michael erlich

I'm using Lightroom on a MacBook Pro 2.33 GHz with 2 gigs RAM and I like it a lot. Very fast and intuitive, and it works seamlessly with PS CS3. I've already ordered the release version from Adobe. Sorry, I've never used either Aperture or a macbook, so I have nothing to compare it to. I had been using CS2 on a practically stone-age 833 MHz G4, so the MBP is a huge upgrade.

It's a known bug in CS3 Beta. The caps lock key has no effect. I hope Adobe gets it fixed in the release version.

I still use a Nikon F occasionally. I have three F bodies, one with plain prism, one with FT and one with FTN prism. All were bought used. The FTN meter still works. I never had any work done on them, not even foam replacement.

 

I really love old cameras, even though my current workhorse is a D2x. I even take my Pacemaker Speed Graphic (circa 1951) out for a spin once in a while! It really draws attention when I shoot with it in town.

1. At 5 feet, a headshot with my 17-55 2.8 AFS at about 50mm, focus on eyes, ears and rim of hair are in focus. F-stop is 3.2 - 3.5

 

2. Don't know about screw drive, but with my 17-55 AFS it's pretty bad.

 

3. Yes, misses all the time

 

4. Not apparent at great distances

 

It doesn't matter which AF sensor I use, it happens with all of them.

 

Nikon has estimated $272 (!) to repair it. Unfortunately, the camera is out of warranty.

 

I'm reduced to using my old backup D100.

I process JPEGs at the newspaper where I work, and the greatest feature of Lightroom, IMHO, is the ability to make RAW-like adjustments on JPEGs, e.g. white balance and exposure, with very effective highlight and shadow recovery tools. It's much quicker and easier than using color adjustments, levels, curves etc. in PS for fixing badly exposed shots, of which I see far too many.

There's one more difference on a lens that has truly been optimized for digital:

 

Digital sensors are more reflective than film, so digital lenses have improved coatings on the rear element to minimize light reflecting off the sensor from being reflected back onto the sensor. It's supposed to reduce flare.

I just brought my D2x in to Nikon El Segundo service center because it developed a backfocus problem, focussing several inches behind the focus point. It started after I installed the firmware 2.0 upgrade.

 

Did you recently upgrade the firmware?

Upstrap. Both sides of the shoulder pad grip strongly.

http://www.photo.net/neighbor/view-one-about?id=1&about=Mack+Camera+%26+Video+Service

I've also noticed that the file created date is not recorded properly on files that I import directly by dragging in the Finder. The file created date is correct when I import the files using Nikon View or PictureProject Transfer. I think this is a bug in the Mac OS code.

Scotchlite and other reflective materials bounce light back in the direction of the source, so try to get the flash way off the camera with a long bracket or handheld at the end of an extension cord.

I routinely order film from B&H and have it shipped UPS, but I avoid ordering in the hot summer months. Never a problem.

By any chance do you use a wetting agent like PhotoFlo with the film still on the reel? Over time wetting agent will leave a residue on plastic reels that is impossible to remove with any cleaning technique.

 

If that's the case you are going to need new reels. And take the film off the reel before using wetting agent.

I remember way back when I saw an ad in a newly arrived National Geographic for the Motormatic 35F. I really lusted after that camera but I couldn't afford to replace my Brownie Starmite. Congratulations on a real prize find!

Benny,

 

With regard to the dialing in of color filtration, I've found the same problem in my Omega D Dichroic II colorhead. It's due to mechanical tolerances in the gears that move the filtration. I solved it by never dialing "down" to a new filter setting--instead I dial all the way back to "0" then up to the new setting. This gives me consistent filtration at all settings. I believe the phenomenon is called "hysteresis".

Yes, Kodak Rapid Fix mixed without hardener works just fine for Tri-X and practically all other B&W films, with the exception of Efke which is reputed to have a very soft emulsion that needs a hardening fixer.

Tri-X Professional TXP ISO 320 is designed for good highlight separation under controlled lighting conditions, e.g. studio lighting. It isn't available in 35mm, only 120 or sheet film. Or try a chromogenic (C-41) film.

I have a CPP-2 and I love it. I use it for B&W film processing and color film processing. I used to use it for color print processing, but I have since adopted a digital workflow for color prints. I tried B&W print processing with it, but I still love to see the image come up in a tray under a safelight, so I don't do it anymore.

 

AFAIK the CPE-2, in addition to being smaller than the the CPP or CPA and not able to accomodate really large drums (like the expert drums for sheet film), lacks a circulating pump for the tempering water, relying on the rotation of the drum to circulate the water instead. I may be wrong about that, check the Jobo website to be sure. Both the small and large processers have wells to keep chemical containers immersed in the tempering water prior to use.

 

The only real difference between the CPP and CPA is that the CPP has a temp controller with which you dial in the desired temp (up to 39.9 degrees C) and the actual temp is displayed in LED red digits. The CPA uses an uncalibrated dial to set temp and you must use an accurate thermometer to adjust it. Once you have it set, the temp is maintained to the same accuracy as with the CPP.

 

Whichever Jobo you decide on, I strongly urge you to get the lift accessory. It makes it much easier to drain and fill the tank with chemicals without disrupting the processing routine.

 

Developing B&W film in the Jobo is a joy, with extremely consistant results and no hassles with agitation, and if you are interested in color processing, it's really the only way to go.

 

Regards, Michael

http://www.engrish.com/

 

Absolutely hilarious.

IMHO NX's best feature is the color control point. You can make localized adjustments in brightness, contrast, saturation, hue, or RGB levels without the need for making a selection or mask. The degree of control is amazing. The slowness is amazing, too.

On the Mac: Home>Library>Preferences>Photoshop CS2 Settings. Save the folder in another location, then replace it after the reinstall. It should be in a similar location in Windows.

Kinesis Gear makes modular belt systems that may meet your needs.

 

http://kgear.com/

My Firewire external drives are on all the time. One is used to store all my image files with a nightly backup to another, identical drive. Two others are used to regularly back up the main internal drive. One other is used solely as a drive for temporarily storing downloaded image files and as a scratch disk for Photoshop and Capture NX. I use Retrospect to do the automatic backups every night.

Yours should fit. My Rollei Bay 1 shade fits on my YM 124G.

I downloaded the demo and played with it for a while. The results are interesting if not entirely convincing but I think the price (US$199) is much too high for what is essentially a novelty item.