young

<p>Hey! <br>

Thanks for all the great info. I'll see if I can't make something work. I may have to edit that cord.<br>

Thanks again!</p>

<p>Here are some pictures finally.<br>

<img src="http://i83.photobucket.com/albums/j296/Brulin/IMG_0331.jpg" alt="" width="364" height="275" /> <img src="http://i83.photobucket.com/albums/j296/Brulin/IMG_0332.jpg" alt="" width="361" height="270" /><br>

So this is the flash unit in question. The extention deal (not pictured)<br>

will accept a #25, which is good, because that's all I have.</p>

<p><img src="http://i83.photobucket.com/albums/j296/Brulin/IMG_0333.jpg" alt="" width="358" height="268" /><br>

As you can see, there is no way a 'D' size battery will fit in there.</p>

<p><img src="http://i83.photobucket.com/albums/j296/Brulin/IMG_0335.jpg" alt="" width="356" height="267" /><br>

The cord in question.</p>

<p><img src="http://i83.photobucket.com/albums/j296/Brulin/IMG_0337.jpg" alt="" /></p>

<p>I left this image huge so I could show how the cord does not fit on my Ektar. The bolt pattern<br>

on the posts is just too big so that the plug will not engage. That, or the post it's self is too long.<br>

I would really like to use this flash, as it has a cord already. My other flash unit (Argus) I don't have a cord for.</p>

<p>Any thoughts?</p>

<p>So I finally bought a Speed Graphic. YAY me.<br>

However, it came with a Busch B-C Flashing Unit, and a sync cord. Now the cord fits the unit, but I don't think it fits the Ektar 127mm I have. Anyhow, can anyone point me towards some information regarding this unit. <br>

Will the cord fit the Kodak, or is it suppose to be used with the Graflex version. <br>

Do I really have a "Flash" Ektar? The lens has two prongs on top, but the cord wont go down all the way, and is very loose when I try to attach it. Something is not working here.</p>

<p>Third, Will the little screw adapter thing work with #25 blue dot bulbs?<br>

Last, can I find a working battery for this unit?</p>

<p>Since I haven't taken a picture of the unit yet, it's about 10" long, aluminum, with a screw base that reveals a brown disk. The disk comes out to allow battery installation. That's about all I know at this point.</p>

<p>Thanks--</p>

<p>This is exactly what I needed, however the prongs on Argus flash unit are round.<br>

Wounder if they will fit... buying time.</p>

<p>So I have this flash, seen in many google photos listed with an Argus A4 or C-type camera. </p>

<p>The flash is a bulb type, black, takes 2 C batteries, and says Argus on one side. It has two prongs on one side which can trip the bulb when closed... "shorted"...<br>

I can make my own, which would work fine, but I would rather have some sort of adapter cord ready made. I need a female (Argus) to male (PC) type cord. <br>

Does anyone know of anything like this avaliable for sale?</p>

So, in reading through some recent posts it seems that most people are not happy with the customer service they

recieve at many labs. Something about intelligence and whatnot.

I can't say I am the smartest person when I comes to photography. I develop my own B&W and E-6. When I do shoot

color, I usually take it to the 1-hour labs (cause im lazy).

I too have been perplexed at the lack of knowledge of some labs and have thought about doing lab work myself, for

other people. If you had some slide or other non C-41 film and didn't want to do it yourself, would you send it

to a "new" lab?

If of course, I can find the machines I would have no quarrel about C-41. I wouldn't do it for profit, only the

love of the medium.

That said, would it be a viable business oppertunity (in the Kentucky area) to process specialty films? That is,

would you send me your film? I don't want to say I am advertising a service now, because I am not. Tho if you

wanted to send me your film I would be happy to develop it at the cost of chemestry (which are cheep).

Let me know your thoughts.

Thanks.

"You're not in any position to decide what is best for another human being."

No one really is. But I seem to see this every day. Perhaps I am not seeing what I think I am. When I go to the camera store and the salesman tells someone to buy product A, and they want to buy product B because its more expensive, has less features than A, but their friend has it and they say its good so it has to be better than the cheaper one which may be a fundamentally better camera.

