jim_gardner4

Another one<div></div>

Not really to do with photography but staying with subject, here are 2 of mine. I dont seem to have any of the Triumph. Photo quality bad. I just dont understand resizing.<div></div>

Come on Doug, the motorcycle season never ends (though I dont go out in snow or ice). I was out yesterday in wet

cold England on my 1973 Norton Commando with my mate on his 1966 Triumph Boniville. We often go out with a

camera or two in small back packs. Still havent worked out where to put the tripod though.

I also have both and while they are both more than enough for my 35mm needs I would say the F4 is simpler. Thats not to say the 5 is better but the F4 does have big old fashioned knobs and buttons so you can see exactly whats going on just by looking at the body. The F5 has more functions if you really want to use them but you may need to carry an instruction book around with you if you intend to change things while you are out.

Thanks for all your help. I should have explained the situation. I live in a relatively small village in England. Over the

years I have seen quite a few b+w photographs of everyday scenes in the area and some portraits, landscapes etc.

However all the photographs I have seen are from the 1960s or earlier so I decided I would make a start and produce

some 16x20 b+w prints on nice fibre paper, mounted and framed. This is obviously going to cost me quite a few quid

so when I have done them I thought I would exhibit them and sell any if I can. The idea being to show them every 5

or so years. When I do show them I will also display and sell (if I am lucky enough) some of my other work. This is

where my question came from about marking them as original or not. From reading all your comments I have

decided to sell them as original photographs but I dont think limited editions etc will come into it. Maybe one day but

not yet. If the purchaser wants me to sign them I will but I will probably display them unsigned. Thanks again for your

help.

This was asked about 3 years ago but the answers varied quite a bit. I am thinking of having a small exhibition/sale

of photographs and am unsure how to label them. I would print all the photographs myself in the darkroom. My

question is, can I label them as original and if so, if two people want a "copy" of the same photograph and I print two,

are they both original? Can two or more people have the original? Also when does a photograph become a print? If I

sent a photograph to a printers and they scanned the photograph or do whatever they do and produced ten copies

(like they might do with a painting)

are they photographs or prints? We "print" in the darkroom but are we producing prints or photographs?

Sore point for me. I bought a D70s from a very well known specialist shop in London. I paid full price for it and no one

ever mentioned anything about "grey". Some time later when I tried to register it the Nikon website wouldnt let me

and said this may be because it is a grey import. I rang the shop and asked them if this were the case and they said

words to the effect of "yeah....and?"

Nice one Richard. That was probably the most easy to understand and comprehensive answer that could have been written. I wonder if it should be a permanent answer in the learning section?

Very very briefly; If it were me I would go for a prime if poss or if I had to have a zoom, never more than 2.5 x max. i.e 28-70, 80-200. In all cases wait for one with no cleaning marks, scrathes to glass, dust, fungus. Anything else just isnt worth the hassle/wondering if it will show on negs. The widest aperture choice depends on what you want to do with it and which lens it is and of course money will come into it as well. Look up and read a bit on lens coatings as that may also come into it.

When I respond to or ask a question I may want to attach more than a single image to it. I can attach one no

problem although even that means writing the text then posting it then coming out of the post, then re-entering and

posting a photo. In this case I have to hope no one else posted between my text and my image or my image comes

after some one elses text and it all gets confusing. However, when I try and attach more than one I do all the above

then re enter to try a post a second photo at which point I am told "some one else has already posted this, dont do

it or you will get thrown out" or "you havent added a caption" Not word for word but you get the idea.

Aparently "Image number 2, 3 etc" doesnt count. So can someone please tell me how I can either attach an image

to text and post both at the same time and how I can attach/post more than one image? Thanks.

Ace cafe number 2

Sure. Lordomat with 50mm 2.8 in case,£20<div></div>

Clinton, Do you have a split screen to focus accurately or are you assuming the trees are at infinity? As for frames 1 and 2, all I can think of other than sending the back away is to make sure the film is not loose on the spool when you close the back. I am not familiar with the 500 but does it have a winding crank other than the main film advance one to tension the film?

One of the films I use always has a pinkish tint to it when I see the roll in the fixer. Even if I leave it in new fixer for

over the recomended time it is still there. I think its one of the Fuji films but cant remember right now. Anyway it has

no ill effect and I think it is most noticable when film is still on a spiral as I am looking through the coiled film rather

than just one portion of it. Whatever it is, I love the film and the results.

Grig, Hold on. I know its up to you and you must do what you want and all that but the FM3a is a smallish manual focus camera. Have you not thought about buying 2 or 3 second hand Nikon manual focus prime lenses. I think you would find the quality better and the price not much different. Or how about 2 smaller zooms for the body? Just a thought.

