bruce_mattes

Thanks Craig--

If I understand your post, the entire box of photographic chemical is designed to be mixed at one time in order for the greatest consistency, correct?..So regardless of whether you purchase a 1 liter, a 5 liter, or a 50 liter box of X-tol (for example), you should mix up the entire box at one time?..

Does this same technique apply to all photographic chemicals, not just developers?..

Bruce

Lindy Stone--- I knew that the 1.7x teleconverter did not provide auto focus with auto focus lenses..My thoughts were to use it with auto focus lenses in manual mode..

I figured that you could stack it with the 1.4x Sigma converter in manual mode for a total of 1190mm of focal length..With approximately the same performance loss as one would have with the best 2x converters; but with an additional 190mm of focal length..

I've read the posts of several photographers on other forums that are effectively doing so with lenses that don't have as good of performance characteristics as the Sigma 500mm f4.5..Their results with this combination seem to be quite good..

Of course, such a combination would in all likelihood necessitate the use of a tripod..I don't know if a BushHawk would provide enough stability with both converters reducing the wide-open aperture to approximately f9.5..

That extra 190mm of reach would probably be worth the use of a tripod & manual mode..

Bruce

I'm not real fond of digital, but the one area of my photography that I want to spend any appreciable time using a digital camera is wildlife photography..

Since Pentax does not seem to have any lens on their DA roadmap that can compete against the Canon & Nikon 500mm f4 offerings, I'm looking towards owning the Sigma 500mm f4.5 lens & the matching 1.4x teleconverter by mid-2009..

Perhaps by then Sigma will have added the HSM motor to the lens which would really add to it's quickness & quietness..Since the Sigma is considerably lighter than the FA* 600mm f4 ED (IF), as well as one half as expensive ($4200 at B&H) it seems to me to be the only reasonable choice for a fast extreme telephoto lens that will work with either the K10D or the K20D cameras..

Peter Zack--- I had forgotten that Walter owned this lens..I am familiar with his work that he has posted over on Steve's Digicams where I also visit..Perhaps I'll e-mail him to see if he has used a teleconverter with the lens..Thanks for the links..

Miserere Mei--- Yes, the lens is expensive..As I reflect back on 30 years of on again & off again interest in photography, I realize that high-quality long telephoto lenses (500mm & above) have NEVER been inexpensive..There have always been the inexpensive long telephoto lenses with the terrible build quality & performance available..Then there were the high quality offerings from all of the major manufacturers..Many of these lenses are still being used today, especially the Pentax lenses with their backwards compatibility with all modern cameras..

Dan Lenski--- I have been giving serious consideration to selling my soul in order to acquire a K20D, the Sigma 500mm f4.5, a Sigma 1.4x teleconverter, a Pentax 1.7x AF teleconverter, & the necessary sync cord to allow me to use the K20D with my BushHawk..But if I did, I wouldn't have anything left to sell in order to be able to play a fiddle like Johnny!..

Bruce

Bruce

Any members using their K10D or K20D cameras with the Sigma 500mm f4.5 EX DG APO

auto focus telephoto lens to shoot wildlife or action?..

Perhaps with the Sigma 1.4x APO EX DG teleconverter, or the Pentax 1.7x AF

teleconverter attached?..

Is so, any thoughts, either positive or negative, regarding this combo?..

Thanks..

Bruce

After reading many posts over the past several days regarding tanks & reels I

have come to the following conclusions..

For hand developing 120 size film it seems that the overall consensus of opinion

is that the Kinderman stainless steel tanks with the stainless steel lids are

preferred over most of the other choices available..With Hewes stainless steel

reels getting the overwhelming nod of approval..

Since I am willing to wait until I can afford quality equipment, I have no

problems with the costs for either of these products..

However, I cannot seem to find anything other than the single 35mm roll size

Kinderman tank..I called Argraph in Carlstadt, New Jersey this morning after

seeing four sizes of Kinderman tanks on the photo header to their website..They

are only selling the single 35mm size tank wholesale to places like Adorama..

