ed farmer - mount laurel,

Leif,

 

Yep, step-up rings are not designed to prevent this problem by allowing us of larger filters. In your case, the step-up ring itself is causing the vignetting.

Eric is exactly correct. The F4S comes complete with the vertical grip (I forget the model number) which has a vertical firing button and a standard old threaded cable release socket.

. . . I remember my first beer . . .

The advice to expose another roll under the same conditions is a good one. The usability of the images will really depend on the subject, the lighting conditions and the use for the photos are desired.

 

I have exposed TMZ at that EI and processed in TMax 1:4 for 25 minutes at 75 degrees.

For 35mm, in my view, nothing beats the 80-200f2.8AFD. If you don't want to go there, the combination of an 85f1.8 and 135f2 would be my second choice.

I have even shot TMZ at 25,000 and processed in TMAX for about 24 minutes. I don't remember the exact time that I used, but Kodak does publish times for this EI. Dektol can be used and will give you large clumpy grain with Tri-X, but you may have to experiment with times.

It certainly sounds like a light leak. From your description I don't know if it sounds like the camera back or the shutter. It you follow the advice of running a color roll through the camera, shoot a few frames with the lens cap on and see if those frames are fogged the same way. If they are, the problem is not with the shutter. Also, do not shoot the film to quickly. You need to have the frames in the film gate for the normal amount of time in order to see where the leak is. If you take the camera for repair, take some of your processed film with you. This will help them locate the leak.

The SB-24 will not make use of the "D" technology. Also, with the N60 you will have to manually zoom the flash head, or just leave it at its widest setting.

I never thought that AIS lenses were rare.

 

But, in any case, you may have problems with exposure, in shutter priority and program modes with AI lenses. It depends on the lens. The difference between AI and AIS is that the action of the lever which controls the opening and closing of the aperture. This action was standardized on the AIS lenses and the correct aperture may not be set on AI lenses in these exposure modes.

Try <a HREF="http://www.qtm.com">Quantum</a> and look at the products charts. <p><p>

 

<i>"Give a man a fish and you feed him for a day. Teach a man to fish and you feed him for life."<i>

Try <a HREF="http://www.craigcamera.com">John Craig</a>.<p><p>

 

And, please, stop shouting. I have a headache.

I have the 6x7 Power back. So, I may be able to help. But, you really haven't told us what point you are failing. Where you able to load film in the back? Are there fresh batteries in the back? Have you mounted it your Pro S body? I don't think that you need an SD body.

 

BTW: Mamiya may not have a downloadable manual on their website, but they do have a very good users forum that is monitored by mamiya personel. You can post their as well.

My Paterson tank says to use 300ml for one 35mm reel. I have never had a problem using this volumn of PMK, TMax, D-76 or HC-110.

It really depends on the len. I could have had the front element of my 37-70f2.8 (non-D) lens replaced for about $100. But, the element is no longer in production and I have not been able to what I need on the used market.

Assuming that you have radios to fire your remote flashes, it is acutally pretty easy to light the entire room with them during the reception. It does take a little practice to learn how to place the lights and then work them, but the improvement in your candids will really set you apart from those photographers who don't think that on-camera flash is harsh, or who think that room lights are too much trouble.

 

You may be somewhat underpowered with the lights that you have, but you should be able to get started with them and lower power may be a benefit while you work out the logistics.

 

You want to place the three lights around the room against the walls (this also allows you to use AC powered lights which will recycle faster and not run low on power). The lights should be bounced off of the ceiling whenever you can. This will require more power, but will even the light out across the room. Meter the lights. Try to get the lighting as even across the dance floor and head table as you can. I try to bring my room lights up to about f5.6 and set my on-camera light at f8. This throws enough light around the room to see people in the backgrounds, but still makes the subject of each candid brighter than the background. You might want to start with a two stop difference or a little more until you see some of the results.

 

This is not inexpensive to start doing. If you don't already have radio slaves you should expect to spend $1000 on those alone. I don't recommend doing this with optical slaves and I doubt that an infrared system will work well either.

 

If you really want some help with this, you can contact me directly. You can also seek out your local PPA affiliate (if you are in the U.S.). There you will find photographer already doing this kind of work who will be happy to help you out.

Fred,

 

I believe that an "authorized" Nikon repair center will work on import gear, but only on a fee for service basis. These are independent service companies. Nikon USA will not work on them under any circumstances.

As much as I hate to say it(I am sitting on a ton of RB stuff), the price sounds a little high to me as well.

 

Depending on how long the camera has been sitting around, you can expect to have the light seals replaced on the backs and have the shutters serviced on the lenses.

 

The value of the whole package also depends on what you want to use it for. That is not a very versitile combination of lenses. The 140 is a macro lens with a "floating element". This means that you have to focus is twice in many circumstances. The 360 is very long. To long for portraits in many situations.

22x54 will make a fine mount for Horizon slides. The problem is that they require a rather expensive medium format slide projector to actually project them.

Certainly does sound like a light leak.

One suggestion is to talk to the lab and ask them how they have been successful with this film in the past. I expect that you will get better results at 1000 than 1600, but it really depends on what you are looking for.

 

If you want to process your own film only (and I would recommend this) you can do it very inexpensively. A good processing tank is only about $20 and the chemistry and storage bottles will not cost much more. Even if you have someone else do your printing, this will let you control the film processing (very important in B&W) to get the print results you want.

 

Just a warning though: I doubt that you will get very good B&W from any general purpose lab. You should look into renting time in a darkroom and learning to print yourself, or plan on spending a lot of money on custom prints from a dedicated B&W lab.

Mark did a very good job of explaining N+ and N- development. However, he missed the point in your question 2. Of course, underexposure will result in underexposure. In general, both methods will result in the same amount of underexposure. However, the exposures are likely to be much more even if you reset your meter. Since you are processing the entire roll the same way, even underexposure will make for easier printing and a more consistent look.

Best: Tri-X, 120 or 4x5, in PMK.

Worst: TMax 400 in anything.

A very good IR photographer in my area recommends TMax (straight) for the D76 time with an EI 640.

Were the batteries on sale?

620 film is the same width as 120. I think that the intermediate position is for 127 or some such size.