smeitner300

<p>1 part concentrate plus 1 part dilution equals 11 parts total. If you want your final volume to be 16 oz, divide 16 oz by 11. That equals roughly 1.45 oz of concentrate and 14.55 oz of dilution. <br>

One thing to keep in mind:<br>

Depending on what you are mixing, there are sometimes recommended minimum amounts of concentrate required no matter what the final volume will be. Example: If mixing Rodinal, the minimum recommended is 5ml (0.169 oz) per roll. If you were mixing Rodinal @ 1:100, you would need to mix up 174 oz minimum even though the tank might be only 20 oz or so.</p>

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<p>The developing chemicals are spread by a roller when you pull it from the back. It won't overdevelop the film.</p>

<p>If you carried it on your back, your body would absorb quite a bit of the high frequency vibration. You just want to make sure you don't go down. I hike with mine and never had an issue. Besides the vibration, you want to get it serviced more often. Hiking and biking exposes the camera to much more dust than sitting in a studio.</p>

<p>Try tripping the shutter with the lens off the camera. You simply push down on the small flat piece of metal inside the circle next to the cocking screw. If the lens will not fire off camera, something is truly jammed, and a service would be in order. </p>

<p>Hi Nathan,<br>

Let's start with how the lens should be mounted. You should always have both the body and the lens cocked before connecting them. You can tell the body is cocked by the white dot next to the wind knob. You can check that the lens is cocked by looking at the slotted screw at the bottom of the lens (it has a red curved arrow around it). The slot should be aligned with the red dot when the lens is properly cocked. If the lens has been fired, you must manually turn the slotted screw until it clicks. Be very careful not to slip and damage the rear element of your lens!<br>

Let me know if there is still a problem.<br>

Steve</p>

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If you are willing to try B&W, I think the silver tones would really work nice with Acros.

It is a Mamiya C22 with a newer lens. I have a C22 with the original chrome lens.

Here is something not often mentioned about TLR's...

 

They are now conversation pieces. I meet interesting people all the time, just by walking about with my Mamiya C22. I've met young people that have no clue what the "brick" is around my neck, and former press photographers that know what it is. I've been told stories by those photographers (while they could barely contain their smile) of events well before my time. I never get those reactions with a SLR of any type.

 

Show a kid the ground glass and wait for the look of awe...

 

They are magical little boxes. :)

I wouldn't recommend shooting a close-up of a print. A third generation won't help any.

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By holding the string taught, you are removing 2 degrees of freedom (up and down) and influencing others. Try to find the least stretchy string you can find.

I once drove 20 miles into town when the wind chills were -75 F. Why? To get a pizza!

Just to mess with people, I would like to spray paint a 4ft section of PVC pipe black and attach it to the camera.

Most stop bath is acetic acid, which is basically the same as in vinegar. It is the concentration that is important with chemicals. Better safe than sorry.

I've used a 70-210 on my D70 with excellent results. I've tested it against a 80-200 f/2.8 and found it to be just as sharp. True, it is a slow lens, but if the light is plentiful it is one of my favorite lenses.<div></div>

Well I do not have an art degree, but have had a similar experience...

 

In my second semester of college, I was taking my first chemistry course. We were studying re-dox reactions and I just didn't catch on. I went to the prof and with an arrogant wave of his hand, he motioned to his wall of books, and said "The answer is in there somewhere...look it up." I told him that I had read the text, and was looking to get some help with an example. He responded, "Well, if you can't do chemistry, you should look into changing your major."

 

That was 6 years ago. I am finishing my Masters in Mechanical Engineering (my original major), and just was hired at a National Research Lab. I took the situation as a challenge. I never went back to the prof for help (turned out that he told many students the same thing - many less stubborn than I). I instead sought the help of upper class men. I got through it, but it was harder than it needed to be. The last thing I heard, the prof's contract was not renewed (pretty much fired).

 

So here is my advice...

Chemistry was not core to what I have done as a Mechanical Engineer, but I am glad I have the foundation. You will often hear, "well rounded education"...they're right. If you are really serious about the major, then tough it out. You'll feel stronger when faced with another challenge...and there will be more. And bypass those not willing to help you get where you want to be. Remember that passion for your major, even when taking classes outside of it. Go shoot pictures, go print some negs, or just hang out at a gallery. After you get charged up with photography, it is easier to go into class with the attitude, "I'm going to draw this stupid paper bag the best that I can."

Dennis Hopper in "Apocalypse Now" is wearing some classic iron. "Full Metal Jacket" is another.

Thanks jim appleyard -

The aquarium example makes sense.

I am unsure about whether the whisking matters. It isn't that you're putting air into the developer mix, but how long it stays there. If the air is mixed in, but can quickly permeate out, it won't be there long enough to oxidize and ruin the developer. Maybe the time constant for air to permeate out is short enough?

 

Frank, what is your method for mixing? Do you just pour the crystals in hot water and wait for them to dissolve, or do you aid them by stirring? I have been shaking my closed bottles. That seems like I'm mixing in as much air as whisking would...

Peter,

 

Welcome back! Many discussions have been held on your question. You can search for prior "death of film" type questions. There are many different opinions. My opinion is that film will be around for some time yet.

The cold weather will increase the natural pink tones in the skin. This can be an issue for certain people. I think your choice of 160NC is a good one. A gold reflector might come in handy as well. Just some thoughts...

The old saying goes, "possession is 9/10 of the law"...

;)

Hi Pete,

 

It is great to hear your passion for photography. As you have noticed, prints from a local lab (unless professional) can leave much to be desired. The problem is, the local lab scans and automatically adjusts your negatives for exposure before printing them.

 

If you feel you would like to still dabble in color, I found that when I switched to slide film, my skills increased dramatically. The exposure is much more critical with slide film rather than negative film. In addition, what you see is what you get. There is no adjustments made before you get them back. Inspecting them with a loop (or a 50mm lens turned around) instantly revealed if I was off in exposure. The downside of course is cost. Slide film costs me about $4.50/36 exp roll and development is $8. Just a thought.

 

There are many B&W films around the $6/36 exp. The catch is that they are mostly true B&W and not C41 type film that any local lab can process. This also means they probably will have more grain than what you're used to. If you're looking for grain free negatives, BW400CN is pretty good. Also check into Ilford XP2. I took the plunge and bought a Patterson kit to do my own developing. It wasn't a huge step. Traditional B&W films are easy to develop and doing it myself saves me money.

 

As for filters, you said you generally take portraits. You will find that certain filters can be more flattering to your subjects. Try a yellow or orange filter to hide blemishes, or a green one to make a rugged appearance stand out. One bit of advice is to think about what thread size you'll use. It is usually more economical to buy filters in the thread size of your largest diameter lens, and then use step up rings to make the filters fit your other lenses. A step up ring is usually under $10, while some filters can easily top $50.

 

Happy shooting,

Steve

Black and White Photography is an English based magazine that I enjoy. It has an ongoing series where two printers make their own print from a negative. A couple issues ago, it had a test of homemade developers.