keithcf

It's fairly new and under warranty. Sounds like the consensus is to send in for repair?

Keith

Hi -- no I am not getting a bc light and the contacts appear clean.

Thanks --

Keith

Hi -- I am posting this again because I didn't see the first one. Sorry if

it's a double post.

Anyone experiencing this problem with the M7? When I load new film (lenscap is

off), the shutter will not fire. The workaround is to turn the meter on and

off, or -- more reliably -- use a manual shutter setting.

My dealer told me that the batteries that came with the M7 are underpowered,

but even with the new batteries he recommended, the problem is happening. I

should note that the shutter was also not firing during mid-film, but since

using new batteries that problem has not happened. The problem continues

during film loading though.

Any thoughts?

Keith

"Long term, using a lab should be more expensive since although their unit costs might be lower than yours, their labour is not free and you have their margin to add in."

Plus there is the cost of calibration software to consider if I use an outside lab. I don't know exactly what my breakeven would be for home printer vs. a lab, although I could calculate it using some assumptions about the volume I'd print.

Two things are nagging me though about getting a home inkjet printer: 1) can I achieve the same quality at home vs. the higher end printers? An Epson 2200 at home vs. 9600 lab printer for example. 2) Obsolesence (sp?) I know how quickly technology changes. How long before the Epson 2200 is eclipsed by an even cooler must-have printer? (I know, I know -- it's part of the game :)

"You're doing the right thing by looking at what a lab can do first, not least because it'll provide a standard for you to meet/beat on your own."

Great point -- thanks again for the comments.

Keith

Thanks for all the responses -- it's awesome how many options are out there right now. For starters I'm going to compare prints from Lightjet/Chromira to ones done on inkjet (Epson 2200 or 9600) using a pro lab. I'm interested to see how the quality compares. And I'll be checking all the great info. in these forums of course ;)

Thanks,

Keith

I've been reading a few of the posts on optical printing vs. scanning

and inkjet printing for color negatives. Although the opinions are

varied, seems a fair number of people are getting excellent results

from inkjet printing.

What are the pros and cons of scanning your own negatives at home,

manipulating the images in PhotoShop, then burning the results to a

CD and having a pro lab print on a high end inkjet?

With this approach you'd get all the advantages of digital editing at

home (image is cropped, etc. just the way you like), and also the

benefits of the higher end inkjet printers that a pro lab would own;

there would be no need to spend the money on buying an inkjet for

home, not to mention the costs saved on paper and ink.

Monitor calibration would be an issue -- but I assume you could

calibrate your home monitor to a test print from the lab.

Is this a sound approach? Or is it better to try and do everything

(scanning, editing, printing) yourself? Or is optical printing still

the way to go for color prints?

Thanks for your help,

Keith

I'll be returning to Portland, OR from traveling SE Asia and India,

and have a question re: getting prints from CD's. During my travels

I had film processed and scanned to CD (via Fuji Frontiers), but did

not get any prints -- index prints only.

At home, I'd like to generate 4x6 prints from the CD's for cataloging

purposes (quality doesn't have to be perfect -- I'm saving that for

enlargements ;)

I have probably 10K frames -- what is the best way to get prints made

that will not cost an arm and a leg? Even at $.10 a print, it's

$1000 -- is there a better way? Home printing? (can't imagine that

would be any cheaper with the cost of a decent printer, paper and

ink).

Thanks for your help,

Keith

If this is posted twice, my apologies. I'm not seeing my first response.

I was speculating that the problem might be abraded emulsion, but since the byproduct is yellow dust/lint (even a few threads) I had ruled it out. Is yellow dust/lint with a few small yellow fibers what you'd expect to see from abraded emulsion?

This theory makes the most sense though since it's happening across brands of film. Unfortunately a fix will have to wait until I get home. Anyone know of any "in the field" fixes I can do for a misaligned pressure plate?

Also, glad to hear that Crystal = Superia. The Crystal packaging advertises a 4th color layer so I was hoping it was similar to one of the more familiar Fuji emulsions.

Thanks.

Keith

Greetings from India (Jodhpur). I'd appreciate your thoughts on a

strange dust problem that I've been seeing on film purchased in India.

Using a Rebel 2000 (I've already gone thru one body so decided to

stay with something light and cheap) and each time after shooting a

roll, there is a small amount of yellow dust/lint left behind -- on a

corner of the pressure plate and also a few bits on the area above

the shutter window. Not a huge amount, but enough to make me

concerned.

I am fastidious when it comes to keeping my camera clean (it's

spotless before loading a new roll), and what's more this problem

started happening only with film purchased in India. I should add

that I haven't been in the desert or any overly dusty areas, and I've

also inspected the area between lens and shutter curtain by opening

the shutter via "bulb". No dust in there.

I've been using Kodak 100, 400 and Fuji 400 Crystal (no Fuji NPH

here :( All film was in date, bought in legitimate storefronts, and

from different cities. No street film, etc.

Has anyone seen/heard of this problem? What could it be?

Appreciate your thoughts --

Keith