kryn_sporry1

I am trying to find information on how I can process slides myself.

Surely it can't be that hard if you can process B&W film yourself.

Am I wrong? Can anyone provide me info, or links to info, about how

to process slides yourself?

Or should I instead just send out the slides. The problem I have

with sending my slides to eg Fuji, is that it takes on average 3

weeks before I get them back. Furthermore, I don't trust processors

in england. Things have a way of going wrong always and every time

for me in england, so I rather take control myself. Also England is

way more expensive for processing slides than most other countries

in europe (I heard in germany it costs about 1,50 euro per roll,

whilst in england that is 3,95 GBP, about 5 times as much!!!)

Any advice would be appreciated, thanks!

It was a bit difficult but I did get an acceptable answer from the UK Lyson guys, however, I don't really trust retailers in teh UK. They say anything to get you off their back. However, I did receive an email from Ken from the US Lyson groupd and he told me a similar thing and assured me that the inks were indeed correct, and that it was just how the printer driver drives the ink control. He said I can contact him any time if there were any problems or if I had any questions. Now I'm in Taiwan, but when I come back I'll install teh lot and give it a go. (after making a succesfull nozzle check first ofcourse!

Thanks for the advice guys. I too had sharp results before with the 6x17 on the Shen Hao45, unfortunately I used a benbo tripod, which is now going out the door. The results were sharp but the horizon was angular. I think this is because the benbo is actually not stable/stiff enough for this combi. (trekker mk2). I just ordered a velbon CF530 (I think it's CF, carbon anyway, for only 124 GBP!!!) I'm on holiday now so don't have it with me. I nstead I am now using an old aluminium Velbon tripod, no head, for maximum stability. Lack of a good head makes it a little less practical, but it is stable like a seaman during still waters! (It weighs a ton as well!!!)

 

As for the ground glass, I'll try to get hold of a fresnel lens magnifier paper thingy and try that. It actually makes sense with a wide angle lens to have dark corners. Focussed at infinity the lens is very near the film plane/ground glass in the centre, but ofcourse that means that in teh corners it is miles away, which again explains why you should also use a centre spot...

Currently I'm using a Shen Hao 4x5 with a Da Yi 6x17 back. Nowadays

I'm in Taiwan so I can make some interesting exotic shots. However,

I find it extremely difficult to view the scene on the ground glass.

The center is ok, but teh corners are just black. Can't see anything

in there (mind you, the days are bright). I use a 90 Nikon f8 SW

lens, so brightness isn't exactly brilliant. Is there a way of

making the view finder better to see? SHould I replace the ground

glass with something better?

Today I received a Daylight Darkroom ink set. I found out that the

supplier provided me with the wrong CD. They included a windows

version instead of an Apple version (which is what I asked for). I

contacted them and they told me that the supplier would contact me

directly for a replacement. <p>

However, now I also noticed something else:<br>

When I looked at the inks they all seemed dark (which may be

normal). All the bottles had a colour label and the colour

identification on them. However, I didn't trust the all black look

in all of the bottles, so I opened them one by one. Note that the

bottles were not sealed in any way (should this be the case?).

When I looked at the colours, I found there was one completely

black, 3 seemed a diluted black (although I cannot see if they have

different densities). The bottles were coded "black", "light

black", "Cyan", "Dilute Cyan".

Also there was one labeled "magenta" and contained what looked like

magenta. One was labeled "dilute magenta" but contained what looked

like cyan. One bottle was labeled "yellow" and contained what looked

like green.

To sum up:

<pre>

Bottle label Actual ink

Black Black

Light Black Some form of black

Cyan Some form of black

Light Cyan Some form of black

Magenta Magenta

Light Magenta Cyan

Yellow Green

</pre>

Can anyone possibly confirm if the colours I described here are

accurate? I rather not try install them and run print tests with

them to find out that the colour is actually wrong. Is the colour as

I described correct or should I return the bottles?

<p>

Many thanks

extra question: WHat is teh difference between the Optix XR and the pro version? Will I really see much difference (note, I'm a serious amateur, not a pro)

Well, the whole colour management is starting to baffle me a bit.

I used to print on a an EPson 950 stylus photo, and with Photoshop

CS I always got spot on prints. What I see is what I get. I had my

CRT calibrated just with adobe gamma, no probs.

