machts gut

<p>Carl Zeiss Jena Werra in olive green.</p> <p>http://lippisches-kameramuseum.de/Zeiss_Carl_Jena/Zeiss_Jena_Werra_1.htm</p>

<p>You are right, Mike. That was the scene I was thinking of. Always thought it was from Help. Thanks for the link. You tube is a gem.</p>

<p>@Mike - Wasn't it in "Help"? That would have been in 1965, a year later. I found a link. Scroll down a bit and you'll see some pics with George, Ringo and different Pentax cameras.</p> <p>http://filmphotographyproject.com/content/reviews/2014/12/asahi-pentax-spotmatic</p>

<p>It's George Harrison. It's very obvious that George was ahead of his time, because he is just watching the histogram on the back screen of the Canon. Ringo gave advice to expose to the right.</p> <p>Thanks for shareing.</p>

<p>I probably would have taken a course in drawing instead of buying cameras :-)</p>

<p>Printing in the size of A4 is no problem. I have prints in 40cmx50cm hanging on my wall, from an outdated 12mp Olympus E-PL 1, that looks much cleaner than everything I got out of 35mm film. Like always, the kit lenses are not really made up for large prints, but I found the Pana 20mm to be very sharp. I would suggest to buy a second-hand OM-D E-M5 and add the Panasonic 20mm and the Olympus 45mm. That would be a really small set-up with high IQ. If this turns out to be not to your standards you can sell it and won't have much loss. My guess is, you won't see much difference, if any at all, in more than 90% of your photos qualitywise. A different question is, if you will like like the crop factor compared to the D700? It is overrated in many situations, but might be worth to think about.</p>

<p>"Ideas are always more important than the execution." (Peter Gabriel)</p>

<p>Nothing wrong about your lighting. For a photo book even your old Canon should do the job. 10MP are by todays standards not much, but good for your purpose. Maybe a macro lens, for example 50mm, would be a good investment.</p>

<p>Sensia was an amateur film and more forgiving than Velvia. The coulours were not as saturated. Just give it a try. Won't hurt anyone. I would expose at box speed and see what happens.</p>

<p>Sure it was depressing. I grew up in West-Germany, just across the border. My grandma lived in the east, only 40 Km away, but if we wanted to visit her we had to apply for a permit month before, it took us about 3-4 hours to get there, we had our car disassembled several times at the check-point and in winter, the whole countries colours were something between a happy mouse grey and a charming stone grey. It was always a relieve to get out again.<br> But there were people living in the country and not all of them worked for the Stasi. As a child I also remember beautiful holidays I spent in her small village with the other kids.</p>

<p>I'd take the Panasonic 20mm / 1.7.</p>

<p>Germany is celebrating the 25th anniversary of the fall of the wall this november and the Ullstein Verlag, a german publisher, published a photo project from the Berlin based photographer Jürgen Ritter. Ritter combined photos of the Berlin Wall from the 80ies with photo from the same standpoint shot this year. The visualization is simple and impressive. You can slide an arrow with your mouse or on the touchscreen in the smartphone version.<br> <br />Hope you find an interesst in it. Here's a link: <br> https://www.ullsteinbild.de/thenandnow/berlin_wall.html</p>

<p>I guess because they were quite rare and comparable expensive in film days. 50ies were sold in kit sets and were common. And there are still film shooters and FF-DSLR users who use these lenses for portrait work.</p>

<p>OM-2n +1</p>

<p>Yes, the TV maker is the same Metz. The flash units were really popular in Germany in the 70ies and 80ies, more than Vivitar and the camera makers own flashs. But these days are probably long gone.</p>

<p>Olympus OM lenses can be used on Canon EOS film and digital via adaptor.</p>

<p>An advantage of the OM-2n is that you can easily switch to manual mode with a simple needle for metering. Both camera and lenses are small and lightweight and the finder is really excellent.<br> The shutter speed control ring around the lens bayonett is at first something you have to get used to, but for me it works really well. If you use the OM-2 in auto mode you don't need it. In manual mode I often realized that with conventionel speed dials on top of the body I always had a tendency to change aperture rather than speed when it had to be fast, with OMs this was far more balanced and it was easier to follow my own preferences than the ergonomics of the camera. The shutter speed dial has to knobs that are in a horizontal position when the camera is set on 1/30 and you get quickly used to feel from how the levers stand to know which speed you have.</p>

<p>"the less people actually go and shoot film, the more affordable I can get my gear. Since I've actually just started getting a bit serious about film, I still find an urge for some bits and pieces, so anything to keep those prices down, please :-)."</p> <p>The other side is film costs. The less people shoot film, the more expensive the material will be. Who wants a Hasselblad for 50 Dollar when there's no film you can put into it. (Yes, I know we're not at that point. And, no, I don't have a freezer the size of garage).<br> In Germany both Kodak and Fuji stoped to repack film for drugstore discounters just recently. This triples film costs for amateur colour negative film. It's probably fair regarding those who work for film manufacturers, but it shows where it leads when people stop shooting film. I'm pretty sure that I will be able to shoot film in 10 or 20 years, but I'm not so sure about what kind of film and at which price.</p>

<p>It would be helpful if you let us know which enlarger and lens you use and what your workflow is. The camera is probably not important at all.</p>

<p>Distilled water at the end is good and do never ever wipe the water from your negatives after washing to avoid scratches. Make sure your negs dry in a dust free environement. I hang them in my shower and let the hot water run for some time, so that the steam can bind dust particles.</p>

<p>I've never been to the Oktoberfest (and certainly will never go there) but I can't imagine you will face problems photographing the parade. Photographing people at the festivel I would make sure you make contact with them beforehand. If you talk to them, have a beer together (that's basically why people got to the Oktoberfest) you will probably find people friendly and accepting.</p>

<p>I shot many Neopan 400 and developed it in D-76. Usually I rated the film at ISO250 and developed for box speed or slightly shorter (minus 10 perc.) when I had scenes of higher contrast. I found it a very forgiving film with a beautiful tonality and moderate grain. So I'm not surprised you got pleasing results. I'm really sorry it is out of production or at least they don't supply the european market any more.</p>

<p>"just does not want to be in the photo"</p> <p>Well, why not simply respect the wish of the child. In the other cases: use prefocussing and a moderate wideangle or standard lens, take as many shots as possible to get one or two reasonable looking, attract the childs attention</p>

<p>Dieter covered the law situation extensively, but if you are not a pro and want to sell your photos I wouldn't give much thought to it. Architecture photos should not be a problem. Germans are a bit reluctant to being photographed in the public, so street photography is not the easiest hobby in Germany, but we don't sue everyone with fines :-)</p>

<p>I prefer the tonality of FP4+, but Delta 100 has finer grain and is a bit sharper. My experience with both film in D-76 1+1.</p>