john_moye

Peter_j2, who quoted you $300.00 to repair your Minolta Color Meter IIIF?  Like others, I have a Minolta Color Meter IIIF? in need of calibration. Years ago think I sent it to Precision Camera, along with a Minolta Color Meter II. They were able to repair the Minolta Color Meter II, because they still had the calibration equipment. Could not repair the Minolta Color Meter IIIF, because the calibration equipment had been lost or destroyed when company was sold. They did however tell me that the Minolta Color Meter IIIF could be set to match my Minolta Color Meter II, by using one of the nine (9) memory channels. I do not remember how to do it, as I just relied on my Minolta Color Meter II. Then later paid $60.00 for a 2nd  Minolta Color Meter II. I later bought a Gossen 3F color meter. Which was working fine until two weeks ago. All of my meters had not been used for the past 2 plus years, as I had knee replacement, and CO-VID put a stop to most of my work. All meters were stored W/O batteries. Yet, when I went to use the Gossen 3F color meter it was way off, and I do mean WAY OFF! The two Minolta Color Meter II meters are within 50K degrees of each other. I was taught that if you are within 200K degrees. You were good to go. Like others, I noticed that the Kenko color meter was very much like my Minolta Color Meter IIIF. Yet, I was told it was not and the Minolta Color Meter III could not be repaired. As for the Gossen 3F. Think I will try using the color filter method that john_ daniels2  used. Also will try and remember how to use the memory channels on the Minolta Color Meter IIIF to match the readings of the Minolta Color Meter II meters. I thought about buying a new color meter because newer color meters are needed to read the color output of the LED lights. I could not justify the high cost. So, I tried using the Minolta Color Meter II and adjusting in post production. I am not very good in using post-production software like Adobe Premiere, but think I found something that works for me. I tried to stick to one maker for all of my LED lights, just as I did when I used fluorescent lighting. I was able to my Minolta Color Meter II when I metered fluorescent lighting. figured I could get close with a bit of luck. When color metering LED lights. What worked for me, was to cut by half the CC+ (Magenta) readings of the Minolta Color Meter II. For me it was better for my subjects to be a little magenta, than a little green. I was using what is now considered very old ALZO 3000 LED lights. Some had a CRI of 86, others had a CRI 90 rating. I also used a very old version of Adobe Premiere CS6 There was no way in Heaven, Earth of Hell. I was going to pay a subscription fee! To show you how bad subscription fees are. I am now using an excellent 24" iMac. Bought it from a buddy. He sold it to me, because his Adobe subscription software updates, no longer worked on a late 2012 iMac. Mind you, this is a excellent iMac with 24GB of RAM. All I did was to upgrade to a 1TB SSD drive. When I think of how much of a photographer's digital equipment is no longer repairable, it boggles the mind. My large format digital printers are dead in the water. Because it cost as much or more to repair them, as to buy a new one. My digital still cameras can no longer be repaired five to ten years after newly purchased. I am still using film cameras made in the mid 1980's. My digital video cameras are much like the saga of the Minolta Color Meter II & Minolta Color Meter IIIF. I started with the Canon XL2, then moved to the Canon XLH1 The Canon XL2 has an internal battery that the end user can replace. The Canon XLH1 does not allow replacement of the internal battery. It cannot be replaced by anyone! You have to tear the Canon XLH1 to get to the rechargeable internal battery. Almost the same with my Leaf Aptus 22 digital back. After ten years, no one will work on or repair the medium format back. Plus the internal battery is in such a place, that you risk destroying the back if you attempt replacing the battery yourself. It also seems there is no such thing as LED lighting repair. All of my flash heads, for my studio lighting are able to have replacement flash tubes installed. I use Balcar lighting power packs, and it was not until last year. When an independent repair person died, that I could not get older Balcar power packs repaired. He did/could not repair Balcar digital power packs. Because Balcar refused to give anyone the information needed to repair them. The Balcar digital power packs did not work any better, and  failed at a higher rate,than the older Balcar power packs better. I have had Apple techs tell me that my G5, iMac, iBook computers could not be upgraded or repair. Only to find information on the Internet, that help me to keep them all working. I use Mamiya  645 AFD medium format cameras. I use both older manual focus and auto-focus lenses with the camera body. I can get the manual focus lenses repair at a decent cost. The auto-focus lens repair is the cost of buying a used one in excellent condition. It was not until five years ago, that LED lights started to match the color fidelity and amount of light output of tungsten or HMI lighting. Now that LED lights are matching output and CRI values. They are missing one major thing. Customer support or product repair. I can e-mail or call any of the makers of my HMI lights or find an independent lighting repair shop for my HMI and tungsten lights. Most Lowel tungsten lights are an easy self repair job.  Well, my wife beckons me. got to go.

