david_fields1

'Used E100GX standing on top of ice formations, lake Michigan, early 'morn hours - great results. E100G pretty much obsolete for GX gives added warmth when and wear needed without compromising 'whiteness, iceness, arcticness". Elite 100 virtually the same. However, my choice would be of course KODACHROME 64(PKR) W/good polarizer - the ultimate for snow, ice.

I'm perplexed seeing scenic shots done with

rangefinders, 'specially the @XPan, for a polarizer is almost always

essential - how do "they" do it?

Something close to Provia - Agfa RSX 50 & 100, has a similar exposure latitude. Assuming your a "right angle shooter", at or near 90degrees to /sun W/ good polarizer, you'll get good colors too. P.S. - I'm also a devoted Kodachrome user/promoter.

I've been a serious outdoor shooter of scenics, citi/landscapes,

forests, etc. with a sizable body of colored slides, for quite some

time. I've often wondered about "hooking up" with an expert/pro like

an apprentice or what I guess in the photography world is known

as "assistant" in order to learn more, chemistry as well as shooting.

Talked to those in photo retail for leads, told to try "workshops".

ASMP said to get on there assistant list, but don't know what to say.

I'm in Chicago, and if anyone would just take a look at my material,

maybe point to some leads, it'd be great!!!

Elite Chrome 100 is the off-the-shelf consumer (amateur) version of refridgerated (professional) Ektachrome 100GX & 100G. Assuming you bought the Elite Chrome from a fresh supply, you'd be hard pressed to notice a difference between that and the two others mentioned. I traded off between Elite and 100GX last year at various locations - gardens, parks, scenics, etc, W/ a good polarizer, and couldn't tell which was which - both were outstanding. I've been told that the two films are cut from the same factory roll - 100GX from the center portions, and Elite from the sides, though It's highly questionable.

Assuming you're a "right angle shooter" - aiming at or near 90degrees to the sun with a good polarizer, Velvia, 100g & gx will give you vibrant saturated colors, 100gx is g with a warming filter. At the other end of the "spectrum" is Kodachrome and Astia, in general, accurate natural renditions of a scene. Somewhere in or out of the middle is Provia and RSX. Both have high color vibrancy, with Rsx maintaning good earth tones

The main newspaper's weather page should have this info. It can be frustrating - if there's cloud cover directly above, it may never come. The actual direction may not be that important if you get there good and early - be on the lookout. I was at Lake Michigan last Friday at 4:00 AM, tripod set, camera mounted. Previous day's paper listed the moonrise to be 4:24, and the sunrise to be 5:35 - I thought "wow, a shot with the moon just above the sun coming up". But no, it didn't happen like that - didn't happen at all. There was no moon, and the sun was a weak red. Does anyone at Photo.net have such a shot?

I use Kodachrome 64(PKR) on days that have deep-blue, haze-free sky filled with dense, puffy clouds, shooting of course, at or near 90 degrees to the sun W/a good polarizer, with little if any shadows. An ideal location is the beach, sand bottom, sky atop. The results are dramatic, distinguishable from E-6 films. Dry, earthy, razer-sharp. Earth tones especially - rocks, sand, soil, tree bark, metals, skies(storms). Sure, 100GX, RSX, Elitechrome100, which I also use, are much more colorfull, easier to expose. They have their place. Kodachrome has it's. If your not shooting Kodachrome in the conditions I've described, try again.

Not saturated? Good tones? Fine grain(superb grain)? Chuk, you've got to forget about 6x7 here. Come back down to 35mm - KODACHROME 64 (PKR) is the absolute and ONLY answer in this case!

First and foremost, a good polarizer is paramount to good color slide photography. Even in overcast conditions, see what it does to surfaces, buildings, 'scapes etc. For scenic shots, Agfa RSX, Kodak 100GX(or the off-the-shelf consumer version Elite Chrome 100); For street, people scenes, "accurate, natural films Astia 100, Kodachrome 64 will do. Also, unless your photographing action, you'll never need anything over 100 speed. Last but not least, you'll learn that it's good to "underexpose" color slide film, sometimes by about as much as a stop and a half(bracketting?)

Would anyone like to see Agfa "get to work" and lower the rms

granularity in rsx from 10 to maybe 8,7? The other "big two" have

done it to there main slide films.

Looking closely into my MD 50 1.7, I can see accumulated dust

inside the glass. I'm told this doesn't hurt image quality, but I'm

still not sure. It's twenty years old, but would my slides look

better-sharper if the lens I used was cleaned out, or new?

Try AGFA RSX 50 or 100. THese films produce a 'pastel like' green for leaves, trees, foilage, etc. Of course, I'm assuming your a 'right angle shooter' - one who shoots at or near 90 degree to the sun with a good polariser.

A few weeks ago, as a beginner at this site, I unintentionaly

capitalized all letters in my request about Minolta shift lenses,

leaving it looking too loud. It doesn't have to be. May I request to

have it rewritten like others, thank you, David Fields

K14RSX@YAHOO.COM ----Or if it more appropriate respond within

this site (still learning)

DOES ANYONE OUT THERE KNOW OF THE TILT/SHIFT LENS THAT CAME OUT

AT ABOUT THE TIME OF THE XK? IV'E SEEN IT AS A "ROKKOR", BUT McBROOMS

GUIDE LIST IT AS AN "MD". IS A USED ONE WORTH IT/WHERE COULD I FIND

ONE?