bill_pearce

Mine is early enough to have the really crappy paint, and it has never presented the slightest problem. Highly recommended, especially as the price has dropped as the new version is out. I would like to recommend you look throught the VF of each to decide if you would like to spend the extra money for the shutter speed and blacked out lights in the VF, though.

Bill Pearce

Don't forget the little 28-48. It is a bit slow, but as the faster films improve, that is less of a factor. Although one of the S lenses, it is quite good.

Bill Pearce

Check Ilford's website. They have a scheme for washing in standing water with very few exchanges. This should be good for any brand of paper.

Bill Pearce

Good luck, you are facing a great challenge.

I don't think you want things printed without corrections, unless that's the way you plan on getting prints all the time. All that will tell you is how a certain film prints with the filter pack of another.

You want to get prints made to show the Macbeth chart to best advantage. Then, make comparisons. This will take a pro lab, and probably optical printing, and be expensive.

Prints from an automated minilab will only tell you about that lab at that time, and very little about the film.

Bill Pearce

Ron,

I'm confused by all the corporate changes, where does Trebla fit into the picture? Are they the same as Fuji-hunt?

Although I don't have Ron's training or education, it's my opinion that the two or three replenished chemistries for large machines are about equal, given the same monitoring, or said a different way, the lab's committment to monitoring makes more difference than the manufacture of the products.

On the other hand, the one shot chemistries for home use cannot produce consistent, repeatable results.

I'm very suspect of the chemistries in minilab machines that are unmonitored and run to, or past, exhaustion.

Ron: comments?

Bill Pearce

This applies only to the different versions of the 50mm/1.8. The last version (of 5, I believe) is labeled "Made in Japan" instead of just "Japan." The last version of this lens was highly rated on introduction, and some think it equals Leica.

Bill Pearce

Most likely for color separations.

Bill Pearce

First you must ask yourself, why am I going? Am I taking a business trip, or a vacation, or am I going on assignment for a travel magazine? If this is a trip for business other than photography, or a pleasure trip, make it pleasurable. Don't overcomplicate things for youself, or significant other.

When traveling to Europe, I regret that it is always a pleasure trip, so it's on my dime. I simplify things to two cameras and two films. For black and white, I take Tri-X, and use it in an Olympus XA, that always is in a pants pocket.

For color, I use Fuji 400, the Superia Reala, I think, whatever name they have today for the four layer emulsion stuff. This gives me decent quality, reasonable price, and the best response to mixed lighting. (whatever you may say about Kodak and Fuji, fuji has certainly gotten the edge on mixed light situations) This simplifies my life, and prevents confusion. Also, decent mini labs and often good pro labs are available in large cities, so I can do process only for xray protection on the trip home.

Bill Pearce

Despite what we read on the web initially, there's noting magic about a Frontier. There's plenty of other good machines out there. What's magic is the operator. Where I live, there's a frontier lab that does consistently poor work, everything at least 5 points cyan. That's exactly like their older optical printer was. The best machine prints where I live (and remember, there is a reason they are called machine prints and are less expensive than hand prints) are from a Konica machine.

Bill Pearce

First, the center filters are not required. I never use one on the 90. With the 45, it is only required with chromes, although at f8 or 11, it isn't absolutely necessary. It is important with the 30. Of course, the filter can be simulated in PS, and in 24x36 it is never needed.

I have traveled with just the xpan, 45, and 90. I did find in florence that the 30 would have been nice, ironically in the 24x36 format mostly.

There is no requirement that panoramic photos be of horizons at infinity. This should be stated in large letters on the back of the camera near the eyepiece.

Bill Pearce

You will be unable to duplicate this in any other 35mm system. Most ring lights flash directly at the subject, but the T8 flashes into a bowl reflector. It gives a much softer light. The T power control will also power the T10 ring flash, which is direct like all others.

I love mine, but would like it better if it were about 100ws.

The price seems a bit high, I would watch dealers like KEH and the dreaded auction site.

Bill Pearce

Isn't it SI that mounts a motorized 'blad behind the backboard?

Bill Pearce

Francisco,

I just got that very bag from B&H Friday, and they are still listed in stock on the web.