I am interested in all three of the other size Kinderman tanks if they are

available for purchase..The single 120, the 2-120 size, & the 4-120 size tanks..

When speaking to Argraph this morning they had neither a website, nor a phone

number in Germany where I could do further research to find out if the other

three sizes of tank were still being manufactured..

Does any member of PN know if the larger Kinderman tanks are still being

manufactured?..If so, does anyone know of a source where I might be able to

purchase the larger sizes?..Does anyone know how I might be able to contact

Kinderman in order to obtain further information?..

Thanks..

Bruce

WOW!

A real big THANK YOU! to all who answered..

Mr. Howard--In all likelihood I will be scanning the negatives & printing them on an Epson printer fitted out with an Ink Jet Mall ink set..Scanners for B&W, as well as printers are a subject for another thread..I've got a ways to go before I get to that point; although I have been giving the subject of scanners & printers some thought..

Mr. Appleyard--Many thanks for the references to the 2 books that you mentioned..I will definitely try to get copies ASAP so I can study them before getting back into the swing of things..

From info gathered here on PN I was leaning somewhat towards X-Tol for two reasons..First reason is that it is one of the most frequently mentioned developers here on PN..Second, is after researching prices I noticed that it was available in large quantities..Now that I know that the dry powder will last for many years (assuming the powder is kept dry), the larger size (50liter) box would seem to be the most economical choice..

My thoughts are that I will pick a single film to expose, & a single choice for each of the chemicals necessary to obtain a finished negative..Economy & longevity are important qualities in the choices that I make on the chemicals..With all of the variables that are possible in exposing the film to light, the various dilution strengths of the four main chemicals, & the differing times that the film can be exposed to the four chemicals in each stage of the developing process; it only makes sense to me as a returning newcomer to B&W film developing to limit myself to a single film choice, as well as a single choice for developer, stop bath, fixer, washing agent, & wetting agent..My thoughts, at least for the present, are to stick with these six choices for a full year..To learn well the characteristics of the film & the chemicals necessary to develop it before I start making any changes..

I will keep a log book so that I can record how each roll of film was exposed, & what was done to the exposed film during each step of the developing process..

Thanks again to everyone for your input!

Bruce

Please forgive me for asking again questions that have been answered

before..I've read many, many post over the past several months, but am still

somewhat confused..

I intend to return to developing my own B&W films after a 30 year absence from

doing so..My only experiences with B&W film developing was at the Ft. Lewis,

Washington Photo Lab during the period 1977-1979..All the chemicals were mixed

up & ready-to-use when you walked in to use the lab..

So, I'm basically starting from scratch again to re-learn the process..

I am asking the members of PN for suggestions for the five chemicals used in the

developing process..Developer--Stop Bath--Fixer--Washing Agent--Wetting

Agent..Hopefully , chemicals that will work with both brands of film..

I am not adverse to mixing dry chemical powders into solutions, as opposed to

purchasing liquids already mixed..If I reach the point that I find myself

needing to develop 5-10 rolls per week (my goal), the powders appear to be more

economical, than the already mixed liquids..I am in the beginning stages of this

type of research, so I might be mistaken..Please correct me if I am..Do the dry

powders have a longer shelf life than the liquids?..I understand that decanting

the liquids, whether you mix them yourselves, or purchase them mixed, into

smaller & smaller containers in order to minimize their exposure to the air; is

a necessary part of photography in order for the chemicals to last as long as

possible..

In all likelihood I will be hand developing at first, unless I can catch a good

deal on a PhotoTherm SSK-8R film processor..Some fantastic deals are definitely

to be had..One sold on e-Bay earlier today for $255.00, along with a bunch of

other darkroom equipment..Eventually, I want to own a PhotoTherm in order to

streamline the developing process as much as possible..

