david_love2

<p>Taken at the new skateboard park. D80 with a 24-85mm 3:5-4:5</p><div></div>

<p>Robert: You are not alone in this..although it is a fact of life. More than 30 years ago, at the age of 21 I did weddings (on the side) with a Minolta 201, a couple of prime lenses and a potato masher metz flash. All things were manual..exposure, focus etc. I wasn't fancy, but was busy almost every weekend. My exposures were good, as was the focus. The pictures received were exactly as they came out of the camera. My clients were not high society, but neither am I. For whatever reasons I sold all my gear and gave up photography. About two years ago, my wife and I decided to get back into it as a hobby. She bought a D40, 18-200 vr lens, a 105 vr lens and an sb400 flash. I, on the other hand, bought a used F80, a used 24-85 3:5-4:5, and a used sbd50x flash. I also bought a used Mamiya 645 Pro with a Metz 45CL-4 flash as well as a Beseler 45 mxt enlarger. We both have great fun together. She loved her results and I loved my results. We had our own little film-digital war...but it was fun. Then we joined the local camera club...and learned about Photoshop...rather, saw what Photoshop could do for the end result. The camera club has about 40 members and there is only one other film shooter in the club. On one of the first outings with the club I took my Mamiya. I was using a Pentax Spot-Meter to show my zones, and was in the process of putting a yellow filter on the camera when several of the members stopped what they were doing, came over to me and asked what I was doing. They did not know what a spotmeter was for, nor had they ever used a filter on the lens before. They were not all teenagers. In fact, most of them were married with children. Times are a-changing! I have since purchased a D80 with several AF lenses and have set up a portrait studio in the house. Many of my clients request black & white...and in their words "the real black and white." I have done one wedding for a very close friend of the family. It was shot with my D80. My wife and I offered to pay for a pro photographer for her as our wedding gift. She declined, saying that she would rather have 20 pictures done by a friend, than thousands by just anyone, no matter how perfect they would be. These type of clients, though are really few and far between and I know that it would be very difficult, as a pro photographer, to make a living today without being a master at Photoshop. It is what it is. But I do feel the same way as you. I feel like I have created, as an artist, when I shoot and do not do the extremes in Photoshop. (I do scan my negatives and use levels/curves.) I would like to enhance my darkroom skills rather than my Photoshop skills. That's just me. I will close with one quote from issue 18 of B&W magazine that has served me well. It is really about film and digital, (and is not meant to be a battle cry about film/digital) but can be equally applied to almost any realm...including the extremes of Photoshop, as in your post, just substitute the two contrasting areas for your two contrats.<br>

"In the age-old conflict between change and constancy, digital represents an element of modern technology while conventional represents craftmanship. </p>

<p>I have a D80, an sb600, sb800, Metz 45cl-4,a 300w softbox and a wireless radio trigger. Originally I used the wireless trigger on the Metz, which optically fired the softbox. When I learned of the Nikon CLS system I thought this was so great and simple...but incorporating it into my system proved to confuse me. It took a lot of thought, searching on PhotoNet, and a store that was willing to let me take products home to try before I bought in order to get a set up that will allow for both the CLS system and a softbox/umbrella etc. How I overcame the optical slave problem was by putting the sb-800 on the hotshoe of my d80 and connect a pc cord from the sb-800 to the softbox to overide the optical slave on the softbox. The sb-800 can control itself and my sb-600 through the wireless CLS and still trigger the softbox by the pc cord. The nikon sc-29 cord will allow me to move the sb-800 off the camera for off-camera positioning while still maintaing control as noted above. Additional sb-600/800/900's are still controlled by the sb-800. </p>

<p>Many interesting techniques and process's listed. I too love to shoot the street, especially at night. I normally use my Nikon F80, trix 400 and a 24-85mm or 50mm lens. I have no problem in asking for permission to shoot, sometimes they say no..but who cares..there is usually something just as interesting around the corne. I also have had great success in going into a bar with a $10 bill, picking a barstool, asking the bartender who would trade a free beer in exchange for me taking shots. The $10 will buy 2-4 beers, depending on where it is, and I can usually finish off a roll or two before the beers are gone. I push the trix to 1600, and get some really neat shots. Everyone is happy..they get a free beer, I get some great atmospere shots, and the bar owner will usually put the pictures up for others to see. </p>

I have ordered b/w and colour film from Silvano Imaging in Toronto several times. They do ship and are very prompt. They are very competitive with their film pricing. They also print b/w on real b/w paper.

