franklin_polk

<p>To me it looks like foam in one of the processing stages, probably development. The only vaguely similar thing I've seen that's the user's fault would be if the film got wet (like you had a roll go through a washing machine). I'd avoid using that lab again.<br>

It's a cool effect, if you had intended for it, otherwise...</p>

<p>I also suspect it is Natura 1600<br>

As far as I know the only other 1600 film Fuji made was Neopan Presto, which is listed as being discontinued in 2011. Would be nice to have them make it again as a competitor to Delta 3200.<br>

http://fujifilm.jp/personal/filmandcamera/film/color/35mm/index.html</p>

<p>Cyanotypes might work in the field, since all you'd need to 'develop' the image would be water. Image quality won't be the best, but you should get a usable image.</p>

<p>Years ago I did a couple rolls of Fuji 800 in D76 1+1 for 12-13 mins and got passable results, so maybe 8ish minutes for D76 stock?</p>

I've got a couple rb67 and an rz

lens that need a cla (slow

shutters), does anyone have a

recommendation for someone that

does a good job? I've seen Forest

camera repair on google, but no

forum reviews.

Thanks

<p>You're looking for a CJW or CJT bulb (ANSI bulb code). There's a few on ebay right now.<br>

For future reference, I used donsbulbs.com search engine, since I knew the voltage, wattage and base. Usually that site with list/cross reference the ANSI bulb code.</p>

<p>I believe the connector you're looking for is known as "ASA Bayonet" there's a cable that might work for you on ebay here: http://www.ebay.com/itm/ASA-Kodak-Bayonet-to-PC-Female-Flash-cord-NEW-hard-to-find-/250957836771?hash=item3a6e40b1e3:m:mwSK1NSZmyOL5TOoRTGHt7g<br>

otherwise Paramount Cords ( http://www.paramountcords.com/product/custom-cord/ ) can make a cable with any end you want.<br>

I didn't see any one piece adapters on ebay, but that's not to say they can't be found.</p>

<p>Fungus on a lens will easily cut its value in half unless it is exceptionally rare. For a lens could sell for $500+, I'd say its well worth it to get it cleaned, considering that I doubt a CLA would cost more than $150-200. In addition, a freshly serviced lens will sell for more if you advertise that fact.<br>

I've used Zuiko.com for servicing before (an SPn), and was satisfied with the results, if you were looking for a technician.</p>

<p>The Pentax MZ-S (35mm) and 645N[iI] (6x4.5) both have built in data recording, on either the edge of the film or in between frames.</p>

<p>For the archives, it sold for about $2200 more than I'd pay for it (ended at $2600). In some further research, I've seen some mention of 'fraternal' Kodak petites, as being extremely rare, clearly it was worth it to some people!</p>

<p>I've been watching Ebay for years, hoping to get that rare deal where everyone else misses the bid, and I saw this:<br>

<a href="http://www.ebay.com/itm/Antique-41537-Kodak-Petite-Accordion-Folding-Camera-/221459645777?ssPageName=ADME:B:SS:US:1123">Kodak Petite Accordion University of Michigan</a><br>

<br />Now, I know that the colored petites aren't all that rare, and while the ones with the patterned doors are uncommon, they do show up a couple times a year. I've never seen seen one with anything but a pattern on the door, and besides the Boy Scout/Disney models, I've never heard of Kodak doing 'special orders' on cameras, but the plate looks awfully authentic for someone to have just riveted on something themselves.<br>

Anyone got thoughts, or seen one like this before?</p>

<p>Since they've been frozen, there probably won't be very much degradation. I'd shoot it at 200-320, and expect slightly more grain than when they were new. I regularly use color film older than that, not frozen, without very many issues.<br>

On the other hand, if you're going to pitch the film, I'll take them!</p>

<p>IRfanview ( http://www.irfanview.com/ ) is a great lightweight program that I use for contact sheet, it also is useful if you're doing a batch resize/rename.</p>

<p>Do you need readout values in f/stop / shutter speed, or is lux okay? (Lux to exposure value here: http://www.photo.net/photography-lighting-equipment-techniques-forum/00LpR2). Lux meters are often available quite cheaply on ebay (under $30), they'll just read a value in 0-20000 lux instead of EV. Here is a lux meter for about $30: http://dx.com/p/digital-lux-meter-with-stand-200000lux-5100<br>

Here is a cheap meter that has a readout in EV. http://dx.com/p/omes-l-3-10-led-red-light-meter-1-x-lr44-115920</p>

<p>Kodak killed their E-6 line entirely about this time last year, its Fuji and I think Rollei makes a slide film. Velvia and Provia are still produced, I don't think their other former lines (Astia) are. I use theslideprinter.com for E-6, but Dwayne's is also good.<br>