I intend to start shooting either Ilford HP5 Plus or Kodak Tri-X 120 film..Back

in-the-day I shot Kodak Tri-X exclusively..I understand from posts read here

that today's Tri-X differs somewhat from the Tri-X that I used during the

1970's..If all goes as I hope it to, I will be using a Pentax 645NII body with

the FA 45mm f2.8 lens to shoot daytime street photography, & eventually night

street scenes as well..The intention to eventually shoot night scenes is why I

am choosing to start with an ISO 400 speed film..I want to shoot & learn only a

single type of film to start with so as to keep the many variables to a

minimum..I am looking for a film with the greatest possible versatility between

daytime & nighttime photography, not necessarily the one with the best grain for

a particular use..

I you had to choose between HP5 Plus & Tri-X for this type of photography, which

would you choose..Or are there other choices that I have overlooked & should be

considering?..A reason that I am leaning towards HP5 Plus is that at sometime in

the future I would like to experiment with B&W slides..According to the dr5

website, Ilford HP5 Plus has the widest ISO range of the many films that they

process..So, HP5 Plus would give me more options than Tri-X would for B&W slides..

Thanks in advance to all who answer..

Bruce

Thanks Danny & Jeff

Danny--I have considered purchasing what I want through Harry's Pro Shop in Toronto..Primarily because if I had a problem it's a lot easier to ship to Canada for a repair..

Even after paying for shipping from HK to the USA, there is a substantial savings in cost over purchasing in Canada..I'm thinking that the close to $1500.00 in savings would pay for a lot of repairs by a private repair tech..Repairs that would not be covered under warranty unless sent back to HK for repair..

The thing that truly angers me with the way that Pentax does business is the unwillingness of Pentax USA to repair a camera not purchased in the USA, even if the owner is willing to pay for the repair..

However, with any number of Pentax-trained private repair techs plying their trade I can buy a lot or repairs for the money saved by purchasing in Hong Kong versus Canada..

Later this year, if all goes well, I intend to purchase a medium format Pentax

645NII camera, several inserts, & 1-2 lenses..

Since Tin Cheung in Hong Kong has some of the most consistently low prices on

new Pentax medium format equipment, I was interested in possibly purchasing

these items from them..

Since I was aware that it is possible to purchase an International Warranty for

Pentax cameras, I e-mailed Tin Cheung as to the cost for such a warranty..

Their reply was that they only offered a 1 year shop warranty on Pentax medium

format equipment, & that it was not possible to purchase an International Warranty..

Does any member of PN know of a shop that will sell an International Warranty

along with new Pentax medium format camera gear?..

Also, do any members have any personal experience, good or bad, with

International Warranties, especially Pentax?..

From the few posts regarding International Warranties that I have been able to

find I get the sense that the camera manufacturers would rather not be bothered

with this issue..That it is not much of a priority with them, so that little

attention is paid to it..Any thoughts?..

Thanks in advance for any & all responses..

Bruce

Virtually none of the things that make our 21st Century lives so comfortable & convenient have been designed or engineered to be friendly to the environment..

The only example that comes readily to mind would be organic gardening & farming when practiced according to the dictates of Sir Albert Howard, J.I. Rodale, & other pioneers of the organic movement..

The relative levels of toxicity between a fully equipped photographic wet darkroom & a computer driven photographic lightroom differ only in the direct threat to the photographer..There can be no denying that inhaling the chemical smells of a traditional darkroom are injurious to one's long-term health..

I make the following statements based on the premise that the two set-ups, darkroom & lightroom, are going to be equipped so that the end result will be the production of high-quality archival prints that can be viewed & displayed..

I would be willing to wager that if every single piece of equipment, chemicals, & disposables in a wet darkroom were compared to & weighed against the comparable equipment & disposables in a lightroom; then the direct & indirect environmental pollution generated by both set-ups would be pretty similar..From the mining of raw materials necessary to manufacture the equipment, chemicals, & disposables right along to the impact of disposing of the chemical wastes during processing as well as the degradation of everything that ultimately ends up in a landfill..

Just because we already own personal computers & use them for a variety of purposes other than photography does not, IMO, negate or lessen the environmental impact of owning the electronics in the first place..In order to be fair in comparing the environmental impact between a darkroom & a lightroom we must factor the computers into the equation as if the only purpose for owning them was photography..Otherwise we are comparing apples to oranges instead of one species of apple to another..

Bruce

Don E

Hyper-consuming is right!