I have the D80 as well as an F80 film. Lenses include a 24-85 3:5-5:6, a 50mm 1:4 and an 85mm 1:4. My main interest is low light photography and really enjoy tri-x 400 pushed to 1600. I develop my own film and have a film scanner and a dedicated. darkroom. I also have a small portrait studio. I too felt the "digital" need and that is why I bought the D80. I really enjoy it for what I use it for. It is great to be able to verify my shot when something is really important, as well to take to family outings etc. Not long after I bought the D80 I heard rumours of the D90. It seems that everyday something is new in the world of digital. Several other posters made very relevant comments. One was that digital cameras are just like computers. They record images, but just like computers are "improving" everyday. Anotherr comment that had relevance was the one that mentioned he had his film cameras/lenses for years. Another post mentioned for you to decide what is your interest, your budget and to buy accordingly. That is the best way to future proof your purchase. This is important, as the constant barrage of "new and improved" can very easily cause you to second guess yourself and your purcahse over and over again. I mentioned all my film gear at the beginning because I went through a period of film or digital...which is best. It was great relief to finally realise that the correct answer is what equipment allows me to have fun shooting the things that I enjoy shooting....what do you enjoy shooting? Make your decision based on that. If it is digital, then buy the best (newest) technology you can, including good glass, according to your budget. Then, have fun, and don't get caught up in the "new and Improved" thing. Digital is fun, and the new cameras are great, but they will all be replaced with newer models. Hope this helps.

Thanks for the response..they made me think to re-check if the 24-85 AFS did autofocus before shooting with the remote. It didn't, and I know that it did during previous shooting. Knowing that it must be a camera setting, and nothing wrong with the lenses, I changed the focus menu to AF-A and voila!!!..everything is fine. Having all these optional controls is great..isn't it? Thanks again for your help..

I have a D80 (as well as an F/N 80) that both work perfectly with my 24-85mm 3:5-4:5 AFS lens iwhen using the

Nikon wireless remote. When the wireless remote is used, the camera will not take the picture until the lens

autofocuses. Now, I just purchased the AF 50mm 1:4 and AF 85 1:4. (they are unbelievablely sharp and clear), but I

cannot get them to autofocus before taking the picture when I use the wireless remote. I have looked through the D80

manual, as well as Thom Hogan's e-book on the D80 and cannot find any reference to whether an AF lens will/will

not autofocus when used with the wireless remote. Anyone have any ideas? Thanks in advance.

Thanks for your info. This is a good feature that I have come to appreciate very much on this camera and am glad to hear that the newer AF and AFD provide the same. I have tried to use my Nikon F80 for long shots at night, but the battery dies quickly, especially on cool nights.

I have a 645 Pro (manual everything) and very often use the bulb setting for long

night exposures. In this mode, the battery is automatically shut off to save battery

life. I am interested in getting a (used) Mamiya 645 AF or AFD. Does anyone

know if the bulb setting on these models automatically disable the battery as well,

or, do the "automatic" features of these models require the battery to be active.

 

Also, does anyone have an opinion on the Mamiya 1manual focus 105-210mm

ULD lens? Thanks, look forward to your replies.

Len: thanks for your assistance and especially for the alignment page. Your help is greatly appreciated!! After all my concern for the focus of my 50mm lens, I decided to buy a mint Mamiya 645 Pro, with a Power Grip, a 50mm,80mm,150mm,and 210mm lens, as well as a poloraid back. The package also included several film backs/inserts and other misc stuff. So it is back to the 100mm that I started with.Actually, this is the film gear where I purchased the enlarger from.

