tree

I can create categories for putting these recommendations into, and be strict about deleting any content that doesn't relate to that.

 

Perhaps a single category for "International Film Processing", with separate threads for each country/continent.

This is a good thread to have, and I think making it database-backed would be ideal. I don't know if Brian has the cycles to set this up, and I don't have the privileges to do such a thing. However, if photo.net is unable to do this, I can do it from my personal site.

 

Thanks Nicholas for starting this.

 

Tom Emerson, co-moderator

Acros is available in 135-36 and 120 formats only.

I almost always carry a 35mm RF with me (a Yashica Electro 35 GSN) when I'm out and about with my MF gear. I don't generally cary extra film, but I have it if something comes to mind.

I assume that the addition of email forwarding for patrons is being

done by hand and that with everything else going on it has fallen off

the radar? Is email forwarding not being offered any more?

Not only do you have to worry about whether or not your CD-R, DVD-R, or hard disk will deteriorate over time, you need to worry about whether you will have anything in 20 years that will be able to read them: Ansel Adams negatives from the 1920s are still printable... I have CDs from 1985 that are wasting away.

 

That is why I'm staying with film, scanning when necessary.

<p>The first part of this question has been asked and answered several times in this forum: I suggest you use the search facility (via Google) to look up the answers.</p>

 

<p>As far as a comparison to the N80, there are a few big differences that come immediately to mind:</p>

 

<ul>

<li>Support for the new G-type lenses

<li>Variable focus zones

<li>Automatic bracketing (requires MF-26 on N90s)

<li>Uses 2x CR123A batteries (N90s uses 4 AA, though it can use 2x CR123A if you buy the adapter for use with the MB-10 grip)

<li>"Improved" matrix metering.

<li>Lighter and less solid feeling, IMHO

<li>Better control layout, similar to the F100

<li>Better ergonomics, compared to the N90s

</ul>

 

<p>You can find feature comparisons on the Nikon USA site as well. Finally, I would check out <a href="http://www.nikonlinks.com">nikonlinks</a> for reviews.</p>

 

<p>I really like the N90s. My wife has an N80 and while I like the variable focus zones, I get this with my F100 when I need it.</p>

You can get 620 film from B&H, though it is more (3x and greater) expensive than 120... but if you really want to use the camera, and do not want to bother respooling, you can get the film.

 

Whenever I get an old camera I like to put a roll or two of film through it, just because I can.

<p>It has been my experience that the Japanese like to have the latest and greatest equipment, and are loathe to buy used gear. That means there can be a good deals on Japanese equipment, but you often have to search for it.</p>

 

<p>I have also read that you can get great deals on Mamiya equipment in Japan: prices far better than anything here in the States. I will be in Sapporo at the beginning of July and plan to hit as many photostores as I can to see what can be found.</p>

<p><i>Every Rolleiflex I have ever come across has had yarn on the side chanels of the back.</i></p>

 

<p>FWIW, my Rolleicord Va does not have yarn or foam in the channels and I have never had a light leak.</p>

Once you have touched up the paint can you post a picture of your camera? The cameraleather.com site has a picture of a Yashicamat having a red snakeskin put on: but I'd love to see the completed project.

The topic of photography insurance has come up on Nikonians a few times. The general concensus there was that State Farm provides excellent policies for amateur photogs that covers you regardless of where the equipment is used. Unfortunately for me State Farm does not appear to be registered in Massachusetts so I cannot use them. However, it may be worth checking your Yellow Pages and seeing if there is an agent in your area you could call.

Chris,

 

Shawn covered it: unscrew the diopter, hold the eyecup in place, and rescrew the diopter. One thing additional to note: the eyecup's ring isn't a full circle: the flattened bit should be at the bottom to allow the back to open fully.

 

It also takes a couple of tries to make this thing secure: when I first bought the eyecup I gave up trying to use it after a while because I could never get it to sit just right.

 

Enjoy.

 

tree

I read that Domke had filed for bankruptcy, though I was never able to find "official confirmation" of this. If it is true, and the company has not been assimilated into another organization or reorganized (which would be a shame, given the popularity of the bags: I have an F4A which I love) this could explain the difficulty finding them.

 

It may be worth looking for a local pro-shop: their stock does not turn over as quickly the bigger dealers. If you like I would be happy to check my local haunt the next time I'm there to see if they have one: contact me via email.

 

For my MF gear I use an F.64 MFX shoulder bag: it has enough room to hold my Mamiya 645E, rapid-wind grip, three lenses, a teleconverter, filters (round and Cokin P, with mounting hardware), notebook, pens, cleaning supplies, film (30+ rolls of 120 and 35mm), a 35mm body (N90s with vertical grip), three lenses for the Nikon, and still have some space. Granted, it then weighs a ton, but everything is there. Rarely to I stuff it so full, however. I usually have the 35mm gear in the Domke F4A.

 

You don't hear much about the F.64 bags, but I've been very happy with it for my MF stuff.

50/1.4 D, no question.