As soon as each new iteration of digital camera is released to market the majority of the people owning the previous generation of camera rush out to replace the old with the new..

A certain amount of this has always gone on in the photographic world, but never at the frenetic pace that seems to dominate the average dSLR camera owner today..

In the past the owner of an SLR film camera from Canon, Nikon, Pentax, Minolta, Leica, etc, etc. knew with absolute certainty that barring accident, theft, or catastrophe their camera would last for decades with only minor periodic maintenance..

The evidence of that is the growing number of people turning to film as a viable addition or alternative to digital..The youngest camera that qualifies for inclusion on this forum will be 38 years old..Many members are routinely using cameras that are 50-80 years old..

Does anyone here realistically think the the average dSLR that is regularly used will be in working condition 20 years from the date it was purchased?..I don't..My first real camera was a Pentax MX..I recently purchased another to replace the original that was lost in a fire in 1982..That MX will still be capable of taking excellent photos long after the Pentax K10D that I purchased in 2007 dies..

On several of the Pentax dSLR forums that I frequent people with 5 year old dSLR's are beginning to report problems as their cameras approach, reach, & or surpass 100,000 shutter actuations..In many instances the high costs of repairing such complex cameras doesn't make sense when weighed against putting several hundred dollars in repair costs towards a new camera..

In the past it was only the extremely enthusiastic amateurs & the professional photographers that reached 100,000 shutter actuations with their film cameras..Nowadays, with the myth that digital is cheaper than film, as well as the propensity for burst shooting; the average amateur with a digital camera will reach 100,000 actuations long, long before they ever would with a film camera..

The average SLR film camera was a relatively simple machine compared to the complexity of the average dSLR camera..

The modern day 21st Century Photographer realizes that their dSLR is a fantastic tool that is also incredibly complex compared to a SLR film camera..I think that most of us also realize that a dSLR is planned obsolescence at it's worst..These cameras have a limited lifespan..

Knowing that, the enthusiastic amateurs & the professionals are willing to trade up to newer cameras long before they would have thought about replacing their film cameras under the exact same circumstances.. I believe that there is a prevailing attitude that "I may as well get the new model because my digital camera is such & such old & I KNOW it's NOT going to last forever"..So they do get the new model..

Thus, the hyper-consuming, frenetic willingness to rush to purchase the newest models..

I'm glad to be a Luddite!..

Just my 222 cents worth..

Bruce

Greetings

Does anyone know of a book or books, in print or out-of-print, that completely

describes & explains the entire Kodak Wratten black & white filter

classification system??..A book that explains filter factors & f-stop

compensation factors??..

I'm familiar with the following filter numbers & colors from the Formatt Filters

website..

Lt. Yellow #3, Lt. Yellow #6, Yellow #8, Deep Yellow #9, Yellow-Green #11,

Yellow #12, Yellow-Green #13, Yellow #15, Yellow-Orange #16, Orange #21,

Orange-Red #23, Lt. Red #25, Dk. Red #29, Lt. Blue #38, Dk. Blue #47, Lt. Green

#56, Green #58, Deep Green #61

As I intend to rekindle my interest in black & white film photography, I'd like

to gain a better understanding of the traditional Kodak Wratten filters..Their

place in history, how & why they were used in the past, & their applications in

the present on modern black & white films..

In the past I occasionally used the Yellow K2, the Orange O2, & the Red (?)

filters..I'd be especially interested in what filters, if any, current

photographers shooting black & white film are using..

Thanks, Bruce

Gordon

Blueberries are safe..But, whatever you do NEVER put strawberries on your oatmeal..I shudder to think what might happen..

Bruce

Gordon

Do you think it was the high sugar content of the cereal that led to the "Cereal Killer" slashing the boxes?..

The majority of the slashings to date have resulted in the demise of cereals such as Fruity Pebbles, Frosted Flakes, Cocoa Puffs, Fruit Loops, Raisin Bran, Etc..

Puffed Rice, 100% Bran Flakes, Corn Flakes, & Grape Nuts are seldom bothered..