Hello all. About two years ago, I bought a Walker Titan 5X7 XL, that was being sold on an estate sale online auction. I had never seen or heard of the Walker cameras before the auction. From the looks of the photos posted on the auction site. With it's ABS mould-injected plastic design. I just assumed it had front swings shift, tilt along with back tilt movements and folded down. Was I ever wrong. That is what I get for buying, and not being able ask questions. Not that I should complain. Overall, given the other photo items I purchased from the auction. I got a very GOOD deal! When the Walker Titan 5X7 XL arrived, and I realized my folly. I read up on the camera. Discovered it was made in England, and contacted said maker. Because I mistakenly thought he could add front shift movement to the camera. Because I mostly would have used the camera for cityscapes. Lack of back tilt movements on the Walker Titan 5X7 XL, would seem to be a major drawback for shooting cityscapes. So, after some basic testing to make sure camera was in working order. I put it in storage. I did have a bit of a problem, getting the hang of loading film holders into the back. My other view cameras, have a spring back loading system. I want to sell the Walker Titan 5X7 XL. Because I bought the Walker Titan 5X7 XL used, from an estate sale. I have no idea how much I should sell, or trade it for. Does anyone out there have an idea. I e-mailed the maker of the camera, asking how much I should sell it for, but did not get an answer. Camera is listed for £1500.00 ($2,031.00) new.

If you know the camera, and like it. Make an offer. Would also consider trading for Joker 200/400 HMI lighting, Nikon D800 camera, Atomos Samurai. Understand, on some trades, I would have to add cash with the Walker Titan 5X7 XL camera.

Hello all. About two years ago, I bought a Walker Titan 5X7 XL, that was being sold on an estate sale online auction. I had never seen or heard of the Walker cameras before the auction. From the looks of the photos posted on the auction site. With it's ABS mould-injected plastic design. I just assumed it had front swings shift, tilt along with back tilt movements and folded down. Was I ever wrong. That is what I get for buying, and not being able ask questions. Not that I should complain. Overall, given the other photo items I purchased from the auction. I got a very GOOD deal! When the Walker Titan 5X7 XL arrived, and I realized my folly. I read up on the camera. Discovered it was made in England, and contacted said maker. Because I mistakenly thought he could add front shift movement to the camera. Because I mostly would have used the camera for cityscapes. Lack of back tilt movements on the Walker Titan 5X7 XL, would seem to be a major drawback for shooting cityscapes. So, after some basic testing to make sure camera was in working order. I put it in storage. I did have a bit of a problem, getting the hang of loading film holders into the back. My other view cameras, have a spring back loading system. I want to sell the Walker Titan 5X7 XL. Because I bought the Walker Titan 5X7 XL used, from an estate sale. I have no idea how much I should sell, or trade it for. Does anyone out there have an idea. I e-mailed the maker of the camera, asking how much I should sell it for, but did not get an answer. Camera is listed for £1500.00 ($2,031.00) new.

Would like to buy your Lee Graduated filters if still available. I am John Moye

<p> Did not realize this forum about the Ascor Sun Gun system was still going on. I am John Moye, and my system is still in storage. Ben are you still in need of Ascor components? If so, and you are near Chicago. Come on by. I tried getting them into a studio, but it seems almost everyone in Chicago has forgotten about them. Think that Devon Reno, who does flash repair. May be the only one left, who knows anything about the Ascor Sun Gun system. Devon can be reached at (708)798-1774-Office, or (708)870-1060-Cell</p>

<p>So, I decided to stick with Beseler blue model 4X5 W/8X10 cold light head. Over the past three or four years, have tired using 5X7 glassless negative carriers made for 5X7 Beseler & Omega enlargers. Beseler 5X7 carrier is to large. Omega 5X7 carrier is sto small. This past weekend at photographer's estate sale. I found a glassless 5X7 negative carrier. Model #NC-2 With the name "The Kriser Corp" stamped on the carrier. Think it was made for an Elwood 5X7 enlarger. Some idiot bought the enlarger before I got there, & left negative carriers, & other parts of the enlarger behind. I hate it when parts get separated by people who have no or very little idea of what they are doing. I cannot find any information about the negative carrier. It is almost a perfect fit, when I put it on top of the 8X10 negative carrier made for the Beseler 8X10 cold light head. If I either file down two sides of the Kriser 5X7 carrier or remove the four positioning pins on the 8X10 Beseler negative carrier. IT will lay flat. Does anyone know anything about the 5X7 Kriser Corp (Elwood 5X7 enlarger)glassless negative carrier/holder? I can be reached at moye44@aol.com</p>

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<p><strong> I just bought ImagePrint 5.6 for the Epson 9600 from printing shop that used it on a

PC running XP Pro. The case the CD and Dongle came in: Reads, Macintosh OS X Server Edition. </strong><br>

