leicaglow

Is wiress going to help if the flash itself doesnt fire? It seems like that would be adding complexity to

the problem.

Sure it will work. On b&w, and color neg, the leader will be black with you marking transparent where

you sceaped off the emulsion. On transparency, it will be aittle more difficult because theeader is

clear.

Yup, the belt or step drive isnt working right. Could be worn out, but might also be sticky and work

out with use, need cleaning, or replacing. Good scanner though. I use it for proofing 4x5 film.

Fuji lenses are tricky business, probably not unlike other manufacturers, who have lines of lenses

that morph over time. Earlier super wides (sw's) had seiko shutters, while later ones had copal. The

super wide series (sws's) had the new EBC coating, and supposedly better edge sharpness. They are

great lenses, but lime the Nikkors, are not quite as contrasty as their German counterparts,

Schneider and Rodenstock. I sold my one and only Fuji lense years ago, not because it wasnt sharp,

bit because I was shooting series of product shots and I felt it better to buy all Schneiders in order to

get the look with all the lenses to be consistent. I would not hesitate to buy either version of Fuji

lens, unless flair might be an issue, then I would go with the sws, or might anyway, in hopes it is less

used.

I only use the stops for one thing: I focus each lens at infinity, and set the stop for each. Then I can

mount any lens, flip up the stop, and pull the bellows out until it stops. I set one for 65, 90, 150 and

210mm.

Its not over yet, but I see Nikon working out their product line number and price point. I wish Nikon

spent more time on lenses, but maybe they are willing to concede to other makers coming out with

faster, and in some cases sharper lenses.

Doesnt look good to me, but depending on price I would likely pass. Alternatively, Hasselblad service

is pretty good and they might be willing to give you a more detailed analysis from just the pic. If I

bought it, I would send it for servicing anyway. There are getting to be a decent quantity of examples

out there in the used market.

Very nice shots, and what an example.

If you have truly owned Leicas, then you know Leica Glow is real. To me it is a unique pop of an

image from the background, a biting sharpness against a beautiful oof area. It is apparent all the

time, but more often when shooting wide open.

 

My theory is it has something to do with the short distance between lens and film plane, a d design

of the lenses and glass. More recently, we have seen it reproduced by zeiss and voightlander M

lenses.

Kris, thank you again, so much! I received the lens this week, and excited to shoot with it this

weekend. That was so nice of you, and for picking up the shipping too.

Awww, Kris, thank you so much!That is so generous of you. I gave my beloved 50mm f/1.4 to a

college student to help him get going. So I dont have a "normal" lens right now. Thank you again! I

will find something to give away soon as well.

Hey Kris, I would love to have it.

Not even close. Lol

You complain, but bet you havent seen many flies buzzing around, have you?

I thought this camera had an auto-off, or do you mean it is better to turn it off right away?

Shaped edges...<div></div>

The screen you show looks a little thicker than most. By feet, do you mean where the sides, but not

the corners, are indented. Maybe a shot of the screen laid upside down would help. Like this one.<div></div>

Later 500c's did have interchangeable screens, just not labled CMs yet. There were also

conversions, including some that were non Hasselblad screens. The 1970 would have been the tail

end of production for the c, but some were produced with interchangeable screens. Another

thought.... even though older c's were not interchangeable by the user, they could be changed out by

a technician. I used to see 500c's with shims under the focusing screen. Any chance one is lodged

in there still?

There is no such thing as a universal board. A 110mm squsre board will fit many field cameras, but

for a Sinar P you need a Sinar board. What I have done with my systems is to buy a board that

converts that brands board to 110mm and mount all my lenses on that size, so I can share it on all

my systems without having to mount it for each.

Sure, paper works fine, but I would develop them in a tray in paper developer. Never liked film developer for paper. Depending on the paper, your ISO will be around 6 (2 to 12). So test that. You can easily scan the paper negs and reverse them digitally. One issue I worry about is how flat paper stays in the film holder compared to film. Filtration can also be a problem due to the different sensitivity to light than film.

<p>Reproduce his work without pay or attribution and see how happy he is about that.</p>

<p>You'll spend more trying to make it work and look decent, and you won't get it there anyway. For me, the lenses are the number one deciding factor, followed by mechanical, and then aesthetics. It fails on all counts.</p>

<p>I'm not the definitive expert around here, but I say fake, due to the screws, engraving font on the bottom, The shine on the base plate open key sheen, shape of the hot shoe, and the knurling is too deep and not fine enough, shape of the body metal as it curves toward the vulcanite. I could go on, but these are pretty obvious to me.</p>

<p>Always set the speed, then cock, if you can.</p>

<p>This is one of my hottest selling images, and it is not even close to one of my favorites. I guess there is a lesson to be learned there. It is almost always printed in either 50x50" or 24x24". While I like my silver prints more, I simply have the digital file stored with my printer and he fires off the image on demand.</p>

<p>It primarily sells via Interior Designers who are either staging homes or adding artwork to larger spaces, and the image relates to the area I live in. ONLY because I am interested in what other's are pricing their work at, I will give you my pricing: the 50x50" sells for $5,000 currently (it used to sell for up to $12k when the housing market was hotter in my area), and is vacuum mounted on acid free 8 ply smooth white board, backed by heavy foam core, backed by masonite, with a simple 1.5" Oak frame made from molding and stained (I haven't found exactly what I need from a framer, so I make the frame myself). The print is not covered by glass.</p>

<p>The 24x24" prints are sold framed and covered with UV glass. The print is mounted using a Japanese Z mount technique (discussed elsewhere on PNet), all acid free. It sells for $3,400 through a gallery. On occasion, I will include the image in special series editions at a reduced rate per print, but higher price for the series.</p>

<p>That said, I would be very interested in seeing more images, getting an idea how you prepare them, and sell them. Thank you.</p><div></div>