charles.

So who is the mysterious professor mentioned in the first post?

Take a look at the link below.<p>

 

<a href="http://photonotes.org/reviews/1-1N-3-1V/">http://photonotes.org/reviews/1-1N-3-1V/</a>

 

<p>Also check luminous-landscape.com, I think the reviews of the 3 and 1v go over differences between those models and the 1N also. Hope this helps.

oops, beaten by 2 minutes.

Heres another review you might like to check out.<p>

 

<a href="http://www.luminous-landscape.com/reviews/lenses/24-vs-24.shtml">http://www.luminous-landscape.com/reviews/lenses/24-vs-24.shtml</a>

Im pretty sure they wont work with your 1000s Dario, sorry. You should check keh.com though, they had a good number of screens for the older models when I purchased one for my pro last year. Keh's prices might even be less than the screens on ebay.

is there more info on the new 16-35? (see the last bullet on page 8 of the document) Did they toally redesign it?

 

The new sRAW option looks like a great idea. Oveall looks like a solid upgrade.

I use a D30 and was experiencing the same error with an old 340mb microdrive. Formating it helped for a while, but eventually the error kept occuring and files started to become corrupt even after formats. Using compactflash memory cards seems to have fixed everything (has been going strong for about 9 months now no errors as far as I can remember).

 

I dont use a grip so I cant help there, sorry.

<img src="http://www.thesecretsharer.net/tss/05/080705_3.jpg">

<img src="http://www.thesecretsharer.net/tss/05/102505_4.jpg">

I agree with Frank, never had a problem, though I never kept a batch for more than 6 months or so (always use it up). Just be sure to keep your bottles at a decent temp and capped tight. When mixing the powder start with warmer water (90-100f) to get it to dissolve completely.

 

I use it with HP5 @ box speed diluted 1:1 (its always seems too contrasty when I push HP5 with xtol but maybe I haven?t given it enough of a chance), and delta3200 from iso 1000 up to 4000 and 6400, also 1:1. Often I will push FP4 to 200 (diluting 1:2)... I was using it in the past at 1:2 for FP4 @ 80 but switched to rodinal 1:50, the look is a bit different though.

 

I dont really use it straight for anything, tonality and sharpness in my prints just look better to me with diluted vs straight xtol, though Ive never really done strict side-by-side tests.

 

I suppose I shoot in all sorts of situations, using the HP5 in higher-contrast or unpredictable situations since its got such great latitude, pushed FP4 for lower contrast subjects & delta for dimmer low contrast subjects at 1000 and low light or if I want to see grain (which is nice and sharp with the 1:1 dilution) for the higher speeds. As you probably have seen if you have done a search on xtol and D3200, don?t use the box times Ilford gives, but move up a stop from what youre shooting (better yet, shoot a test roll). I usually shoot 645 (35mm and 4x5 less often) and print no bigger than about 12x16" full frame if this makes a difference.

I think he is firmly modernist. His work offers no real cultural context or reference. Its art about art, if not just art about aesthetics (so, very modernist).

 

While the definition of the term post-modern is disputable, I cant imagine many classifying him as a post-modernist.

 

There is a good essay you might like to look up that may help you answer this question and further questions called The Photographic Activity of Postmodernism by Douglas Crimp.

Anne your article is compelling, but lacks any data to prove its assertions. Policy for free speech (or anything else) shouldn?t be dictated by opinion.

 

I am with Lee and Anthony.

I have the older (non N) version, and it is not great, but not horrible at 3.5. It gets better by f8-11 (sharp in 16x20 prints to my eye atleast). I dont know how much better the mamiya N version is, but I think the general consensus on this forum is that the pentax 645 35mm lens is better.

Im using the photo black ink, i have to share the printer with a number of others, most of whom print on semigloss or glossy paper, so switching ink sets isnt an option.

Hello, I'm working with a Epson 9600 printer with their Smooth Fine Art roll

paper and encontering a problem with a B&W print. Everything seems ok as far as

resolution, but I cant seem to get the blacks to actually be black. The darkest

bits of the file im working with get very clost to and up to completely black,

so I cant adjust the file anymore as far as levels/curves go. Is there some way

I can adjust the printer in the print menus (im working on a PC) or download a

new profile or is this just the way things will have to be?

I would also suggest hitting the library, not only for technical knowlege, but to just look at photography books (full of photographs and not just words with illustrations) to help you think about compositon, light, subject matter, etc. Start out with the old masters, Cartier-Bresson, Evans, etc. but dont neglect contemporary photography either (if your library's collection allows)... If you arent too far from a university, take a trip to their library as it will likely have a better selection than your public library.

 

On the technical side, I would recommend getting a 50mm lens (canon's 50/1.8 is only 75$ or so online @ b&h), and sticking with b&w film if your subject of choice allows it (ilford's xp2 is excellent and can be processed and printed at any drugstore minilab, find it at b&h also). Right now I wouldnt go out and get a digital body, wait untill you know it will be worth the pricetag, and you have the knowlege to put it to good use.

 

Try to keep things simple at first, and dont be afraid to use half or even a whole roll on a single subject, but be mindful of what you are doing with the camera so you can learn from the prints you get back at the end of the day. Good luck!

The 645 super backs will work also. Make sure you are getting an insert along with any back you buy. I believe the inserts are compatible with all models.

Oh, and I have used the epson V700 (not 750, im unsure of the spec difference) and have used a nikon 9000 on 6x7 negs & seen 22x27" prints from those scans.... the quality difference there was pretty astounding.

Do you think you could sell the nikon 4000, save a bit, and get an 8000 (previous version of the 9000)?? Used ones go for less than 1200$ on ebay, and the quality is going to be much better than any flatbed you might find.

Ah ok, I see what your saying, sorry. But, I think that he will want to move around a bit over the course of a night, and tweaking/tending/moving light stands (atleast without assistants) would hinder that to the degree that it would cost him more shots than it would be worth, and could easily not be possible for most shooting locations on a track. Getting blobs is probably going to have to do unless a polarizer works.

As I said, use FEL on a car <u><strong>without decals</strong></u> before taking the shot of the decaled vehicle.

Use flash exposure lock on a car without decals before shooting one with the decals (assuming both cars will both be in the same general position). Should solve this.

I have the smaller grip/power winder and have shot with it maybe 65-70 rolls so far (over about 8 months, in temperate conditions) without replacing either the camera's or winder's batteries.

 

As for the strap hardware, I bought my mamiya strap + metal bits from KEH, and the price was pretty decent (about 15$ I think), so you might check there.

I would focus on losing the 20d now for a 1d or 1dmk2 if you can afford it. Then all you need is a 2.8 wide zoom, 2.8 tele zoom (70-200 range) then 50 1.4 or 1.8. The biggest advantage of canon L's for a pj is the weather sealing and foucs speed, image quality isnt a huge factor unless you are doing big magazine spreads.. if on a budget I would go for the sigma/tamron/etc offerings, noone will know at f8 anyway. Dont forget a nice flash too if you dont have one now.

 

You might also try asking this question in the photo.net photojournalism forum (click the forums tab to get the full ist of forums) to see what some working pros have to say.

Ah sorry, I shouldve included a little more info.

 

<p>This course is 100% wet process b&w. Starting with photograms for the first assignment, then moving on to basics of metering, exposure, camera operation with manual SLRs, and at the same time darkroom printing basics (contrast filters, dodging burning, etc and maybe getting into split-filter at the end depending on how the kids take to single filter printing). I think I am basically looking for a good reference guide, as I wont have any trouble teaching the camera stuff, developing & printing... and I'm not looking for a book with assignments written in already. But at the same time something not overly technical from the start.