ed farmer - mount laurel,

All of the RB lenses are coated. The "C" lenses are multi-coated. In wide-angles, get the KL if can, the "C" if you need to and stay away from the non-C. The 50 and 65 are very inconsistant and require separate adjustmant of a floating element to be at their best.

The <A HREF="http://www.mamiya.com">Mamiya</A> website has a its own user forum. This is monitored by Mamiya personel and is a great source of information such as this.

Try <A HREF="http://www.hoodmanusa.com">Hoodman</A>. They have a very wide selection for video and still cameras.

Not to continue a brand war, but no, it's not true. Buy the N80.

Well . . . a few points:

 

First, Provia is not a B&W film, so this question belongs in a different forum.

 

Second, if your professor beleives that Fuji does not know how to test for reciprocity, I would suggest that you ask him for the correct method and test the film yourself. Or, better yet, ask him if he would be willing to do the tests I post the results here. Maybe there would be someone from Fuji who monitors this board and could use his results in the film's packaging!

 

Seriously, Fuji's numbers are only a guideline. You should use them as a starting point and bracket for long exposures such as this. The problem with the manufacturers number in a situation like this not that "they don't know how to do it." The problem is that they don't know what results you are looking for.

In 35mm lock-up is most useful in the 1/8 to 1/30 shutterspeed range. Faster or slower, it is not as important as a good tripod and head and good technique.

 

The bigger question is "What do you want to shoot?" This will answer your question better than anything else.

Take Ellis' advice and get the "Magic Lantern Guide". It is written much better than the manual.

"Amateurish". Gee, Adams used to sign on the print and I have some Ctein dye-transfers that are signed on the print, outside the print area. I don't think that either of these guy was an amature.

 

As for signing the mat: To a large extent, this depends on how the mat and print are put together. If you have dry mounted the print to the backing mat and permenantly attached the top mat, you can certainly sign the top mat. If you "float" the print in the top mat, you can sign the backing mat.

 

If you decide to sign anywhere on the mat, I would recommend that the same information be on the back of the print.

 

Most of the amateur work I see is not signed at all. There is no right way to do this. Take a look at the presentation style that you prefer and decide where to sign from there.

The SB-23 has no "Auto" mode. Of course, it will not work TTL with your Canon. The only option is "Manual", which will just allow the flash to fire at full power on every shot. I don't know what the guide number for the SB-23 is, but that is the only way you would be able to use it. I am sure that you can find many Canon and third-party flashes for the same, or less, money.

The price sounds about right, as long as it is in really good shape. The sync cord is just a "household" type connector. You should be able to find them at any good camera store.

I used to own a few of these. They always worked great. My complaint was the size and weight, as well as the fact that they only have settings for Full, Half and Quarter power.

 

I don't think that they are made any more. What is it that you would like to know about them?

Any Nikon body that includes a "Shutter Priority" mode takes advantage of the AIS linear coupling. The exceptions are the newer AF bodies that require AF (or "chippped" AIS) lenses for meter functions.

 

BTW: I don't think that Nikon uses their electronic interface to control aperture on any of their bodies. Even the newer bodies that set the aperture from the body use the aperture lever.

Is that lens an AF lens?

It depends on which model you have. Your best bet is the <A HREF="http://www.mamiya.com">Mamiya</A> user forums. They are monitored by Mamiya employees who, I am sure, can help you.

Lots of interesting suggestions here, but how about Portra 800 (my favorite) or Fuji NPZ and a tripod?

If you check out "The Book of Pyro", it recommends rather vigorous agitation. Much more than I was used to using. If the problem is on both edges, it is not caused by the reels moving in the tank. However, if you think that this is a problem, you can make a spacer to hold your reels inplace.

 

I would recommend more agitation and some testing.

What do you mean when you say, "can't synch"? What happens? You need to give us more information to go on. But, yes, it could be the cord.

What are you planning on shooting with this camera. The Zi is great snapshot camera, but I don't see it as much more than that. I tried to use one for wedding candids, but the AF is slow and I had far too many out of focus shots. The zoom is a nice feature, but it is slow and has some barrel distortion at the wide end. Mine also had a problem with 220 film so I only shot 120 in it.

It really depends on the particular lens. My 80-200f2.8D works (and feels) great in MF. But, the 85f1.8 has a pretty poor feel in MF. The other problem you may find is that some AF lenses have very short "throw" from infinity to close. This can make it difficult to get precice focus.

Ed,

 

Thanks for the information, I have been looking for something like this for a while.

 

To those who did not bother to follow the link provided: You don't have to find a local recycler to take the silver off of your hands. The pads come with a mailer to return to the manufacturer.

I have replaced my Turbo charger for around $20.

 

Also, the $65, or so, that Quantum charges for cell replacement includes testing and updating of the electronics in the unit. Weakened cells will appear to take a full charge but will not last very long. This may not be a problem, depending on what you plan to do with the battery.

 

In any case, if you are uncertain of the history of this battery, I would hesitate to pay more then $150 for it.

I can't imagine the developer being so bad that nothing shows up on the film. My would agree that you fixed the film as your first processing step.

 

BTW: I learned this one the hard way!

Go out and find yourself a used Nikon SB-24.

Of course you <b>CAN</b> do it. But, I doubt that you want to go through all of the testing that would be involved in coming up with processing times.

 

There is certainly silver in C41 emulsion, just like in your B&W film and it will respond to B&W developer. I am sure that you would lose quite a bit of speed.

I have not looked, but I suspect that there are a lot of Tamron and Tokina 17mm's on the used market. I you really want/need a 14mm, your choices are pretty limited. I have the older 14f3.5 Sigma, in a NikonAF mount and like it very much. I picked it up for about $265US a few years ago.