leicaglow

I owned a couple versions of the bigger, older reflex 500s. I bought the second only because I thought I had a bad copy of my first. That was not the case. I ended up buying the newer compact version, and felt it produced sharper images, but still not quite up to Nikon Pro quality, so I ended up selling that one too. I did have a 10000mm f/11 and it was quite a good lens.

I can say that my new 24-70mm f/2.8 vr has a very smooth zoom function, albeit not light. It is smooth enough to use for video.

The Nikon teleconverter on the 70-200mm f/2.8 works really well, and I assume it would on the

f/4 version. It might be worth a try.

The Nikon teleconverter on the 70-200mm f/2.8 works really well, and I assume it would on the

f/4 version. It might be worth a try.

The Nikon teleconverter on the 70-200mm f/2.8 works really well, and I assume it would on the

f/4 version. It might be worth a try.

My local liquor store saves up crown royal bags and anxious to get rid of them, but then my state

makes bars and taverns buy alcohol from a state controlled liquor store, who removes the bottles

from the bags. Every piece of my systems is in a crown bag. If being stored for longer periods, I

double bag them.

 

I caution that using silica gel can dry out oils and grease in older cameras. My area is fairly dry, so I

dont need air dryers.

 

While you say "store" cameras, I still believe it is good to exercise mechanisms a few times a year,

and even put a Saturday on my calendar every three months to operate all camera shutters and

dials, and lens focusing and aperture rings.

I also dont have color issues with my Epson neg scanning. If the neg actually looks bluish and

washed out, then I concur the problem is with processing, not the scanner.

Ive owned all Nikkormats made, and it is a great camera. I always kid it is so well built you could

drive nails with it. But with that comes a fairly heavy camera. When the FM/FE series came out, I

switched. If you just want a classic 70's era camera, they are great examples.

Freestylephoto.biz has a good selection of instant film that should work.

Here is a theory: the space between frames doesn't have a light leak, so maybe it isn't the mag seal. Could it be the baffle

in the camera not closing all the way?

They all have their duds, but it seems Sigma is doing the most development of the three you

mention.

Otto was looking for the value I think, not necessarily where to sell it. If you had some pics you could

post that shows the serial number, that would help.

Well if you mean it's their version of a tab type film sure. But in my experience, especially using

sheet film, they are entirely different looking films from the base, to the composition of the grain, and

how it's developed. When I think of versions, I think of id-11 being ilfords version of d-76, where the formula was once identical.

 

For example I would tend to use the T max for landscape photography with a bit more pop, but I

would prefer in many cases the Delta film for use in architectural photography. The fine, even grain

lends itself well to angles.

 

Aside from both being b&w, and tabular grain, I wouldnt say they have much in common, but that is

my opinion. I used to shoot a lot of Delta 100 when it came out in my view camera, xpan, and sw/cm

for architectural work. The emulsions between each brands respective three film sizes are virtually

identical aside from the thickness of the base.

 

I still use a lot of Delta 100 and 400 in 120.

Had a look at the camera. It is a 500 el/m, not el/x, but has the newer plate release. Had a crappy

Neveready battery in it. Put in a fresh Energizer 9v battery, put the side plate on, took it off the Lock

position, and it immediately cycled correctly, including properly cocking the shutter. I guess a weak

battery prevents something from engaging. Hope this helps someone else.

A friend was asking if I knew what is causing a problem with his 500el/x (or m--he wasnt sure). He is

using a 9v battery adapter with new battery. He presses the shutter and it exposes the film, shutter on

lens remains closed, light baffle stays open and the film winding gear goes around and around and

wont stop until you turn the switch to L for lock, or pull the battery.

 

While I have heard of this many times before, I cannot for the life of me recall what causes it. He said

he just had the body cla'd by a competent (but not an expert on Hasselblads), a few months ago.

 

Anyone remember what causes this endless cycling? I suggested it might need adjustment, but wasnt

sure if it might be something with the 9 volt battery converter or something since I dont use them. The

lens is jammed in place, though I can probably unjam it when I see him. Thanks for any suggestions.

While technically similar, I would argue their base and look are dramatically different to my eye.

Yes, it should lock the release lever to prevent firing. If it doesnt, it is probably broken.

Normally I would look at:

1.) Film touching other film and not getting developed and or cleared.

2.) Exhausted developer.

3.) Some combination of heat or development time not working.

4.) Chemistry contaminated with something else.

5.) Light leak.

6.) Not fixed or cleared properly.

 

Now, what your lab is likely to have done, Im not sure. But the image is a little flat, so maybe

exhausted developer.

Right up there with XP as far as good OSs go.

Sounds like they took a cue from the betterscanning folks as far as holders.

Epson announced they are offering up new versions of their film scanners: the 800 and 850.

 

A few cool things:

- better film holders... more robust with better focusing capability

- higher resolution

- oil scanning kit included

- LED rather than cathode ray tube

 

http://petapixel.com/2014/09/26/epson-announces-two-new-multi-format-film-scanners/

Stitching software can help in a pinch or in lieu of a t/s lens or camera. I used to use a Hasselblad

swc/m, a view camera, or a 28mm Nikkor t/s lens depending on economics.

Looks like a retainer spring for the focusing screen. Can you bend it up toward the screen? Cool find.

Wish it was a f/1.4 though. It doesnt excite me enough to buy it.

Not sure what youre asking exactly, but I have had experience with both films in the past. I use type

55 for one reason only: to have a 4x5 inch negative I can tweak on the spot. It isnt cheap, but

bracketing never is. And the sodium sulfite always makes a mess. Frankly, I think a pro who knows

how to read a negative, would be happy with Type 54 and a 1/2... an instant film with just the

negative, and no print. The reason is that the speed of the print never matched the speed of the film.

As for Fomapan, it is a nice film, but I wouldnt go out of my way to buy it. It works nicely in Pyro, but

I hate the idea of having to use hardener to fix it.

 

I really like Adox, but moreso when it was cheaper. And I used Acros almost exclusively until Lex forced me to take a better look at Tmax. After all the testing of films and paper, I realized what I really need is a single film that will be around awhile, and a consistent process that works everytime for it.

 

By the way, William, good to see you around. Your cameras are stunning pieces of Art. Is Brad Pitt still shooting his Littman camera?