<strong> While I can install the software on a PC and enable the Epson 7600 printer. When I tried to

do so on a MAc G4 (OS-X 10.11 Tiger), or Mac G5 (OS-X 10.4.9 Tiger), it will not enable the Epson 9600 printer. It

will enable the Epson 9500 printer. This was all done using the same Dongle and encryption code number that I got

from ColorByte (ImagePrint) web site. When I talked to ImagePrint. I was told their web site and archives did not go

back to ImagePrint 5.6 or 6.1 and that I had to update to ImagePrint 8 to solve my problem. ImagePrint 8

update for a 44" cost is why more than I can afford. </strong><br>

<strong>Can anyone help me to install the ImagePrint 5.6 or guide me to site where I can update ImagePrint

5.6 to ImagePrint 6.1, which I beleive will install and enable the Epson 9600 printer.</strong><br>

<strong> I thought about rolling bac the G4 OS-X to OS-X 10.3 (Panter). Then thought, why does it

enable the Epson 9500 print. Which is an older printer than the 9600 on the OS-X 10.4.9 software? </strong><br>

<strong> While the ImagePrint CD was created in October 2003, the installer part of the CD was

modified December 14 2001</strong></p>

<p> Two years ago someone gave me a eight Ascor condensers and four of the normal flash heads. The charger overheated while I was trying to use it, so I put it away. It now sits in a storage place. Yesterday other person who recieved other half of the condensers and other charger gave me four of his six condensers and two Sungun flash tubes, as he is retiring. He plans to use charger, two condenser and one flash head. Would like to know if you were able to get your Ascor set up to work. I see from the images you posted, that your charger is like the one I have that over heated. I have seen later models of the chargers and may be able to pick one up cheap or for no cost. Would like some imput on how to use the set up, thinking maybe I did something wrong to make it overheat. John Moye</p>

Need help in deciding on which enlarger is best for me. I now use the

Beseler 8x10 cold lite, which was fine until I started shooting 5x7

film. Found that Beseler does not make a 5x7 glassless negative

carrier and dispite what everyone has told me I am getting Newton

rings when I sandwich the 5x7 negative between frosted plexiglass and

the normal clear glass supplied by Beseler, that and dust spots have

driven me up the wall. Beseler was no help in trying to find a 5X7

glassless negative carrier. I found a Zone VI 8X10 cold light enlarger

(non-VC)that also includes a 5x7 variable-contrast cold light head and

4x5 color head, it also includes timers and transformers. The 5x7 cold

light head contrast control box is rather big and the owner tells me

that the newer smaller one now sold by Calumet is not as good as the

one he has and that was sold to him by Fred Picker. He has also hooked

up a fine focus switch that is on the base board (so no reaching for

the sky). Here are some of my sticking points. 1. the 8x10 negative

carrier is made so that the negative just lays on top of the frame (he

says he keeps it in place with some type of mylar, he also recommends

painter's blue tape. 2. Because the 8x10 head is a Non-VC type, he

puts Dupoint filters under the lens. The Zone VI 8x10 unlike the

Beseler 8x10 does not have a slot to put filters above the negative.

3. His is the single post Zone VI and seems somewhat light weight

compared to my older Beseler 45MXT blue model. Am not sure how stable

it will be when I am making 16x20 or 20x24 prints. As I understand it

Fred Picker himself designed the Zone VI and I feel somewhat at odds

with my doubts about the design and how well it will work. Would like

to hear from one and all. I have until 9/24/2005 to let him know if I

want to buy his Zone VI system for $1800.00 Thanks, John

Does anyone know of the Fujinon W 210 F/5.6 with a filter mount of

58mm and in a Seiko shutter. Does anyone know how to find amount ring

for this lens and shutter. I have tried Copal 1, 2, and 3. I have

measured the back mounting threads of the shutter and it comes out to

be about 45mm. Have been told that this 210mm that Fujinon made can

cover the 8x10 inch format. Can anyone help me find a mounting ring.

Joh

I bought this camera by mistake, thinking it was a 4x5. Does anyone

know if there is film for this camera or if it can be converted to a

film size like 120mm. It came with a 135mm F/4.7 lens and also has a

focal plane shutter in the camera body, 135mm lens is also in a

shutter that has T,B, and shutter speeds from 1 sec. to 1/400 sec.

Lens can be open and closed without releasing the shutter by a little

lever on the lens when the lens is cocked. The camera is a Graflex

Speedgraphic 3 1/4

I bought this camera by mistake, thinking it was a 4x5. Does anyone

know if there is film for this camera or if it can be converted to a

film size like 120mm. It came with a 135mm F/4.7 lens and also has a

focal plane shutter in the camera body, 135mm lens is also in a

shutter that has T,B, and shutter speeds from 1 sec. to 1/400 sec.

Lens can be open and closed without releasing the shutter by a little

lever on the lens when the lens is cocked. The camera is a Graflex

Speedgraphic 3 1/4

Has anyone out there used this light before, how did you like it, can

it be used with hot lights, is it worth the money