patrick_owen

On a very bright day with 200 speed film, the combinations you're looking at will be

1/125, f22 or 1/250, f16. With these settings most things in the frame will be sharp.

Even at 1/500, f11 you'll be fine. That's probably what I'd use to stop motion.

Focusing depends on which lens you're using. If you're using a "normal" focal length

(35mm/50mm) then use the dof scale to do your focusing. If you're using a 35 then focus

at 11ft. Focused at that distance, with a 35, at f11, everything from 6' to infinity with be

"acceptably sharp". Read about Hyperfocal distance here:

http://www.dofmaster.com/hyperfocal.html

If you're using something longer, like a 90mm, consider using something shorter and

moving in closer.

I developed 2 rolls in one tank. The other roll does show some of the same problem but

much less pronounced.

Is this an agitation thing? I have heard that with Diafine, minimal agitation (5sec/minute) is best. I tried a

gentle 5 seconds on two rolls last night and had this streaking problem in a lot of the frames. Any

solutions? Thanks in advance for any help.

http://www.photo.net/photo/5773895

I'd love to David but I don't have a scanner. Maybe later today I can scan something at a

friends place.

P

I don't post much, partly because I don't have a scanner and partly because most people here have WAY

more knowledge than me, but I thought I should post in this case. I know alot of people on this forum are

from Boston so this is particularly relevant. Last week I had a great experience at Bill LaPete's darkroom in

Southie. Bill's a great guy who's been at it a long time. He has a beautiful darkroom for rent, just across

the bridge from South Station. If you're looking for a trad. darkroom at $30 a day this is the place! He is

also a B&W lab and the work he had out while I was there was really nice.

I know that most people in Boston can't afford a full darkroom in their 500 sq./ft. apartments, so, if you

don't have a scanner, or, even if you do and want to make some wet prints, Bill's place is great.

P

I rarely post here, but I have to ask. What can you tell from this picture that tells you if this

camera is a good one or a bad one?

Ron, I don't see the marks you mean in the bench picture bottom. I do see them in the other

frame. I think it's some kind of water mark or perhaps the film wasnt totally flat (these are

scans from a contact sheet). That's the only frame on the roll where that problem exists.

Thanks for your help!

P

Well, it's actually still under warranty at KEH (where I bought it) so I'll send it back there. I

know that their repair people don't have the reputation that DAG or Krauter have but as long

as they warrant it I might as well use them.

Can anyone help me diagnose this? Does it look like a light leak to you? It happens once or

twice per roll. Any ideas? Shutter related? Thanks in advance for all your help.

P

Here is an explination of the scam that the person emailing you is trying to do:

http://www.ocalasmostwanted.com/common_nigerian_scam.htm

There's a woman who sells horses and gets tons of emails like this one. She strings them

along and documents it on her website. Very funny actually.

Well, I measured the space between my negs. Some of the frames are 3mm apart while some

are less than one. I just developed a roll from my friends Nikon FG. Each frame is

beautifully, evenly spaced. Don't get me wrong, I'm not going to trade my M3 for his FG but I

did love cutting those negs. Maybe I'll just have to accept that this is how it goes with a 50

year old camera. For now, I'll just try to make sure that each stoke (I have a double stroke

M3) is full and try and be happy with what I get. I must say that the prints I just had made

that I took with the 90mm tele-elmarit (bought from Barry Weiss on this site) are really nice!

I recently purchased an M3 and am enjoying using it very much. Since I shoot only B&W with

it for now, I'm also learning how to process my own B&W film. I've started to notice (and the

lab I go to has pointed out to me) that the space between frames is very inconsistent. I don't

really mind this at all except that some frames are run very close together to the point that

they practically touch each other. The only time this really bothers me is when I cut the film.

I find myself looking at two adjacent frames and deciding which I like better and risking

cutting into the other to save one. Is there a fix for this? A different film spool?

I apologize if this is a repeat question. I'm sure it's been asked in the past. I did a few

searches but found nothing.

Recently had my M3 (very early) cleaned by Youxin Ye. A VERY nice and conscientious man

with a brain jam-packed with Leica minutia. He had his 11xxxxx M3 out on the table and

even after cleaning of my DS, it was very clearly brighter than mine. He told me that the

>1000000 M3s have brighter finders period. I haven't seen a lot of M3 finders so I can't

speak from vast experience, but the one experience I had, at his home, was not subtle. It

was brighter than my DS M3 as well as his M6 which was also on the table. (I don't

remember the magnification of his M6 finder)

Thanks Dan and Craig. I hope that soon I'll get access to BU's darkroom as I'm a student

there. I haven't been able to get in touch with the heads of the photo club here. I developed

4 rolls tonight (taken with a Leica/Summicron that my uncle gave me!) and I'll drop them off

in ziplock bags tomorrow to have contact sheets made. Hopefully, all will turn out well.

Thanks so much for your help.

Patrick

Hello everyone. I've recently begun developing my own b&w film at home and bringing it to a

local lab for printing. The first role I brought them, I cut and put in neg pages. They asked

that, in the future, I bring them my film uncut, so that their machine may more easily deal

with it. They can use it if I cut it but it'll just cost a lot more. So, my question is, how do you

all get your film to the lab, uncut, without it collecting dust/scratches along the way? Thanks

for your responses and patience with a beginner.

P