I think we should leave that point. I will admit that I can not know what is best for everyone. Furthermore I Apologize to those whom I have offended.

Dan, thank for your response. On thinking about my issues with digital, I have decided to give it a full go. Perhaps I can make digital feel like film, and maybe I'll not want to. Ill save the film for my large format. Hopefully I can find a happy medium between both.

"You're bummed... ...It doesn't dictate your personal work."

I think this sums it up nicely. I'll get over it. "They" can't make me shoot digital when I'm not working.

"For me it's about the end result, the photograph."

I am still struggling with this one, and maybe I need to head over to digital darkroom. This is the crux of my problem. I have yet to see a printer that looks as good as by black and white wet prints. I am looking for a color printer and paper, because I don't care for making color wet prints. (anyone have a good link on here about color printers? looking for 11x17 very high quality)

"I hope I'm actually hitting on the points you wanted to discuss and that it's of some benefit."

Again, thanks for taking the time. Sometimes my anger takes over my intelligence, which makes me look like a dumbass...

P.S. to whomever asked; I do not write for the paper, I can't spell.

To answer the questions:

I did not work for the paper prior. I enjoy shooting events, and have for a while. I decdided to give photojournalism a try. When I was looking for jobs, there were no staff photographers at the paper. The Photo editor and her assistant did all the shoots. I assume I was the only one that applyed because she called me the next day and asked me to shoot. This one event, which I mentioned in my first post was the last on the budjet. They told me to stay.

Since the post, I have checked and it seems they have several cameras, but each only have one battery.

I am a professional musician, and the area I am living in currently has no great music scene. Therfore I wanted to do something else for money. I am use to deadlines, and many projects in a day. It also seems to me that I know more about photography in general than my bosses. Not that that wouldnt happen in any paper, but when I ask a simple question, I get blank looks:

"I need a flash." "We don't have any"

"I need a 200mm.' "We only have the 18-35"

These are the sort of responces I deal with on a daily. It takes me saying these same things to three or more different people before I get what I need.

"This is fine with me, except that I have no Idea whats in the bag"

Allow me to clarify this statement: Being told to go is fine. Ill get where ever, however. I have since discovered that most of the people that work at the paper really don't care. Perhaps they don't want to work at the paper anymore... I don't know. I have also since learned that I have to go find what I need to get the job done (as above).

"couldn't you just have contacted the editor?" Sure, but apperently since the edit staff stays till "2 or 3am" as I was told, that means they don't asnwer there phones either. I assume this is because they have not made any layouts untill that night.

"With as much hand holding as you seem to need I have to wonder: Does your mother still warms your milk for you before you go to sleep too."

Of course she does, but only when I sleep at her house (about once a year).

"Save the odes to the glories of film for your personal work."

I shall.

Furthermore, in talking with my vastly wiser mentors on the subject, they have told me to press on. I will not simply give up, im too hard headed for that. Everyone complains about something. Perhaps I just need to get it out of my system. I have organized my thoughts regarding my job and will just "do" my job insted of making my job harder. Of course if I find that I am not having fun at my job, I will move on.

"I can guarantee that if you make an image from any current DSLR, spend an appropriate time in post production (the same as you would in the darkroom)...and aim to replicate a 'film' look (meaning not going for the super-saturated or other PhotoShop effects)...only you will know what medium was used to make the image. "

I will work hard to learn this. I will work hard to learn my job. Thanks to those who have responded thoughtfully, and thanks to those that said "your just dumb" as each has a pearl of wisdom. Tomorrow brings the new budjet, and with that a new chance to learn.

I have been debating this over the past couple weeks. First let me preempt this

question.

I have recently been given a position as a staff photographer at the local

paper. I was handed a camera bag and told to go. This is fine with me, except

that I have no Idea whats in the bag.

The bag contained a Nikon D80, 2 lenses and a speedlight. I had never used a D80

before, and after about 20 minutes, I had it figured out. I have used digital

cameras before, namely Canons... but most features are the same.

