leicaglow

<p>I love the color, but feel the B&W could use a little better contrast control, either through printing/scanning, or through better exposure and development of the negative. But for the 3200 film, it is okay. Shoot a slower film with flash if you can. I see no reason not to shoot with film. When asked to shoot a wedding, I always say "NO!", but if it is someone I like, I will offer to do controlled, formal shots/portraits with my 120 and 4x5 cameras.</p>

<p>The 150mm is a great lens. I can confirm it does not cover my 5x7 camera. The 240 is slightly better performance than the 150mm. A little sharper. I love the Nikkors for color, especially natural color, but no so much for sharpness. For sharpness, I use mostly Schneiders, but I've used colleagues Rodenstocks and they are nicely balanced lenses (between color and sharpness). Sometimes the Schneiders can look too sharp.</p>

<p>The 300mm is one of my favorite Nikkors, and I've used this lens on a friend's 8x10 camera, that I borrow. I used to own a 135mm Nikkor, and I always like to underscore what a terrible lens it was for sharpness. At least my sample. </p>

The Sinar P is an awesome studio camera, though pretty heavy. I use its little

brother, the X model and love it. Accessories abound, at least in the states. The Sinar

system to adjjst movements and obtain focus is great. Takes a lot of the guesswork

out of the process. The price of 1800 eur is astonishing to me. Though it was a very

expensive camera in its day, i have seen them as low as 600 usd for a good one in

the states, though many are higher. I would think you should be able to get that

setup for well under 1000 eur. The 150mm is a good lens, but not that valuable.

<p>What does the Passport kit do, Ellis?</p>

<p>I have one of the ones you list, but wish I had the ColorMunki. I have used the ColorMunki and it is an awesome, simple to use system, much like a color meter. I don't know what version I used, nor the difference between the color checker passport kit, but the one I've used can calibrate a monitor, then go and calibrate a color projector. It is amazing.</p>

Go Hawks. Advanced Camera Repair on Beaverton Hillsdale Hwy in Portland does

my cla work on my classics. They can do just about anything. They charge between

$75 to $125 per cla. If you find their website, you can get a very accurate estimate

without sending it in. They take great pride in their work. When I got my Vito II it had

the same speed issue. I used a little lighter fluid and worked the shuttef about 60

times and it came right back on speed.

I made a good deal of money shooting windows for a large mens store. So good luck

to you. It is helpful to use black cloth in the background if you need to get rid of

street lights and other glare. I made the assumption you are shooting at night, but

perhaps not.

Plate camera mentioned on his site... http://www.beforethey.com.

The sphere should be out if trying to read light from mkre than one direction. It

should be in if you are trying to do lighting ratios, capturing light from a single angle.

If you have one light source, pointing the meter directly at it, the reading wont vary

much unless you are close to some other reflective surface.

<p>A pic would help.</p>

<p>Aside from a wide aperture, which throws foreground and background out of focus, one way to achieve this look is to desaturate your image down to about 15 to 25% of the original, then add back in yellow, maybe green or red, but not too much. Like Lex says, it probably is some action, but it also consists of a curve manipulation that causes the skin to blow out a bit.</p>

<p>I rather doubt it. Frankly, I'm concerned about 120 going away. Our various Hasselblad backs (70mm, 24, Polaroid) are becoming pointless.</p>

 

It sounds like the numbering scheme for a digital back, like PhaseOne, to show the

area covered by the digital back.

I use one of the last Canoscan dedicated 35mm scanners. I would love to upgrade to

a Nikon 5000, but now I wonder how long the scanner would serve me before

needing repair and getting my moneys worth out of that kind of money.

 

Because I shoot larger format films as well, those Kodak/Creo Jazz scanners are

looking like a better deal.

 

On the subject of equipment, pros need to manage values for cashflow purposes, but otherwise, I value equipment based on its usefulness, not its current market value.

Oops, I said split on the E, which there is not. So I like the E, but end up with the K

most often. Just had to look again. Looking through my collection of screens, I

realized there is also the more rare 3 series. I dont use them much because they are

brighter and I have to remember to adjust exposure. I think they were for the fm3

series cameras.

I ended up with all of them, and switch them out now and then. I can tell you the

ones I tend to leave in the most are e and e2. I like the line etchings. The mat doesnt

seem so useful for fast lenses, and I tend to use the split or microprisms for fine

focusing.

I saw numerous Hasselblad space cameras at the Smithsonian air and space

museum in DC. I would be shocked they would let this camera go to the public. The

500-mm is not a camera. Here is the Westlicht info on this camera. I thought they

were pretty reputable. The actual price of a flown camera, and on the mokn no less,

would be worth multi millions at auction. http://www.westlicht-auction.com/

index.php?id=3&L=1

Alan, I tend to scan the image slightly flat, so data is in the image file, then make

adjustments in Photoshop. Im sure speed and workflow needs vary.

I think his magic is partly in the post processing of the images. One article says he

uses a 50 year old plate camera. So film choices would pretty much either Fuji or

Kodak.

Man, fantastic presentation, Rick. Always liked thd Baldas, and your results are

stunning. Kinda rare to find a collector who is such a good photographer, all in one.

I have trouble with clogged heads on epsons I have owned in the past, so for low

volume, I agree with an above comment... dont buy one.

 

I must rant about HP Photosmart printers. Just had one fail after its 5th black

cartridge. Turns out this is a massive design failure, and HPs solution is to get you to

buy a new one without this flaw. After bitching to a support rep for an hour I asked to

speak to a supervisor. When one didnt happen to be available, they sent me to a

bogus email address where they dont bother to respond. This is how a former

market leadrr treats customers these days. I would never ever recommend anothet

HP product to anyone, as I have in the past.

Ambrose, I believe you have a very good point. As I recall, Warhol did paint images

from photos of celebs he did not take.

I find that exhibiting my work gives me a lot of perspective, and allows me to see

what I have been doing, and think about what I need to do. For me, I have done this

through all forms of photography, like fashion, product, wedding, aerial, architectural,

etc. And it usually wasnt the photography itself I burnt out on, but the people I

worked with. The one thing I never get tired of is formal portrait work, which makes

me think that is my calling. Perhaps this can help you somehow.

Yes, it is referenced here fairly often. Fascinating site.

I went from an sb800 to the 560iii's because i just didt like the interface of the nikon.

I did so due to the writings at http://www.strobist.blogspot.com/. So I might suggest

you poke around there as well. Im not sure they make the 560 any more, but I have

found it difficult to find definitive info on the Yongunos.