 

Sergio: thanks for the confirmation on the S lens quality. As I mentioned, I have yet to produce a print in my own darkroom, but it is good to have the added opinion regarding this equipment.

Ken: I couldn't agree with you more!! When I referenced the D200, it wasn't because I bought one. If I was going to buy a digial I would buy the D80 for exactly the same reasons you gave. I have a Nikon N80 film camera and have been toying with the idea of a digital. When I went into the camera store just two days ago, I asked the owner what his opinion was..the D200 of the D300. He responded that he would not go back to older technology...in other words to buy the D300. (Can't blame him though. It is where I buy my film) I decided that I was not going to play the technology game (been there,done that with computers) and just today agreed to buy a Mamiya 645 PRO MF, in mint condition. The package included a Power Winder grip, 50mm, 80mm, 150mm and 210mm lens as well as several other items. I paid $500.00. I am setting my darkroom up and can now quit worrying about the hype and concentrate on photography! Merry Christmas everyone!!

The price for the D200 staying high(er) is simply marketing. They are charging more because they can get more.For those that the D300 is too expensive, but still want something better than the D80 level, will now pay an extra $100 or so for the D200. I too waited for the D300, found it was too high end for me, but still wanted at least the (D200) level found and msyelf justifying the (new)higher price of the D200. Such is life.(and the law of supply and demand..my money supply and their demand!!)

Sergio: the 100mm is a Schneider componon-S. I believe it is a very good lens, and that is why I bought the S-series 50mm. Although, I have yet to even make one print yet.

 

Paul: I will keep the cold light as close to the neg as possible. After "familiarizing" myself with the several ways to focus this enlarger (upper bellows/lower bellows/main motor/fine tune focus) and getting the lens closer to the neg by removing the spacer on the lens mount board, I have been able to correct my focus problem, I think. I say "I think" because my darkroom is not set up yet, and I have yet to even mix up chemicals to develop negs to print. All this is in anticipation. I have a room that I am in the process of preparing for my darkroom. As for the size of the enlargement, I can make it bigger than 11x14 but then it runs off the lower edge of the baseboard. I would like to have the option of a 16x20.

Dennis: the adjusting of the two bellows is what sort of threw me off I think. Also, being new to this, I am a little timid to attempt things. I too have the cold light, and after reading your post I went back downstairs and adjusted the bellows several different positions. When the upper is adjusted, then the lower must be adjusted to it, and vice versa. Does your board have a little back and forth play when it is in the enlarger? Mine does. Also, an 11x14 seems to be right on the lower edge of the base...a 16x20 then would be off the base. Can this be adjusted to accomodate a 16x20? Thanks in advance for your help...as well, thanks again to Walter and Len.

Len/Walter: thanks for your replies..I tried collapsing the upper bellows, in fact adjusted upper and lower. I also raised the easel. It seems like things are in focus now. Thanks so much!!!

Ron: thanks, I looked at my board and it had what looks like a spacer held in place by three screws. I removed the screws and the spacer. When I re-installed the 50mm lens to the board and then to the enlarger I can focus...but JUST barely. In other words, I can go from out of focus, to focus, but then not past focus. Is this correct?, or is the spacer removal not the proper fix and do I still need a different (and correct) board? Also,the complete image is not in focus. I am just in the process of setting my darkroom up and have not used the enlarger yet, so this is why the questions.

I recently purchased a used beseler 45mxt (black frame) that came with a

Schneider Companon-S 100mm lens. When I remove it and install my 50mm lens, I

cannot focus properly. It almost gets to focus, and then I run out of focus

adjustment and the image is fuzzy. I am using the same lens mounting board for

both the 100 and 50mm lens. I called the previous owner, but he had no answer,

as he only used the 100mm lens. Any suggestions? Do I need a different mounting

board? Looking forward to any suggestions