I shot 135 frames, and the camera ran out of battery. Dead. I was not sure how

many shots they wanted, and they didn't tell me there was only one battery. So

I shot till I could shoot no more, then I put the camera down and enjoyed the

rest of the show.

I went back and talked a little while to my photo editor. She informed me that

the staff would be there till at least 3am. It was Wednesday, deadline day. I

could see no work going on, just random people on face book.

I thought to myself: I could have shot 3 rolls of ISO400, developed them and

scanned them by 12 or 1am.

I HATE that D80.

Now, to the philosophy part:

My thought on the matter is that it sorta makes since to use digital in a fast

paced news scene where time matters most. Perhaps I am missing something, but

what did we do BEFORE digital. It seems I remember news papers having photos for

the last 150 years. I know its the new fad, and everyone's doing it, which

brings me to my next point:

Are Photographers turning into crowd following sheep? Do Photojournalists

actually care that much what they shoot on? Do Real Photography is my

livelihood artists care?

I know the markets tell us consumers what to buy. The "Pros" fall into that

category too. All people are consumers, unless you live in an agrarian society,

in which you would not have a camera in the first place.

Why follow the crowd? Why is instant better? Why are the only questions that I

ask, those that can not be answered?

I really hate this to turn into a rant, but I fail to see the difference. I am

not looking for a "one size fits all" answer here. I would like insightful

comments. I see all the posts over Digital - vs. - Film and it just about makes

me sick. I choose to shoot on film because I feel I get better results when I

look at the negatives. There is something inherently organic and almost alive

about taking my 120's out of the tank. Feeling the cold water of the rinse, the

smell of stop bath... What do I think you get with digital? well, nothing.

I would hate to be forced to be a digital only. It seems like everything I want

to do, someone chastises me for not doing it the "convent" way. Are we

"Americanizing" the film world too?

So its personal, and if you have read this far, I think this has turned more

into a "I like film more than Digital" rant than what I wanted it to be; an

objective view of the masses being lead down a path because they have blinders

on. Does anyone make decisions for themselves anymore?

JRY

This may be the wrong forum, but its a good start.

I like to shoot on Ilford. I process it myself and then take it to a lab to have

it quickly (about 5 minutes) scanned and printed ona CD so I can look at each,

play around with the contrast/tone and make final judjements on what I want to

reproduce in the real darkroom.

I recently shot some 3200. After getting the CD back from the lab, there were

really wierd black sploches were there is more than 6 zones of contrast. The

scanner reproduced black and blue, while the rest of the colors are all in the

grey range.

Shots in full sun that have a flat contrast range are not as bad, but the

shadows still have a tint of blue (no shadow detal, just a big black dot).

The Negatives are not at all like this. They look grainy, but its 3200 so thats

ok. There are no blown out shadows... if you can call it that.

So does anyone have a good recomendation for a better scanning process? Ill try

to get a link to on so you can see.

thanks

I should have been more clear. When I said I didn't want to worry about batteries, I was refering to a full auto camera that used some sort of battery for power.

I do not want to be crippled by loosing power and only having 1 or 2 manual speeds. However, if there is no battery for the 1971 F-1 and the same accessories can be used on the F-1 new, then I think im gonna get one. I found a body for $165, which seems like a good deal... Ill keep you posted. It looks like an 1984 F-1N

Thanks for the great replies! I found this site about 2 weeks ago and have been reading ever since.

I shoot Delta 3200 at night when walking down the street. I think it gives excellent results and the grain plus never knowing what will happen on the street is fantastic!

Russ, I totally agree with the zone system. I was trying to learn how Ansel Adams acheaved the contrast he did in some of his harder landscapes and discovered this system. I have since (about a month ago) read all the books I could find. The system as I see it, is simple to understand, and very, very complex to master.

"Result: dense overdeveloped negatives with considerable grain and no creamy midtones. "

This sounds like sort of a "push tri-x pretty far" development. Ill have to try it out.

thanks!

Thanks for the thoughtful replies. The reason I had chosen the F-1 is because it is a "system" camera. I also believe it can be used without batteries. I don't want to have to rely on something as trivial as batteries. I know I could easily carry extra.