Now I have an iMac G5 and an R1800. Before I had the R1800 I printed

through the mac successfully on my 950. SPot on images always. The

preview function, which I heard was not supposed to show me what the

print would look like, actually told me what it would look like!

With the R1800 not so. Images are just falling short of being

acceptable. People already suggested that I should get a calibration

device, so I am considering buying a Monaco Optix RX, which is

supposed to be tested very well.

Considering my past experiences being rather good without

calibration tools, I wonder if I really need a monitor calibration.

WIll I really notice that much difference?

My prints right now are off not too much, but enough to be annoying.

Considering the change of printer I wonder if instead I need to have

some decent print profiles. ALthough I want to use Epson Crispia and

Fuji super photo grade (resp 300 and 320 gsm), I also use PGPP (for

which Epson does provide a profile). I already use the profiles

provided by the US epson website.

 

Advice please?

Andrew, I 'm somewhat confused by your advice. You say that with LCD monitors the only thing you can really adjust is the luminance. Now I may not know much about colour management but it does sound wrong to me, as in totally the opposite of what is true, so I think I am just misunderstanding what you are saying.

I have a 20" iMac G5 and I want to calibrate the monitor as well.

However, if I follow what you are saying, it means I can leave th emonitor on native gamma and native white point and only need to adjust luminance (is that the brightness control doing that?)

However, that means I don't need an expensive spectrometer because I can't adjust anything other than luminance anyway. So what is the point of a spectrometer when you can't use it anyway? I think I'm missing something seriously here, because if what you say is true, monitors are always perfect except luminance, which does not affect colour balance. Surely this is wrong...

heheh, thanks guys...

actually, I'm dutch, but yes, I do live in England. Funny how the use of certain words immediately associate people to a certain language/country... Well, makes life interesting I'd say...;O)

This may be a little daft but I am fairly new with B&W. I realise

each film gives a different effect. Can someone tell me (or point me

to a source that can tell me) what films are used under what

circumstances?

E.g. what film for landscape bright daylight blue skies, what with

landscape overcast. Portrait, architecture, people/street, etc.

Any advice?

Thanks guys. They are both indeed older C type lenses. I'll go for the adapter because I already have a Lee filter set and an adaptor ring from 67 to 77 (my lee adaptor ring is 77 to fit on my Canon L lenses).

By the way, no, neither the lenses nor the lens caps have anything but the "V" logo on them...

This may sound like a trivial question to some of you.

I'm fairly new with Hasselblad. I have acquired two lenses: An 80mm

f2.8 Planar synchro compur and a 150mm f4 Sonnar synchro compur.

They both take bayonet type filters. Can someone tell me how I find

out what size/type filter these lenses have? I like to have some

filters, or ring adapters, but I don't know if I should use B50,

B60, B70 etc type filters. How do I find out?

Thanks

which one has preference: master V or Euromaster?

Sounds like it is pretty decent... So if I understand correctly, it meters like a "centre weight average" reflective meter normally, and as incident meter with the dome fitted. Is there a factor to consider when using it differently, or can I just use a setting that will allow it to be used as incident or refelctive metering?

Sorry for all teh questions. I'm just trying to make up my mind if I should get one on ebay, or if I should go for a more modern Sekonic L-558 (which is indeed something totally different).

 

The more flexibility the better. I'd like to use it mainly as reflective and incident, but spot metering would be nice as an option... (I understand this is out of the question with the weston). Considering it is going for 60+ GBP in england on ebay, I wonder if instead I should get either an L358, with the option of getting a 1 degree spot meter adapter later for it, or an L558...

Has anyone got experience in using a Weston V for metering

reflective light?

I doubt I ever will use a digital back for it. I think scanning the slides will be way cheaper and will give me satisfactory result if I want to digitize my photos.

From what you guys say it would be best to invest in an average CM, CW or CX, I'll keep that in mind.

As for light meter, I was planning in getting an L558 or an older spot/ambient meter combi (508, 408) because I also have a Large Format Camera (haven't used iut yet though)

thanks guys!

Simple question (but the answer eludes me for now)

What is the difference between:

500CM; 501CM; 501C; 503CW;and 503CX?

I prefer to work completely battery free, or teh alternative is that

the body contains a light meter (center weight preferrable), so some

advice on teh correct body would be great. Note, I mostly do street

photography, landscape and people. No studio work and no flash.