Hot cereals such as Cream of Wheat, Quaker Oatmeal, Grits, & Bob's Red Mill 7-Grain Cereal are never touched..

I understand that the FBI is about to establish a sub-division of the Behavioral Sciences Department in order to study & better understand the growing phenomenon of Cereal Killers..

Especially troubling is the growing trend for multiple box slashing's at one time, such as you have described..

With supermarket aisles in the United States no longer safe, we are at an Amber Alert stage..

Martial arts dojos around the country are gearing up to offer self-defense classes so that shoppers entering the cereal aisle will be prepared to defend themselves against Cereal Killers..

This has led to a rapid increase nationwide in shopping cart thefts..

Many dojos cannot afford the costs of the multiple shopping carts needed to teach the hugely popular "Cereal Aisle Defense With Your Shopping Cart" classes..

Alas, such is modern life in the 21st Century..

Goodbye for now..Be sure to take care in the cereal aisle!..

Remember, SUGAR POPS ARE TOPS!..

Bruce

Thanks for all the replies!!..Please keep the suggestions coming..

I notice that no one has suggested any repair facilities for any of the recommended cameras in question..Please feel free to do so..

I was considering renting a several different camera for a week each in order to try out as many options as possible..The only trouble with that scenario here in Baltimore City is that there are only two decent old-style camera shops left..

Service Photo and Penn Camera, formerly Cooper's Camera Mart..Service only rents Hasselblad's, not what I'm interested in..Penn is a major chain store with 11 stores in northern Virginia, Washington DC, southern Maryland, & now Baltimore City..

Penn has consolidated the two former Cooper's stores & their employees into Penn's first Baltimore location to create one large new store..I have not been to the new store yet, but the saleswoman said that they have a selection of medium format used cameras for purchase that I could look at..

Unfortunately, as far as rentals are currently concerned at this new location; they want to charge me a hourly delivery fee for both directions to transfer ANY rental that I might be interested in from the Tysons Corner, Virginia store to the Baltimore store..According to Map Quest it is 57.72 miles one way & AT LEAST 1 hour 11 minutes traveling time..

The traveling time is wildly optimistic, IMO..With traffic delays due to normal congestion & highway construction the travel time is at least 2 hours..If there was an accident, especially one involving the need to Medi-Vac someone out on a chopper, then the travel time could climb to three hours or more..Accidents happen daily on this very busy traffic corridor..

I don't want to pay to ship a rental camera back & forth in both directions between northern Virginia to Baltimore City..I also don't fancy driving that same distance myself several times in order to try out a variety of cameras before purchasing one..

So, I am left trying to pick the brains of vastly more knowledgeable photographers here on PN in order to learn as much as possible before purchasing a used camera..

Thanks again for everyone's help..

Bruce

Greetings!!

I have been lurking here on the Classic Cameras forum for several months trying

to learn more about these fascinating machines..

I am interested in moving into medium format black & white photography with my

primary interest being street photography..

I have the following criteria that I am using to guide my selection..

1. Weight to be no more than one & one-half times that of my Pentax MX 35mm

SLR..My copy of the MX with the SMC Pentax-A 50mm f1.4 lens weighs in at 747

grams, or 1 lb. 10.35 oz..So the max weight I would want to carry around would

be 1122 grams, or 2 lbs. 7.54 oz..

2. I am 53 years old with vision that must be corrected by wearing glasses at

all times..My prescription is heavy, with moderate astigmatism..The brighter the

viewfinder, the better..

3. I would like to keep my total costs for this camera at, or under,

$1000.00..Within this budget would be monies earmarked for CLA & repairs, if

necessary..So reputable repair services for any cameras recommended would be

highly appreciated..

Other than the above three criteria, I am open to suggestions..

I have never looked through, nor used, a rangefinder camera..How difficult are

rangefinder cameras to get used to compared to 35mm SLR's??..I understand from

reading posts that what you see in the viewfinder of a rangefinder camera is not

always the the same amount of data that is being captured on the film..In other

words, you may be capturing more on film than you see in the viewfinder..How

difficult is it to get used to this when shooting quickly for street photography??..