Dave, so even with the adapters it doesnt work? Or are you talking about a focusing issue?

Contax would be ok but the glass price (as far as I have found) is a little prohibitive. The most expencive lens I see myself buying would be a fast prime, perhaps a 50mm f/1.4 or 85mm f/1.2.

I usually don't change lenses all that often, so if the FD doesn't work with the EOS then so be it. The other lens I would use would be a good telephoto. Im not a big fan of zooms, so a 135mm or even a good 200mm prime is fine.

http://www.photo.net/photo/6849844

The above link is to a photo by John Crosley (on this site).

As best I can tell, that light was super bright. I may be wrong but I would

expose that same shot at 1/30-1/60 f4 on some Delta 100 or even PanF50. Most

likely a 6x6 neg,

I would like to have a better plan to know how to achieve that sort of shadow

detail. This sort of almost blown out whites and very rich dark blacks is the

look I want to get out of most of my Monochrome prints.

That image is digital, but I really would like to do that on a print. Anyone

have any starter ideas?

I assume "just experiment" will be the standard answer, and I am ok with that. I

just need somewhere to start. Surly after 140 years of "experimentation",

someone has some sort of answer.

JRY

I shoot on a K-1000 every day. The shutter is slowly failing. I have looked at

getting it repaired, but I think I would rather have a slightly more

"professional" (read, features) camera.

I enjoy the pentax, but I feel the support (like finding accessories, parts,

lenses...) is lacking. I would like to know what you all think.

I would shoot on the pentax untill it dies (which is not far off...) then move

to something else. I don't care to shoot digital, so I would hope you would not

steer me twards that option. My wife has several EOS cameras so the FD/EOS is no

problem (meaning she would have no problem using FD glass).

I have looked at other systems, and I feel I want to stay as truly "manual" as I

can. The F-1 seems the best option, or it is the camera I like the best. I had

though that I might want to move to Nikon, but it just seems dumb to buy Nikon

AND Canon glass. An adapter is an adapter I guess.

So to recap: Would the F-1 be a good move after the pentax dies?

JRY

I don't know that this will help, but the first thing that comes to mind is to use 120 film with a larger paper. Such a thing is being done now with the old 620 film cameras. People are selling re-loaded spools of 620 (which is like 69mm or something), but it is loaded with 60mm roll film (medium-format).

In theory, I assume you could by bulk 70mm motion-picture film and chop it to whatever size spool you need.

Check out this located here

Community > Forums > Medium Format > Films > 70mm long roll E-6 films

and the link: http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=000hLz

hope that helps...

Winnie Wan, Apr 15, 2008; 11:29 a.m.

 

Hi, I'm a student and taking my first 16mm narrative filmmaking course and feel like an idiot right now.

I just want to shake your hand. I think its great that in 2008 you are shooting on FILM. My university told me they had a 16mm telecine, but didn't know where it was. They do everyhing digital or "tape" now.

YAY for film....

I don't know if you should say you wont EVER use walmart again... I hate shopping at walmart, however I don't think that doing work at their photo lab count so.

I use to use wal-mart too. They use Fuji manchines (not that that matters). Just the other day I went to the Rite-aid and dropped off some cheep Fuji 400 superia X-tra (Personally I think its crappy film). (Rite-aid uses Kodak machines and prints on Fuji paper... wierd) I was supprised when it only cost me 2.99 for a CD only + processing!

Wal-mart charges 5.29 for CD Only + processing. SO I will get my CD Only made at the Rite-aid, besides it closer to my house.

HOWEVER,

I shoot on Ilford about 102% of the time, and develop myself. My local wal-mart will scan my uncut negatives (I don't have the money for a film scanner at the moment) and place them on a CD for me for only 2.99 where Rite-aid wont (or they are not smart enough... I don't like that woman... whatever).

So the next time you shoot lots of Black and White, think about wal-mart. I bet the www.MPix.com wont scan your uncut negatives!

P.S. I live in the middle of Kentucky and all the independant labs are closing, thus I have swiched to wal-mart.