nigel d

I don't think you will find one film that is good for both. Use Astia for portraits and either Provia or Velvia for landscape.

I agree that it is best to start with Black and White. Although color is not really more difficult, it is a bit more precise and runs at a higher temperature that must be maintained.

 

Starting in B&W is relatively cheap - your capital costs consist of a developing tank, reels, a couple of measuring graduates, and a changing bag for getting the film onto the reels and into the tank in the dark.

 

B&W consumables are very cheap - especially compared to color. Best to make you mistakes with cheaper B&W rather than color.

 

To see what is involved in developing, take a look at Ilford's publication available at http://www.ilfordphoto.com/Webfiles/200629163442455.pdf

Generally in Toronto, the sun sets in the West.

 

What type of scene are you looking for other than setting sun? Where are you and how far would you go?

Inner bayonet for both. See:

 

http://www.pentaximaging.com/products/product_specs/camera_lens--smcp_67_165mm_F2.8/reqID--3174/subsection--pentax_67ii_telephoto

 

IIRC everything up to 300mm is inner bayonet and everything larger is outer bayonet.

<i>I can't get a photograph that does it justice. They just look busy without much contrast</i></p>

 

It does not sound like you are having a processing problem. This sounds like composition and lighting. Take a look at the learning section.

A flatbed scanner that will rival a drum scan? I guess that it would rival a drum scan in the same sense as a disposable camera rivals a large format camera.

<i>Should I ask for the $650 or should I just ask for some lesser amount?</i><p>

 

If they stole the image, you think it might be fair to charge them <u>less</u>? If they stole the image, there should be some penalty associated with its use.

Patrick,

 

I think you hit the nail on the head. The customer is not hiring a commercial photographer to deliver anything on the list. They are paying for the delivery of what they consider to be appropriate, high quality photographs. Outsourcing and insourcing of activities do not matter, only the deliverables.

I'm confused. Is this a list of things that commercial photographers do or a list of business expenses? Commerical photographers do transfer images to the computer, but unless you are shovelling coal into your furnace, I don't see heating and cooling as one of the activities a commercial photographer undertakes.

 

As well, I see research and development on the list. I am curious about the research and development activity the typical commercial photographer undertakes. Do you have any examples?

So, let me paraphrase - you would like to get feedback with or without ratings.

 

You have submitted 211 pictures for critique but left feedback on only 149, including a significant fraction on your own. If you are not leaving feed back for others, why should they leave feedback for you?

This really isn't a photography specific problem. In real life, I work in an industry that is difficult to enter. I consistently receive calls from people that want to work for me. The first thing I ask for is a resume - if they can't spell, can't organize a resume, and can't get it to me within a day of the phone call, I won't waste my time talking to them again. If they pass that hurdle, I am willing to meet with them. If they do not show initiative and persistence in setting up a meeting, again, I won't waste my time. If they show up for a meeting knowing nothing about what a career in the industry might be like and knowing nothing about the job they are asking for, I won't bother with them.

 

In short, 75% never make it past the resume screening, about 60% do not manage to schedule a meeting, and of those that I eventually meet, perhaps 10% are suitable for the job. In short, if you do the math, 1% of the candidates that contact me I find suitable.

 

So think about these questions:

 

Are you presenting an image that would make someone want to meet you with your resume?

 

When you meet someone, are you knowledgeable about the industry and their needs?

 

Do you show enough initiative and persistence to convince someone that you will be an asset to them in their business?

It all seems very simple. According to the link, <i>The Observer's photo policy states: "No colors will be altered from the original scene photographed."</i>. He changed a color. He had been previously suspended for changing colors.<p>

 

He broke the rules of the workplace and had been disciplined for it on at least one occaison. This is a repeat offence. Firing does not appear to be out of line.<p>

 

The better question is: is the policy reasonable. For a news organization, where truth is paramount and artistic expression is secondary (if considered at all), the policy would appear to not only be reasonable, but required.

<i>I don?t want to get into a position where my camera gear is virtually worthless, so I was wondering what do forum members think of the chances that someone will release a digital back for these cameras sometime in the future.</i><p>

 

You didn't buy your camera(s) as an investment did you? As long as they continue to operate, then you can use them as intended. Don't fret about the long term availability of film. Kodak, with less than 50% market share of film, still sells more than $1 billion quarterly of film and related products. This is a sizable market that will remain interesting to several competitors.

All these threads that complain about people having no photos posted always seem to have a subtext; the subtext being the inability to reciprocate negative comments or ratings.

 

Personally, I don't care if people have photos posted. I have received valuable information from people both with and without photos posted. I fail to see how posting photos makes ones contributions more or less valuable.

Astia. I have tried E100G side by side with Astia and preferred the Astia.

A couple of questions to consider:

 

1. How do you know that the respondants are professional,

 

2. How do you know that they are nature photographers,

 

3. How do you know that they are telling the truth, and

 

4. Given 1-3, what do you really think you will find out (other than the internet is full of cranks)?

Would you care to mention the name of the lab so the rest of us in Toronto can avoid it?

I will address a couple of your points:

 

2. Good quality reels is very important. They will make your life much easier making the premium price well worth it.

 

3. Find something else to do while waiting for your solutions to cool. Perhaps mix your chemistry then load your reels. Many people prepare solutions a day in advance. Others use liquid concentrates so that everything can be mixed at the working temperature.

 

4. Using stainless steel tanks, I find that the pouring time for 500mL tanks is less than 15 seconds and less than 30 for 1L. Try tilting the tank so that the chemicals can be poured faster - much like punching two holes in a can so that the contents pour smoothly and quickly. As previously noted, the recommended times allow for pouring time. Start timing after the chemistry is in the tank and pour the chemistry our after teh time has elapsed. Once you get results you are happy with be consistent. Keep a note book.

 

5. You have probably not done any harm to the film; you have just used more chemistry than is actually needed. The temperature of all your chemistry should be about the same to prevent damaging the film - google reticulation.

 

6. Squeegees are great if you like scratched film. Otherwise, invest in Photoflow or Ilfotol - they are wetting agents that will allow your film to dry without water spots.

 

Congratulations on your first film. It is a great feeling of accomplishment.

You might just as well ask why climb mountains, write books or poetry, watch movies or TV, knit sweaters, or play golf. All are leisure pursuits; pursued purely for the distraction from the rest of life and for the joy of the accomplishment.

The ICE4 of the 5000 is reported to be better behaved with Kodachrome than ICE3 (4000).

What films are you shooting? There may be batch to batch variations.

This is asked regularly. I think the most recent was in this thread:

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00Gw7E

From the sounds of it, the short might be in the TTL prism, since the shutter appears to fire properly. THE non-functioning MLU could be a separate mechanical issue.

A couple of suggestions:

 

Try posting this in the Pentax 67 forum http://www.photo.net/bboard/forum?topic_id=1549

 

Describe in more detail what you mean by electronically dead - do you mean will the shutter will not operate or the TTL prism will not operate? Exactly what is and is not functioning? What have you tried other than a new battery?

I have not shot E100GX, but have tried E100G. I would agree that it is not particularly good at anything. I ran a trial of E100G against Astia. When I first saw the result of the E100G, I thought it was ver good. But then I put it side by side with the same shots done on Astia and found Astia to be slightly sharper and have more accurate color.

 

I find it interesting that you are looking for one all-purpose sliode film. If you want all purpose, you should probably be looking at negative film. If you want to shoot slides, you really need a selection of films to cover different situations.