henry_gardner1

<p>For those who have deficient color vision (8-12% men of western European descent) this is a sore point. We can't see colors as normal-sighted people do, and that's why we liked sending our film to a lab that corrected colors while they adjusted exposure when printing. It's also the reason I shoot JPEGs. If I shot RAW, I would have to send files untouched to the lab; would they do the same service with RAW files as they did with film?<br>

S/F Wayne Gardner</p>

<p>Colin and Vick,<br>

Thank you, very much, for your advice.<br>

S/F Wayne Gardner</p>

<p>Just received beautiful 150 CF from KEH. How do you recommend testing it for shutter accuracy, etc.?<br>

It will supplement an early 500cm (bought new in 1970, but not used much) and same vintage 80 C, tripod quick-release mount (correct name?), SWC/M T*, pistol grip, Sekonic light meter, sturdy aluminum tripods (Bogen, Linhof, and Leitz), cable release, Vivitar 285 flash, Nikon SB800 flash.<br>

I would like to get next a 50CF lens, and perhaps an Accumat focusing screen. Someday, when used, untethered digital backs reach my spend level ($2,000 max), would like to try it.<br>

Any other suggestions on additional kit? For example, ball head? 1.4 or 2.0 lens extender (correct name?)? I take mostly landscapes, portraits, and group shots with Hasselblad. I used to use Portra and E6, but after a 5-year move into digital (may upgrade to D90 or 300s), Capital Color in Arlington, Virginia, has closed, so it will be Portra and B&W for now.<br>

I have an Epson 4990 scanner and Leitz V35 enlarger. I understand neither will be much help, except scanner will provide some entry to digital MF, albeit not at the level of Nikon 8000 or 9000. Am still debating whether to build a darkroom in basement for B&W. Richmond Camera still does quality MF developing and printing, however.<br>

I am red-green color vision deficient, so I find adjusting colors on a monitor almost impossible. It's one reason I am moving back to film part time; it's easier to let lab technicians with normal color vision do it. I have searched the archives several times, but there is little help for us "color-blind" men. Of course, B&W poses no color problems.<br>

Which flash would work better with Hasselblad?<br>

Carrying case? (I am happy with LowePro for Leicas and Nikon D70.)<br>

I am building a basement studio that will have north window and permanent electric ighting, so strobes would be mostly for fill flash. Or would you recommend using several strobe lights in studio? Recommendations on studio lighting?<br>

Thanks, Wayne Gardner</p>

<p>Nikon D70 new in January 2005. Works with zoom lenses, but not with new 50mm 1.8 three years ago (would not focus or expose correctly). Richmond Camera tried another 50/1.8; it, too, would not work, so loaned lens to a friend.<br>

Camera has gotten worse: now it will not open any lens diaphragm for focusing/framing/exposure etc. before taking shot. Sometimes it will not take picture until I switch from AF to manual on the lens or body. At camera shop Friday it constantly returned infinity distance, even when target was within 2 meters!<br>

Using D800 indoors, must turn exposure compensation up to +3. (D800 works fine on friend's D40.) Every now and then, it will suddenly expose correctly with D70, i.e., overexposes at +3, so must dial down D800.<br>

Penn Camera suggested cleaning contacts; did that: no change.<br>

It is now a scale-focus, hit-or-miss aperture camera unless I set shutter speed manually. The small, now dark viewfinder makes this difficult.<br>

I am 72; since age 15 have used mostly rangefinders: Nikon SP, Leica M3, M2, M4; and since 1971 Hasselblad CM and SWC with no problems. Now with move to automatic DSLR am stumped and disappointed, as older gear has worked well with few problems (Nikon SP bought in 1958 rangefinder went out of adjustment in 1998).<br>

Any suggestions on economical fix for D70? It's not worth as much as a full CLA, I feel. Camera has taken only 22,000 pictures, and has not been dropped or abused.<br>

I like the immediacy and cost savings of digital, but am not happy with modern technology that seems not to have the durability of older classic cameras, yet they cost as much, if not more than their film counterparts.<br>

I was thinking about D700 or D90, or perhaps Leica M9, but if D70 indicates digital durability, I have doubts. At first I was unhappy that I could not update sensor in existing digital camera, but if digital cameras don't last any longer than this, there is no need to update sensor, just firmware until it breaks.<br>

