teneson

<p>Yes, it's important to re-photograph, add captions and names on the duplicate to i.d. the people in them. Otherwise, they're all just faces. It would be extremely valuable to future genealogical databases.<br />The book you mentioned by David Vestal is very good. I've selenium-toned a couple of old photos successfully. It's worth the effort.</p>

<p>Van Gogh in his time was not art. And he was a painter.</p>

<p>Yes, there is always one historian in the group. I was that one. Had my ancestors handed down photos and other records, I would have kept them safely.</p>

<p>Could they mark it down if I asked for chicken skin?</p>

<p>I suggest you not dispose of any undesirable images. They're all slices of time...once they're gone, who's to say we can go back?</p>

<p>Serious collectors will buy them up! </p>

<p>Brilliant examples with the Pyrocat 2-bath, Bryan! Robert, I'm a bit heavy-handed on the agitation, so I'll take it easy :) </p>

<p>HC-110 is the stuff! You have any examples of the stand development with Rodinal?</p>

 

<p>Thanks Larry :)</p>

<p>Their historic value increases over the years. What ends up in the curator's trash would certainly be a pick ten years from now. I suggest giving the work to a young and upcoming individual who is serious about the art of photography. With him or her, it would stand a better chance of surviving. </p>

<p>Adox CMS 20 (35mm) is very fine-grain; kind of resembles the extinct Kodak Tech Pan 25.<br>

Ilford Pan F in D-76 is nice. </p>

<p>Being a little short on funds (actually, a lot), I bought some (35mm) Legacy Pro 400; short-dated to expire April of 2011. I'm not at all familiar with this stuff. I know that it's Fuji Neopan 400. What do you recommend for developer? Has anyone done any densitometer readings off of a test strip to determine its true film speed? Any info would be greatly appreciated.</p>

<p>Tri-X, without hesitation. I mark them off for pushing to 1600 for later in the day. </p>

<p>I have been referred to North Coast, but have yet to try them out:<br>

<a href="http://northcoastphoto.com/">http://northcoastphoto.com/</a></p>

<p>I don't think it's taking our creativity away. If anything, our new technology facilitates the development of creativity. When I was starting out, a roll of film cost a lot of money to develop, so I had to make each one count. <br>

If it's taking away anything, it's skill. Holding a camera steady was a skill, but now we have image stabilization. Determining exposure was a skill, but now we have auto exposure; and autofocus. Printing is still a skill, and so is developing film.<br>

What bothers me (still) is how some of us are led to believe that a better camera will make us better photographers. And I don't like the overemphasis on image manipulation.</p>

<p>It's nice to see that you are allowed to photograph inside of stores in Prague. The only other place would be Japan. In the U.S., we would get stopped as we enter any mall or shop if we had a camera. It's nice to see freedom where we least expect it :)</p>

<p>I think you're better off getting a Zeiss Ikon, or a Bessa R4a. The CL is getting up there in age, and it's better that they be kept for historical purposes if they are pristine.</p>

<p>Beautiful camera. Have you seen the new Rolleis? I think the restoration would be just a little less than the price of a new one. </p>

<p>Peter is right with the stop bath; a must-use step. One time, I mistakenly used hypo-clear instead of fixer. Luckily, I used stop bath beforehand. I opened the tank and was horrified to see that the film wasn't fixed. I thought the whole roll was ruined, but I put it in fixer just in case I could salvage some shots. The whole roll turned out good. </p>

<p>Sounds to me that something is shorting out the battery. The only valid reason for the battery/batteries to get hot is after firing off the flash multiple times during a shoot. If they get hot just sitting in a bag, it's being shorted out by some metal. That's dangerous. </p>

 

<p>The larger you go in terms of film surface area seems to improve the tonal range; at least that's what I'm seeing. And the higher resolution, yes, definitely.</p>

<p>Leslie C. is quite right on all points. Even in the 'States, we encounter the same, but in certain areas. Being Asian, I get a lot of flak in non-Asian parts of the city. You just have to size up the situation and go from there. With experience, you will be able to sense the general mood of a place; whether it be a potential danger zone or the intellectual's paradise.<br>

<a href="http://www.youtube.com/watch?v=IRBARi09je8"></a></p>

<p>Voigtlander Bessa's maker thought ahead of time, imho. And that is to make a camera body that is of high-quality, using manufacturing techniques to keep the end cost to a minimum. Both sides profit. The photographer has enough remaining in order to get the best lens that he or she can afford.</p>

<p>I would love to go back to LF. I once had a Wista 45DX with a 150mm Nikkor. It's just that the prices have gotten way out of my reach. If I could, I'd purchase an 8x10 instead of the 4x5.</p>

<p>I can only speak from my experiences with the R3A, which I gave to a friend in a 3rd-world country where such things are out of reach of most middle-class people. The rangefinder was dead-on solid in the year that I've used it. I like the lighter weight and the swing-out rear door for a quicker reload. The viewfinder is 99.9% as bright as a Leica M4 viewfinder. I can hardly tell the difference. And to top it off, it's a 1:1 viewfinder. I bought it new for $589.00 a few years ago, and now it's getting some serious shutter time in Southeast Asia. It's that tough.</p>