Bill Pearce

I have an Xpan and print my own B&W. I got a standard 35mm carrier for my D2, and using a saw and files, extended the sides of the frame equally, to give me the Xpan frame. Just work carefully and accurately. I finished the edges with wet or dry paper from an auto supply store, down to 2000 grit, and have no scratching.

I have a friend who scans Xpan with an 8000. He needs the glass carrier to retain focus across the entire frame, but I don't have that problem. I suspect this is the result of the 8000's shallow DOF.

I generally print with my 105 lens at eight and a half or eleven.

Classic Enlargers (Harry Taylor) makes one, but it is about $180. Someone in Canada also makes one, but I don't know the price.

Bill Pearce

"I recently compared a school darkroom-made Ektachrome Radiance print to a Frontier print from slide"

Although many good comments have been made, this is as good an example of an unfair comparison as I've seen in a long time.

Bill Pearce

One thing. Although the equipment at one hour labs is all pretty much the same, the same isn't true with the best prolabs. At a minilab, your film is processed in a roller transport machine, with stuff besides chemistry in contact with your film. At a pro lab, in a dip and dunk or cine machine, nothing touches your film ut chemistry.

Yeah, I know, a poorly operated d'n'd is worse than a well run roller transport machine, but if your film is important, it's better to not take the chance.

Bill Pearce

I own an Xpan, and I am quite aware of the processing and printing challenges the camera presents. However, with the M7II, the panoramic adapter simply allows the use of 35 film, so you are in the same place, with one or two extra millimeters of horizontal negative.

The widest lens with the Mamiya is the 43mm, the widest with the Xpan is 30, so there will be a substantial advantage in "panoramic effect" with the xpan, if field of view is what you are after.

Not that there is anything wrong with the M7II, it's just a different animal.

Bill Pearce

Let's hope that they have improved the soft finish.

Bill Pearce

Let's just say that the finish on the TX1 couldn't be any worse than that on the Xpan.

But, get one or the other anyway, it's the most fun I've had in years (photographically, at least).

Bill Pearce

If PVC is outlawed, have you checked ABS? Shouldn't be a lot more expensive, but may have the same problem.

If you want expensive, I understand that some chemistry labs used Pyrex glass as drain, before plastic was available.

Bill Pearce

Although we have strayed a bit...

All the arguments about digital archives miss the point. Many of the people here are technically savvy, and can deal with transfering files regularly, or getting old media read. That's fine for us, but for history, it sucks.

The great thing about old pictures is the fact that many are saved by people who couldn't operate a camera, in a cardboard box. there is ongoing concern among archivists about the result on historical studies. Make B&W prints. Save them!

Bill Pearce

Under this type of mixed-light situation, the Fuji color negative films with the fourth emulsion layer really can't be matched. I know architectural photographers that use this instead of chromes specifically in this situation.

Bill Pearce

In Lisbon, try Fotoquick, on the Av. da Liberdade. I don't remember the street address, but they are roughly three blocks from the park end of the Av.

I was very pleased with their C41 work there last month. I spoke no useful Portuguese, and there was only one English speaking person there, but we did OK. They were very kind and helpful.

They also stock a variety of film, and tons of high end camera stuff. You can always have your film souped, and take home a Leica or Hasselblad!

Bill Pearce

I spoke with a Tamron rep at a camera fair just a week ago. He indicated that they were going back to the drawing board, and the lens might well turn out to be a 110mm.

I hope they stick with the 135.

Bill Pearce

Since I live in Wichita, I don't know about Topeka, but I have been told that Color Central is telling local photographers that they no longer accept cash accounts, and are requiring a minimum monthly total of $500 for a charge account. Perhaps established mail order customers are gived special consideration. They do specialize in wedding and portrait work. For commercial work, I would suggest Douglas Photographic Imaging, 2300 E. Douglas, Wichita, 67214. There is no other Wichita lab that I would recommend for wedding and portrait work.

To get more to the point, Topeka is much closer to Kansas City. You should be able to find a good lab there.

Good luck! A good lab is a treasure!

Bill Pearce