I checked the camera with the shop following my instructions (they have another 2000FC). The guy said that he could recreate the symptoms if he removed the battery.

SO I bought a battery and tried again.

Guess what...

No it didn't work...

I returned it. They advertised it as "E++" and "slight signs of usage". It is not, so I asked my money back. They will have it tomorrow and they should return me my money. I haven't been able to use it ever. When I got it first the lens was hanging on one screw. I am surprised they actually packed it that way! So on the same day I received it, I send the lens back. Yesterday I got the lens back fixed and all. I put it on the camera and nothing happened. Today on teh phone we did some investigation (The guy didn't sound like he knew what he was talking about by the way). And I tol dhim I wanted to return it and get my money back. He said he was almost certain that it was serviced. Well, it wasn't, so I want my money back. End of story. I'll get a cheap body on Ebay and have that serviced. It will be cheaper and at least it will work. Maybe I'll get a 500 c/m. I don't believe they need batteries, do they?

Thanks for the explanations.

WHen I look in the manual, it states that the mirror program disk allows 3 settings, which are (in short) the ones I provided: down-move up on shutter release-move down after shutter release; up-move down upon cocking shutter-move up on shutter release; always up.

Now, I can understand it won't trigger if the battery is flat. though i do find it odd the manual doesn't mention this at all. I wuld say it is rather crucial for camera operations. However, the mirror program disk I can not depress and cock the shutter (for multiple exposures) if the mirror program disk is in settings 1 or 2. It only works in setting 0. that is not correct behaviour to me.

Oh, it just got worse. Now I can only depress the mirror setting button when it points to setting "0". So when it points to 1 or 2 I can't depress it and therefore I cannot turn the winder, unless it all happens with setting "0".

I can also no longer press the release button. Please note that never did I use any force and I do not hear any strange creaking of gear wheels.

Well, today I got my lens back from repairs and finally I could

start playing with my newly acquired Hasselblad.

I mounted the lens, all fine. I checked the mirror setting

(apparently on the 2000FC you can set 3 positions for mirror

settings), and made sure it was on "2" (this meaning that the mirror

operates like any other SLR camera: flips up when you make the

picture and immediately after flips down). I took a few test shots

without the back on, to see how the shutter operated. After 5 shots

it locked up couldn't do anything with back on or off.

Then I found out by accident (didn't find it back in the manual)

that I then press the silver mirror setting button and rotate the

winder until it arms. It does that, but it won't trigger any shots

in mirror setting 2. When I change to mirror setting 1 or mirror

setting 0 it does trigger. Ofcourse with the back on, and no film in

the back, the back counter does not advance I don't know if this

matters. WHen I want to advance a frame and arm the shutter, I can

do this only when I press the mirror setting button again. I can

take another shot. Surprisingly it doesn't seem to matter if I put

the mirror in setting 1 or 0. In both cases it will keep the mirror

flipped up until I arm the shutter and mirror. Then it will drop

down. And ofcourse it flips up again when I make the picture.

 

When I keep the shutter release pressed (mirror setting 2) and I

wind up (again I need to press the mirror setting button to get the

winder to turn), sometimes it will release the shutter and sometimes

it doesn't.

I tried this with a C lens as well and same beahviour so I think the

body is the source of the problem.

My previous Bronica S2A was very straight forward. I load film, wind

it up, press the release and it makes a photo. regardless of any

settings whatsoever.

Am I missing something?

 

I believe this unit uses a battery. Is it possible an empty battery

explains this behaviour?

Wat is de wereld toch klein he?

Sorry for this perhaps personal question, butehh... are you Dutch? Your name is awfully Dutch. And don't tell me your first name is Quirijn or Quirinus or something like that, is it?

cool, Now is it correct that the last frame (frame 12) will most likely partly fall off due to the different spacing behaviour of the A24 back compared to the A12 back?

thanks, just what I wanted to know.

Now concerning the A24 backs. If I were to use one of those, you say you have to be careful because it will keep winding on.

As it happens I had a Bronica S2A before I got this Hasselblad. With the Bronica when the last frame is up, I have to continue winding the film onto the loading spool. I was assuming the Hasselblad works the same. Am I wrong here? Or should I use the winder on the back to wind the film all the way onto the loading spool?