pauljm

I to use a Coolscan 9000 and predominately scan FP4 negs, they to look great on the screen.

What does make the difference is an Epson 2400 to print them.

Paul

Well done. Another Polaroid transfer convert! BTW, when they're dry try adding colour using

water soluble pencils and rubbing the area slightly with a cotton bud.

Paul

The most recommended substrate to begin with is watercolour paper. Once you have

perfected the technique you can use anything that takes you fancy. I know someone who

prints on wood! I've tried printing on brown parcel paper which also gives on interesting

effect. Be prepared to use a couple of packs of 669 getting the technique right.

There is also a downloadable PDF document all about Polaroid transfers at

http://www.pacificsites.com/~hdupre/

Paul

Why don't you cross reference the Silverprint instructions with those on the Polaroid website.

Go to the main Polaroid site click on the creative tab and listed on the left is image transfers.

My workflow starts with soaking the watercolour paper first, squeegee to remove the excess

water and leave for 30mins so the paper is just damp. Then follow the instructions on the

Polaroid site. Transfers can be very frustrating to start with but persevere and you will get the

rewards.

Paul

Hi John

An excellent idea! I to have been scouring the web for a site such as yours. Is this site limited

to the US or can UK locations be posted as well?

Paul

Hi Peter

Open the Epson printer utility and click on the status monitor, click on update, close and your

gloss paper list should appear.

Paul

I concur with everyone's comments. I use my Coolscan 9000 for 6x6 and XPan chromes and

am so pleased with the quality of the scans and subsequent prints. As I can't afford a 22MP

back it's probably the next best thing. Yes, try and get the glass holder if you can.

I have owned and used both the Nikon 9000 and the Minolta Dimage Scan Multi Pro (earlier

model) and without doubt prefer the results from the Nikon scanner. I bought 9000 with the

FH-869GR glass holder specifically for my XPan chromes. I've even had the same chromes

scanned with an Imacon for comparison and there's very little diference IMHO.

Paul

I've been using the Portrait Classic for the past 4 years and is one of my all time favourites.

Try their new Fibre Base Gloss, it's pretty much like using a traditional fibre based darkroom

paper. I also use the Textured/Smooth Art Silk which gives quite an unusal and pleasant

metallic effect. If you can, try and obtain their selection pack enabling you to try out various

papers without splashing out on a full box.

Paul

Hi Ross

I use a 2400 & have tried pretty much all the Permajet papers. I always load from the top and

have not had a problems yet. The green cast is odd as the new K3 inkset have pretty much

done away with unwanted casts in B&W. I use the Advanced B&W setting and set the colour

toning to neutral, then to colour management and set the tone to light.

Paul

Ultimately there is no reason not to try a hard roller/brayer but I'm almost certain that it will

not spread the chemicals evenly. You must also be aware that the developer is quite caustic

and can irritate or even burn the skin if exposed to it. Using the internal rollers elimintaes

some of this risk. I also forgot to mention that www.kathleencarr.com is also a very good for

gaining an insight into Polaroid manipulations.

Paul

Hi Nico

You cannot manually develop 669 pack film, only the rollers contained within a camera

back or Daylab/Vivitar slide printer will do this. There's also a big difference between SX70

and 669 manipulations. The Polaroid web site has quite a lot of information on both

techniques. I suggest you look for a cheap Vivitar slide printer on ebay which will take the

669 pack film and keep searching for some SX70 film for use with the enlarger. Both

techniques can create stunning images. Good luck.

Paul

Hi Gordon

I still use filters on my digital SLR otherwise how would you balance the sky and foreground

without ND grads. Some might argue that you take 2 shots, one for the sky and one for the

foreground and montage them in Photoshop. This works for some people but I still prefer to

use filters. The other filter which cannot be replicated in Photoshop is the polariser.

Paul

Check out the new Lowepro Slingshot 200. It's a cross between a backpack (easier to lug

araound) and a shoulder bag (easy access). I'm seriously thinking of buying one.

Paul

Thank you Walter & Christopher for your kind advice. I had already planned to take the

opportunity to shoot outdoors if possible but I have to take into account the unpredictability

of the British weather and the forecast is for rain on the day I plan to shoot. I've also had a

few practice shots within our studio using my colleagues as guinea pigs and indeed the

results have been pretty flat. I think this is going to be a steep but valuable learning curve for

me. Fingers crossed.

I am in the process of designing an internal business document for one of our clients and

they want to include some informal group shots of their key personnel. I would normally

use a local photographer but the client does not have the budget. They originally were

going to have one of their people take the images on a small compact digital but have

persuaded them that I will take the images as I don't want to compromise the quality of

the final design.

I'm not a pro 'people' photographer (mostly landscapes & still life) and therefore needed

some quick advice/tips on how to proceed with the equipment I currently have at my

disposal, a D200 with a 17-55 and 70-200 VR lens, we have also recently acquired a

SB800 flash. My company owns all this excellent equipment as we do quite a lot of pack

shots. I'm quite familiar with the camera & lenses but shooting people with flash is not

something I normally do.

Here are just some of the questions I need help with. Do I use the flash with the diffuser

and bounce it of the ceiling/wall want to avoid harsh shadows)? Do I use the camera in

aperture priority, if so what f stop is the norm? Can I use the 70-200 with the flash as I

would like to blur the background (they're going to be in a normal office environment).

Would it be better shooting slightly above or at eye level?

Any other suggestions will be gratefully received. I don't want to make a hash of these

images as the client is quite important to us.

Best regards

Paul

Since buying a D200 I have dispensed with my old 'enthusiast' lenses (Tamron 19-35 and

28-300) and replaced them with the Nikon 17-55/F2.8 and 70-200/F2.8 VR. However I

decided to keep my Tamron 28-70/F2.8 because it's such a superb lens..

I was given an old Yashica 24 some time ago and obtained a copy of the original instructions

from www.oldtimercameras.com here in the UK. They're not free but are modestly priced.

Hope this helps.

Just to wrap up the story. I eventually wrote to Jessops Customer services. They then called

me to apologise and inform me that they no longer stocked any Hasselblad equipment and

even hinted that this was all Hasselblads fault for not playing ball. I told them that this was

perhaps due to their punitive trading terms? I was basically told it was none of my business.

The very next day I offered my vouchers on Ebay, taking a slight loss on their actual value. To

my surprise someone bought them within 24 hours. I immediately ordered my lens from

Robert White (very nice people!) and it arrived this morning.