<p>Sunny 16 without modification applies only to bright sunny days, so you can't apply the 'rule' as is to your Rome example. However, it provides a good anchor that you can adjust to fit the conditions.</p>

 

<p>Take a look at Fred Parker's <a href="http://www.fredparker.com/ultexp1.htm">Ultimate Exposure Computer</a>. He addresses the very types of questions you're asking, and explains the answers far better than I can.</p>

<p>There was a recent thread on exactly this in the forum: take a look at

<a href="http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=005HL3">this thread</a>.</p>

<p><i>I get the concept of ISO numbers and films being 'faster' than others, but I don't understand shooting x film at y speed.</i></p>

 

<p>The film speed assigned by the manufacturer is their recommendedation of the emulsion's sensitivity to light. You can run your own tests to determine the actual sensitivity on your equipment (an essential part of using the Zone system to its full potential), or you may rate it to achieve a better negative or chrome: some rate PanF 50 at 32, some rate Fuji Velvia (50) at 40. In each case you are causing some amount (2/3 and 1/3 stop, respectively) of over exposure.</p>

 

<p>The number used, 32, is not arbitrary: it is 2/3 stop slower than 50. The progression of film ASA film speeds is:</p>

 

<p>25, 32, 40, 50, 64, 80, 100, 125, 160, 200, 250, 320, 400</p>

 

<p>The halving/doubling you mention is concerned with full-stop differences, and this holds up here as well. For example, doubling ASA 32 (32 being 1/3 stop faster than ASA 25) yields ASA 64, which is 1/3 stop faster than ASA 50. Perhaps rearranging the progression a bit differently would help see this:</p>

 

<pre>

-----> +1 Stop ------>

25 50 100 200 400

32 64 125 250 500 + 1/3

40 80 160 320 640 + 2/3

</pre>

 

<p>You read this table top-to-bottom, left-to-right.</p>

<p>The old DIN (<i>Deutsche Industrie Norm</i>) system makes this easier to see (at least to me):</p>

 

<pre>

------> +1 Stop ------>

15 18 21 24

16 19 22 25 + 1/3

17 20 23 26 + 2/3

</pre>

 

<p>Notice that the DIN numbers increase by 1 for each 1/3 stop increase in light sensitivity: a full stop difference is indicated by a difference of 3 between two numbers.</p>

 

<p>If you want to know more about how these values are determined, I'd be happy to write more.</p>

 

<p>So, the effect of rating the film at 32 is to give it 2/3 stop more exposure (you're telling the meter that the film is 2/3 stop less sensitive to light so you need to increase exposure by 2/3). The net effect is that the film is over exposed by 2/3 of a stop. If your camera's (or hand-held) meter cannot do this, then you can get the same effect by using other exposure controls on your camera:</p>

 

<ol>

<li>Increase the recommended shutter speed by 2/3 stop.

<li>Open the aperture by 2/3 stop.

<li>Use the exposure compensation dial to overexpose by +2/3.

</ol>

 

<p>Depending on the camera, you may not be able to do any of these. In which case you're pretty much out of luck. However, if you can adjust in 1/2 stop increments then you may be able get 'close enough' for some subjects, especially with a print film where you have the exposure latitude to get away with the slight difference. With slide film I wouldn't risk it.</p>

Todd,

 

The G lenses work on bodies with both command and subcommand dials. The N6006 and N90s do not have two dials. The D100, F100, F5, N80/F80, N55, and the N75 all support G lenses.

 

The G lenses are known to work on the N90s and others without the subcommand dial, but you cannot adjust the aperture (as you found).

<p>Luke: for a long time I only had the N2000 and the N90s (I also now have an F100), and the N2000 was definitely quieter than the N90s: both have the unmistakable sound of an SLR, but the combined mirror slap, shutter, stopdown, and advance of the N90s was louder than the N2000. I've since sold the N2000, so I can't compare right now, and as you say, it doesn't really matter that much.</p>

 

<p>At my daughter's dance recital last weekend the sound of the N90s definitely made people's heads turn, though I expect the N2000 and F100 would get similar responses. When I want to be quiet I'll use my TLR or RF.</p>

Bill T,

 

I will go through my negatives and see what I can find that was taken with 160VC. If I find anything I'll scan and upload for you.

<p>I agree with Adrian: you do not need an F100 and you have a good

selection of glass. Bring the 50/1.8. I would also get a prime 24mm lense,

and a 105 macro. Those three lenses and the speedlight with the F90x will

serve you well. I think the 80-200/2.8 would be good to have along, but I

expect it's a little more than you want to carry.</p>

<p>I was in a similar situation, and ended up cutting. I've since asked my lap

to cut into 5x strips for 6x4.5 and 4x strips for 6x6 when making proof

sheets for me.</p>

 

<p>If you come across a page that can hold these longer , please post the

info.</p>

<p>I might actually go a bit further and suggest that email notification be an

option for Patrons only, with the exception that people regardless of status

can have answers to questions they've posted emailed to them. </p>

 

<p>Regardless, though, having a special header (or headers) added to

messages would make email notification so much more friendly to me. </p>

<p>The <i>Ilford Product Data Guide</i> (9/02 revision) gives the following for HP5 Plus at 20 Celsius/68 Fahrenheit, EI400:</p>

 

<pre>

ID-11 1+0 7 1/2 minutes

ID-11 1+1 13 minutes

 

D-76 1+0 7 1/2 minutes

D-76 1+1 11 minutes

</pre>

 

<p>It would appear that the single roll pack is consistent with the data guide.</p>