Thanks in advance to any & all who take the time to answer these questions &

make recommendations..

Bruce

Thank You Lee !!

This is what I needed to know..Very little has been posted on PN regarding the Kirk L-bracket..Since the long arm of the bracket is unsupported I was curious to know if the dreaded Pentax 67 vibration issues affected the camera any more than the usual when using the bracket in portrait mode..You have answered that for me..

Thanks again..

Bruce

Thanks Steve

I have read all of your lens reviews, as well as those concerning Pentax medium format cameras & lenses at Luminous Landscape..

New people like me certainly appreciate all the time & work that you & others have put in in order to post so much useful information here on PN..

Thanks again..

Bruce

Steve

The longest lens that I anticipate owning & using in the near future (next 2-3 years) will be the 400mm f4 ED(IF), although it's more likely to be the S-M-C Takumar 400mm f4 lens..I'd like to own, & could see myself using, the S-M-C Takumar 600mm f4 lens, but other lens purchases will come before this lens, unless an incredible deal somehow falls into my lap..

The Giottos MT9360 weighs in at 5.5 lbs..The maximum weight is 17.6 lbs..I originally purchased it because it is of the swiveling center column design, which I felt might come in handy for low-level & macro photography..So far I have not used this feature of the tripod very much..It is the swiveling joints on the MT 9360 that I thought might be problematic for using it with the Pentax 67II..

Thanks, Bruce

Thanks for the replies everyone..Appreciate it..

Any further comments on my Giottos tripod's suitability??..Or the Kirk L-bracket??..

Bruce

I have a Giottos MT9360 aluminum tripod with a Really Right Stuff BH-55 Pro ballhead..

Does anyone here know if the Giottos MT9360 tripod will be sufficient for the Pentax 67II camera??..Or is a heavier tripod in the works for me when I finally save up the funds for the 67II??..

My gut instinct tells me that a less complex tripod then the MT9360 might be needed..I know that the BH-55 ballhead will do the job..

Any opinions on the Kirk BL-67II L-bracket..I don't anticipate shooting a lot of frames in portrait mode..I was curious as to how well this L-bracket worked when used in portrait mode..

Thanks, Bruce

If only a single 82mm filter may be used without vignetting, will using 95mm filters on this lens allow stacking without vignetting??..

Thanks, Bruce

Can anyone tell me the number of 82mm filters that may be used on this lens

without incurring vignetting??..

Thanks, Bruce

I've read a considerable number of posts here on PN regarding how to lessen the

effect of the Pentax 67 cameras tendency to introduce camera shake when the

shutter is released at certain speeds..

The general consensus seems to be that placing one's hand(s) on top of the

pentaprism & applying downwards pressure is about as effective as any of the

other methods..And doesn't require any additional equipment to be added to the

camera / tripod / tripod head set-up..

With that being said, I would like the opinions of the PN members experienced

with the Pentax 67 camera in the possible use of the following:

A soft leather bag holding approximately 2.5 lbs. of super fine lead bird shot

draped over the prism of the camera in lieu of one's hand(s)..

My thoughts were that the density of the lead shot might be as effective as the

human hand; & a lot more convenient then hooking the strap of a camera bag to

the tripod, or over the prism..

The downside would be having to carry around an additional piece of equipment of

considerable weight..

Thanks for your answers..

Bruce

I come from a family of artisans, craftsmen, & artists..

Craftsmanship, & artisanship CAN be taught..Being a true artist, regardless of the field, is something that you are either born with or you are not..An artist CAN improve themselves & their art, but without the basic core ability you cannot BE an artist..

The vast majority of people are not artists, myself included, & never will be..I believe that what Mr. Moseley is saying is that by going to an accredited school a budding photographer will be able to avoid a lot of common mistakes that the self-taught photographer will make..Their learning curve will be much less steep, & their initial progress much faster..The money will be well spent..

Where the photographer goes from there is going to depend a lot upon enthusiasm, dedication, finances, life's quirks & nuances, luck; and yes, whether of not they have any true artistic ability..

Bruce