<div></div>

I just rechecked all three of my M bodies for baseplate interchangeability. My M6TTL and MP baseplates are very similar, but the older M6 classic has a different lock-up mechanism from the other two. I'll post some pictures if I find a little time.

I was able to get both my MP and M6TTL baseplates to fit my M6 body. The fit varies from very tight to somewhat loose, so you might have to tweak a new baseplate to fit like it should.

The M6 baseplate still will not close enough at the latching end to use it on my MP body. The film chamber in the MP has a radius near the baseplate end that the M6TTl and M6 classic do not have.

I assume this extra bit of material prevents the classic baseplate from closing all the way on the MP body.

Because designs were tweaked over the production runs, here's the serial numbers ranges for my cameras:

M6 Classic - 1760XXX

M6TTL - 2466XXX

MP - 2982XXX

Again, I'll post some pictures showing the camera differences if time permits.

Bill Schneider

My M6 baseplate did NOT fit my MP body. I would bet the inverse is true too, although I haven't tried it. I've got film in both bodies right now so I can't verify, but at least this is some data to chew on.

Bill Schneider

In my case, the digital file was scanned from a traditional darkroom print. That's the actual color of the print on warm-tone Portriga Rapid fiber - now extinct though.

There's no reason why a digital print couldn't match the screen if you use a color-managed printing system - especially with low saturation color images like these.

From what I can see, the photos look nicely done. Congratulations!

Just a curious question though - are there any verticals in the show? Everything in shown above is horizontal and I would have normally expected to see a mix of horizontals and verticals on the wall.

Of course I can't see the whole thing, and maybe the gallery layout has verticals gathered somewhere else.

Again, congratulations for having a significant show of your work.

Bill Schneider

Larry H-L:

Are those last year's grad students? Looks like Nathan on the left.

I must have missed that party.

Bill

I own a Hassleblad, but it's actually been a few months since I've used it. I love printing the negatives from 2-1/4. It's easier to achieve spectacular results beyond mere resolution improvements - smoother grays in b/w are certainly part of it. I recently printed a few b/w negatives for a photographer who is doing a long-term project with her 'blad. The results reminded me how much I like the look of prints made with medium format.

It's much slower to use than a Leica of course, and be prepared for some serious mirror slap.

While others love the various prisms available for their Hassleblads, I actually prefer the standard waist-level finder. The 45 degree prism (that I still own) didn't work for me, and the smaller, simpler approach is what I settled on.

Comments about the Accu-Matte screen are correct - get one! It's a huge improvement over the older generation focusing screen.

Because many wedding and portrait photographers are ditching medium format for digital, now is a good time to scoop a deal.

Bill Schneider

Shery Krauter has one listed on her web site (as of this morning).

http://www.sherrykrauter.com/productsPage.php?category=mLenses

Couldn't be a more highly recommended shop around these parts, I imagine.

Bill Schneider

Just a thought - Leica lens mounts attach using small screws. Could it be that a screw head is not fully seated?

Bill Schneider

I used to store lenses in a safe until I needed them. The safe was in a basement area with higher humidity than the rest of the house and it was ugly enough that moving it to living quarters was not an option. I got fungus on some nearly new Hassleblad lenses with that arrangement - dark and humid.

Darkness does seem to accelerate fungus growth, so I've started to store unused lenses in transparent plastic Rubbermaid brand food storage containers/lids. The lenses are safe from dust once inside, so I take the lens caps off for storage to permit light to reach the lens elements. I also have packets of silica gel in each of the containers to draw the moisture away from the lenses.

So far, so good.

Bill Schneider

I've used both my M6 and M6TTL with Norman 2000 W-s units, I've always been worried about the M6TTL's electronic flash circuitry and use the Wein Safe-Sync interface to reduce the trigger voltage.

My Normans date from the 80's and have about 100 volts trigger voltage which (I've heard) can fry modern low-voltage camera flash interfaces. The Wein Safe-Sync, for about $50, steps down the trigger voltage to about 6 volts for modern cameras.

I bought the hot-shoe to hot-shoe model because it also has a PC connector on the front of the unit. I've used it also with my Nikon N90s and it works fine.

I've never looked inside an M6TTL to see if my fears are unfounded, but the 50 dollars bought peace of mind in case the TTL's flash circuitry could indeed be damaged by high trigger voltages.

Bill Schneider

Take out the period at the end of the 2nd link given above to make it work. Fussy things computers are.

When you reach the archived thread, the linked web page detailing the problem is off-line for about 3 weeks. There's no electricity in the building housing my server during that time :-(

Loading carefully will certainly take care film centering within the rails.

Bill Schneider

You mentioned that you had the problem with two shops. Do both shops do the processing on-site, or do both of them send it out to a common processing facility?

I've been in towns where one central facility processed film for several regional photo stores.

Bill Schneider