mark_a._brown

Not much to add, except to say that I too have found metering

through filters to be not as reliable as I would have thought, esp. for

polarizers. Could be due to spectral sensitivity of the film, meter,

or whatever. Now I shoot according to the data book (colour

compensation filters only, no black and white work) and it seems to

work.

David,

<p>

Your question is slightly confusing - you say you are looking for

wide-angle suggestions, which implies wide angle fixed-focal

length lenses or zooms covering the wideangle range only (<=35mm).

However, you also say that you need to replace your Sigma 28-70

f2.8, which is not really a wideangle but a standard zoom with a

wideangle end to its range.

<p>

I assume you're looking for a replacement lens/lenses for a standard

range zoom (moderate wideangle to moderate telephoto). If 28mm is

not wide enough, then that would suggest the EF24-85mm f3.5/4.5,

which I have. It has an ultrasonic motor for almost silent focusing.

Wide-open performance is not as good as the "L" series glass but

stopped down to, say, f8 (which you say you intend to do anyway

most of the time) then you'd be really hard pushed to see a

significant difference, especially if the end product is going to be a

digital scan. Its also much cheaper and lighter than the L zoom.

Some report that it's a little prone to flare, so be sure to use it

with a hood.

<p>

If you don't mind giving up the convenience of zooms, you could do

worse than to get a clutch of primes covering the required range:

EF24mm f2.8, EF35mm f2, EF50mm f1.4 or f1.8 and EF85mm f1.8.

Hi Ellie,

<p>

In my experience, I find E100SW and RDP differ most in terms of colour pallette. Provia, like most Fujichromes, produces nice blues and greens and Kodak tends to do better at the red end. E100SW is the "warm" version of E100S. If you have a scene with nice browns, E100SW seems to render them richer than E100S or RDP. Other than that, the grain of RDP seems to be slightly finer than E100S, but for practical purposes I doubt it makes a lot of difference, especially at 6x4.5.

<p>

Both films push very well to ISO200 if you need the extra speed in a pinch, by the way, which is good for peace of mind. I would push either with complete confidence. Reciprocity characteristics are also very good if you need long exposures.

<p>

RVP - fine grain, very vivid colours (Disney-esque, some would say) and the choice of many for nature photography. It's more contrasty than E100S or RDP, however, and there seems to be some debate about the best speed to expose it at - many expose it at ISO40, but I prefer a slightly dense slide and so expose it at its rated ISO50. Test it and see. Again, pushes well to ISO100 and reciprocity characteristics are benign.

<p>

I basically select the film most suitable for the subject or the conditions if I'm taking a specific subject. For a general purpose ISO100 film, I tend to use Astia these days, however; it has lower contrast than Provia, which can tend to "block up" in the shadows sometimes.

<p>

All of these are fine films, and I'm sure you'll be pleased whichever you decide upon. Happy travels!

<p>

Mark.

(remove the remove-nospam from my email address to reply)

I find that if you think readings are suspect, you can cross-check/calibrate by using the integral "spot"meter and a grey card to compare with the incident reading. In cases of extreme scepticism, I sometimes also cross-check the grey card reading with my camera's TTL meter. If still in doubt, bracket!

<p>

Mark.

<p>

--

Mark A. Brown

Control Systems Division

National Aerospace Laboratory

7-44-1 Jindaijihigashi-machi, Chofu, Tokyo 182

Hi folks,

<p>

I have a question regarding data (or rather, the lack of it) on reciprocity failure characteristics of Fujichrome Provia film.

<p>

I have recently arranged to borrow a 5x4 inch view camera to do some architectural photography and have equipped myself with 20 sheets of Provia Quickload for the job.

<p>

I was expecting to find a nice datasheet in the box, since for large format work, small apertures and long exposures are par for the course. I found some nice instructions on how to use Quickload film, but not a soss on its exposure characteristics.

<p>

Does some kind soul have the appropriate data they can either email or fax me, or failing that tell me where I might be able to get the data, given that I am in Japan. (Fuji Photo Salon in Ginza?)

<p>

Thanks in advance for any info.

<p>

Mark.

<p>

------------------------------

<p>

Dr. Mark A. Brown

Control System Division

National Aerospace Laboratory

7-44-1 Jindaihigashi-machi, Chofu-shi,

Tokyo 182, Japan

Tel: +81 422 47 5911

Fax: +81 422 42 0566

Hello folks,

<p>

This is sort of a corollary to a question posed by

Phannara Aing earlier this month (hello Phannara!).

<p>

My local camera shop has a couple of secondhand Fuji

6x9 rangefinder cameras for sale, both equipped with

100mm f3.5 lenses. Trouble is that I don't know what

types they are, or their features/quirks.

<p>

Can anyone mail a potted summary of 6x9 Fuji

rangefinders, with the differences between each version?

<p>

The cameras are attractive to me as I am considering

entering medium format and want a relatively cheap

"taster" before deciding whether to commit to more

heavy/expensive equipment. I mostly work handheld on

a range of subjects, and rangefinders seem to suit

portability requirements. These particular cameras

are going for around 50k yen (= approx. GBP 250, or

US$430 at present rates of exchange) so seem a good

way of getting into MF. I don't really like the TLR

concept, and don't want to haul a studio camera

around with me.

<p>

Thanks in advance for any info,

Mark.

<p>

----

<p>

Mark Brown

STA Research Fellow

National Aerospace Laboratory, Tokyo, Japan.