S/F Wayne</p>

<p>From Time: beautiful Kodachrome documents America in late 1930s.<br>

http://www.time.com/time/photoessays/2009/fsa_color_multimedia/<br>

S/F Wayne</p>

<p>I joined about ten years ago at the recommendation of LtGen Roy Moss, USMC (since deceased), whom I served with many years ago. He was formerly an editor of the Viewfinder and past president of LHSA, as I recall.<br>

I attended the yearly gathering in Williamsburg, Virginia, a few years ago, because it is less than two hours from home. A big attraction are the several Leica company representatives that attend; e.g., Stefan Daniel. They are very approachable and informative. I spent several hours with Ralf [sp] Hagenauer, who is very good company and a fine photographer himself. They bring many new cameras and lenses that you can borrow to shoot with, so you can try out a lot of gear on your own you would not find unless you live near a major Leica dealer. Even then, could you try out so many items on your own?<br>

The Viewfinder is worth the membership fee on its own.<br>

S/F Wayne Gardner</p>

<p>Y'all corresponds to the older English "ye" or "Sie" in German, and is used to address more than one person. "You" in the South corresponds to older English "thou" or "du" in German, and is used when addressing one person. Never say "y'all" to one person unless you mean him or her, plus others, e.g., their family, spouse, children, or friends. For example: "Mary, would you like to go to the dance with me?" (a date with Mary), or "Mary, would y'all like to come to dinner with us?" (an invitation to Mary and her husband, for example). It makes for clearer communication, and makes up for the unfortunate loss in modern English of those differentiations.<br>

S/F Wayne</p>

<p>I shot film from 1954 to 2004 (I'm 71) with Universal Mercury II (half-frame) to Nikon SP bought new in Japan in 1958. Rolleicord in 1960, but never got the hang of TLR. Hasselblad 500 C/M in 1970. Moved to Leica M2/M4/M3 in 1999 and Hasselblad SWC in 2003. Because of the waist finder, never got comfortable with 500 C/M until I got a used prism finder (45). Swore I would never go digital until a lab under developed some beautiful film shots, and I bought a Nikon D70 the next week.<br>

I enjoy digital for immediacy, sharpness, and cost savings, but detest the D70 viewfinder. Most of all I hate post-production work on the computer; I work with a computer all day long, and it's not fun to spend the evenings with one. In addition, being red-green color deficient (not quite color-blind, but close to it), I find it impossible to be trusted for color correction. It's so much easier to let the lab print negatives, but I prefer to do my own cropping. I don't want to hijack the discussion, but any comments on how to handle digital color when color blind would be welcome. From time to time I search the web, but haven't found much yet.<br>

I haven't shot film for four years, but this week I bought several rolls of Kodak Portra 35mm and 120, plus C41 B&W, that I will have the lab scan in hi-res digital. (They were out of Astia.) I can hardly wait to take portraits with the 90mm Elmarit M. It will be interesting to see the results. If they turn out well, maybe there's a Zeiss 150mm or 180mm in the future to go along with Leica M lenses. It helps that I sold none of my film cameras.<br>

Maybe a D700 would improve my attitude toward digital. I tried one recently, and the viewfinder blew me away.<br>

OTOH, I recently inherited enough money to buy an M8 and another lens. The advantage would be something semi-permanent to remember my folks with. I am afraid to spend too much on a digital camera, however, because they get out of date so quickly (I know they continue to produce the same photos as before, but I am a gearhead, whether tools, cameras, skis and bindings, or cars).<br>

If Leica would offer sensor updates to the M8 as sensor technology improves, I would consider it, but a camera built for several lifetimes of use would have limited appeal if its sensor and firmware were not updateable as technology progresses. That is the beauty of Leica film cameras, where film is the analog of firmware and sensors. I confess to being a rangefinder enthusiast ( I even shoot the D70 with both eyes open), and a Leica or SP is so handy it makes taking pictures a joy. The SWC is almost as handy, and the lens is superb also. It's more a MF rangefinder, producing big, square negatives and slides.</p>

Steve, could you please post a link? Horst is a great man and photographer. I spent a day on patrol with him in Vietnam during Operation Hastings when I was a Marine second lieutenant. Since then we spent an afternoon in London, and several evenings in Utah during the 2002 Winter Olympics.

Wayne Gardner