The 1v is a great camera, it is still my main 35mm SLR. Have fun shooting!</p>

<p>I'm inclined to agree with Jim, the location of the spot looks like it is for locking the screw into place. If it is oil, I'd just keep using it, a single drop like that won't cause an issue unless/until it disperses onto the elements. I don't have the same lens to look at that spot, perhaps someone else could look and confirm?</p>

<p>Color negatives need a stabilizing rinse instead of photo-flo, the stabilizer contains a anti-fungal (as I understand it, the silver in b&w films acts as an anti-fungal on its own), which is necessary for preserving them from degrading/growing stuff. Using photo-flo and washing them is far better than letting them sit with whatever crud accumulated on them, however, and I'd continue doing that until you can get some stabilizer.<br>

I'm not sure where to get just the stabilizer (I've only bought the C-41 kits), perhaps call Freestyle and see if they can point you in the right direction.</p>

<p>Light can <strong>kill</strong> fungus in a lens, it might take a while, I left an old Cosina 28mm in the window for a month or so and it halted the growth of the fungus. However, it cannot <strong>remove</strong> the fungus, it has to be physically wiped from the glass to do so. I also won't rule out spores hiding in areas of the glass (like the internal baffling) where UV light won't reach them. Furthermore, fungus can etch glass, depending on how bad it is. As noted, glass does absorb a significant amount of UV, if you use a strong enough source, that small percent that gets though should kill the fungus. Ultimately, while light might kill the fungus, it still is best to clean it off by hand.</p>

Everything goes in archival pages in binder boxes (to keep out dust) ordered chronologically, binders are separated by film type (Color Neg, Color Slide, and B&W). I use pages for slides since I find it easier to hold up a page of slides than to run them through a slide projector or pull out a bin of slides. I'd be worried about scratching them if I had to constantly shuffle them through boxes. Top of the page gets approximate date of shooting, roll number in a series if applicable (multiple rolls of the same event each get a different number, makes it a ton easier when looking back at prints) and development method (which lab, push pull, which developer for b&w), and for 35mm, and index number usually (EOS 1v lets me look up shooting data by a catalog number). I unfortunately do have a couple hundred rolls from when I was younger and got back prints with color neg film from Costco/Riteaid/A&I. Those are in boxes and need to be organized, its just kind of a bear to do it, and I haven't gotten around to it yet.

<p>Unfortunate, but not a huge surprise. It had a short shelf life, and it probably wasn't worth it for them considering that I'd bet a significant portion of supplies would go bad before sale, and that high ISO market in particular was overtaken by digital. We still have Delta 3200, plus Delta 3200 is available in 120.</p>

<p>Backlights fade (sometime significantly) over time, depending on use and what they've been set at. At least eyeball that it'll get up to the brightness you need, ideally do it with a calibrator; I picked up an older LCD screen that would barely reach 30 cd/m2 at 100% brightness, which makes it not really useful as a calibrated monitor. Besides that, they're pretty simple, either it works, or it doesn't.</p>

<p>I'm not aware of any third party grips for the EOS-3. There are however multiple options from Canon, they are:<br /> -PB-E2: 8AA power source, vertical release, AE lock, focus point selector, control dial, motor drive, capable of 7fps<br /> -PDB-E1: 8AA power source, vertical release, motor drive, no other controls, limited to 6fps<br /> -GR-E2/E1: 2CR5 power source, small enough to fit flush with bottom of body, so only normal horizontal release. The E2 is weather sealed while the E1 isn't, 3fps. The E1 is probably the cheapest option<br /> -BP-E1: Switchable 4AA/2CR5 power source, extends slightly off bottom of camera body, but doesn't provide any controls, 3 fps <br /> I use the BP-E1 with my 1v so I can use rechargeable AAs without the heft of the motordrive.</p>

<p>While the rendering of the 85 at 1.2 is really unique, have you considered the 85/1.8? Especially if you got a used one (I've seen them for under $350), you'd have lots left over for studio/computer upgrades, and it has much better contrast/focus/resolution than the 50/1.8. You obviously don't gain a speed upgrade over the 50mm, but it can be a nicer focal length and it is still much faster than the 70-200. Also, lensrentals.com has the 85/1.2 in stock if you want to try it out. </p>

<p>I'd say the Topcon as well, but the lenses are really limited, there aren't a whole lot of lenses made after the 70s, and as a result, they can be hard to find. If a meter is a must, I'd second (third?) an F3, the meter seems to be more reliable than the meter heads on the F/F2. If you can deal w/o a meter, the F/F2 with a plain prisms are pretty darn indestructible.</p>

<p>Make sure the contacts between the winder and the body are clean (alcohol or an eraser if there is crud on the contacts on either the camera or the winder) and not obstructed, and that the slot where the gear engages is fully open. Besides that, I'd say it sounds like there is a problem with the winder; the camera signals for the winder to wind until the winding process is completed and that is it, perhaps the winder internally has an issue like a loose wire or stripped gears.</p>