Very briefly; If you are going for the best optical clarity you can get all over the image, then generally speaking the more expensive lenses will produce better results and yes you can definately tell the difference between a 17-35/17-200 of the same make age etc. There is a lot more to it than that and it's subjective as well but as a rule if thumb, top quality lenses = better results.

With shotguns the more expensive ones will be better balanced, have crisper trigger pulls, the barrels may be better regulated etc. Rifles may have better trigger pulls or be adjustable or have set triggers. The rifling itself may be better hence more accurate etc etc. Nicely figuered walnut and hand cut chequering is also worth a bit. Sorry to go a bit off topic but as you said in your example, the shooter could often benifit from shooting more and the photographer often could benifit from "shooting" more.

I realy like the photo but for me it is spoilt by the title. A book doesnt have to have an image on the front cover to tell

you what it is so apart from being able to reference a photograph, why does it need words? I went to a so called art

exhibition and there was a trainer (shoe) on the wall. Underneath it was the title "trainer" ! I left.

Tak, I am fairly new to LF but will try to answer your question. If the object is upright (tall building is the usual

example) and you want it to remain that way in the print, the camera back should be parallel to the object. i.e both

upright. Tilting the back one way would make the top of the buiding bigger and vice versa if you tilt the back the

other way. In this case you would use the tilt/swing of the lens to adjust the focus plane. If the perpspective is not so

important, you could use front, back or both. There is plenty of reading on this subject on the web and many books

have been written about it. Google view camera movements and you will find loads of stuff. Also try to imagine the

image coming through the lens and getting bigger as it comes towards the film back. As you move one part of the

back further away, the part of the image that will fall on that part of the film will be getting bigger the more you move

the back away from the lens. Also imagine a plane of focus parallel to the lens and film when everything is in

its "normal" position i.e no movements. When you swing or tilt the lens the focus plane will move in the same

direction but will not be parallel to the lens. That is to say the focus plane will move to a greater degree than that

which you have moved the lens. Others could probably explain this much better than that and as I am fairly new to it

and a little knoledge is a dangerous thing, I suggest you keep reading, get some books and use some film and look

at the results.

Well said Jack. Use it or loose it.

I use b+w film 99% of the time and a thought occured to me some time ago when I was having a clear out in the

dark room. Under the bench I have an old Lietz enlarger, some possibly bakalite processing tanks, lovely wood and

brass tripods and other bits and pieces that I have gathered that probably date from the 50's. Anyway I have books

full of HCB and AA photos that were obviously taken 50 plus years ago and I thought if they could do it back then

with what is now regarded as very old equipment, wouldnt it be fun to produce a print using an old camera, lens,

processing tanks, meter, tripod etc. I generally use ID11 and Bromophen which I think are passable for old

chemicals. So my questions are; do any of you allready do this and how are the results? Does anyone have a roll of

35mm film(the enlarger and tank are 35mm unfortunately) or/and some paper that has been at the bottom of the

freezer for 50 years?

Thank you all. I am thinking of Nikon F and F2 (I know thay are ok because I have a BC7 for them), a microcord, Mamiya C330f, speed graphic,Lordomat,Rank Mamiya, Voightlander Vito C. All these except the Nikons do not have anything that requires batteries and for them. I would use a Honeywell flash gun (Bulb). They all have cold shoes and pc sockets but I am not sure if they were designed for bulb or electronic flash. They also have lens shutters and as bulbs are burning longer than electronis flash I am assuming that sync speeds wont be a problem but trial and error will tell.

I like to use old bulb flash guns on some of my older cameras. On all manual cameras that dont require a battery,

what actually triggers the flash? I.E does some mechanical contact in the camera short out the sync lead contacts

and if so can I assume it is safe to use any flash gun on a camera body that doesnt require a battery regardless of

the voltage of the battery the flash gun uses?

I dont think you could call them all real classics but I bought a Canon FTbn and the following lenses;

28mm 2.8 "plastic",

35m 3.5 sc "plastic",

50mm 1.8 sc "metal/plastic",

135mm 2.5 sc "metal",

200mm 4 ssc "metal",

300mm plastic.

 

I have to say I prefer the metal lenses purely because it feels like you have something made for a job but they all

give good results, are cheap and fairly easy to find.

Robert,

Great pleasure. Maybe just one of those "fresh pair of eyes" situations. I hope you get to go out and use your set up now.

I have no experience with Rolleinars at all but how about trying this. Take a piece of cigarette paper which is probably not more than a thou or two thick and lay it on the lens. Screw the filter on while watching the paper. If the paper turns with the filter, its all too close. If it doesnt turn, hold the lens upright and gently shake it. If the paper moves its not touching.