dave_gustafson1

I use a Unicolor branded (but manufactured by Hauck) darkroom timer from ages ago.  It's the analog dial.  When printing I use it as a running timer.  I don't use it as a countdown timer where I set the minutes and then it makes a buzz when it's at zero.  I just having it running the entire printing session and It used to make a wonderful "click" noise every 30 seconds which was a nice reminder of how long I had been in certain chemistry.  BUT, now it doesn't make the click anymore and I can't figure out how to get it back.  Or if it's just a really old timer that decided to stop making the click!  I also received some additional "wheels" that I've never used and am not sure how to.

Does anyone have knowledge of this timer or have a copy of the instruction manual?  I've tried searching online and can't find anything for this model.

Here's some pictures.

And thanks for your help!!

Wow, thank you!! I'll work on this today and hope for success!

Hello everyone!

 

I broke the film rewind on my Nikon FE2 and was in the process of replacing it when somehow, and I have no idea how I did it, the rewind shaft with the fork got pushed up past the detent which is supposed to keep it in place below! I'm not sure what laws of physics I was able to bend to get the shaft past the detent.

 

At the moment I am unable to get the shaft below the detent. The detent blocks the shaft (as designed) but my shaft is on the wrong side! Any thoughts from the community? See pic attached. It shows the shaft pushed up past the detent.

 

Thanks for your help!

 

Thanks guys! I think I'm missing a few pieces. There was no plexiglass disc included and I don't see anyway to attach this to the enlarger. Also no stabilizer. The enlarger chassis came with the Super Dichroic head and nothing else. I'm not sure if it's worth it to piece the rest together or just go with the color head. I'm printing B&W but like printing with a color head to control contrast. Is cold light a superior light source? Is it brighter than the Super Dichroic?

Hi all,

 

I picked up an Omega D2 with dichroic head from a local photo club. In addition to the D2 I was also given a box labeled Zone VI Cold Light. I'm trying to figure out what I have here and what I'm missing to set up and use the Zone VI head. I feel like I'm missing something that will let me attach the cold light to the enlarger. And what's that third plug on top of the cold light? Any help is appreciated.

 

 

 

 

Thanks for the info, rodeo_joe!

Thanks everyone! Years ago I had the F3 and loved it. But honestly, I don't remember what kind of prism I had. Back then I just focused and took the picture :)

 

I think I'm leaning toward the FE2 and there are 3 available prisms I could use.

I will be purchasing a Voigtlander 58mm manual focus lens and plan to use it on my Nikon N80. I haven't used manual focus lenses in awhile and with my 51 year old eyes, I'm thinking I'll need as much help as I can get. If I find that I'm having trouble getting good results with the N80, are there other Manual Focus Nikon bodies that are known for their viewfinder and what prisms do people find the most helpful.?

 

I don't wear glasses when photographing. I do use +1.50 reading glasses.

 

Thanks in advance!

<p>Thanks for the responses! Yep, I was assuming the capacitor in that light head is toast. It's the other 3 that might still be salvageable? Each light head has it's own capacitor so just wondered if I should follow the above procedure to reform those capacitors. </p>

<p>Hi all, <br>

I recently purchased a Balcar P4 power pack with 4 PSU light heads. This is not the P4 concept. Just the P4. I was testing it with one light head attached and after 20-30 minutes of work the light head made a pop and smoke started to come out of it. I have done some searching online and it looks like I need to reform the capacitor? Here's a link to a post I found on photo.net as well as the relevant section pasted below: <br>

http://www.photo.net/photography-lighting-equipment-techniques-forum/00ZPJ2</p>

<p>Directions from Leigh in that post:<br>

<em>To reform the caps: Turn the pack on for one minute, then turn it off. The next day repeat for two minutes, four minutes the next day, eight minutes the next, etc. In a week you'll be up to leaving it on for an hour. At that point the caps will be reformed if they can be.</em><br>

<em> </em><br>

<em>If you reach this point successfully, plug the heads in the next day, turn the pack on, and run a series of <a id="itxthook2" href="/photography-lighting-equipment-techniques-forum/00ZPJ2" rel="nofollow">test<img id="itxthook2icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" alt="" /></a> shots, one per minute for ten minutes, monitoring the output with a flash meter. Note the readings. You should see very uniform output for the entire sequence. If not, there's a problem.</em><br>

<em> </em><br>

<strong>BUT...the Balcars are different than other power packs in that the capacitors are in the PSU heads.</strong> So I'm assuming that I would have the 3 remaining heads all plugged into the pack? Then go through the exact same procedure? I haven't found anything specific to the Balcar P4 so was hoping someone had some experience with this particular set-up. </p>

<p>The previous owner took really good care of his equipment so these look great and I would love to get them working again. Any advice is appreciated.<br>

Thanks for all your help!<br>

Dave</p>

<p>I'm going to contact WHCC and see if they will give me some info. If you're working with a print lab what is the information you need to know in order to make sure it's an appropriately color managed environment?</p>

<p>Thanks - Dave</p>

<p>I'm going to contact WHCC and see if they will give me some info. If you're working with a print lab what is the information you need to know in order to make sure it's an appropriately color managed environment?</p>

<p>Thanks - Dave</p>

<p>I thought I had a pretty good handle on color management but I'm getting a little confused. </p>

<p>Do I really care what the rendering intent is that WHCC uses? They'll print the image using whatever rendering intent they use and when I receive the print I'll match the monitor to that print. As long as they don't change their rendering intent and I use the same Adobe RGB 1998 working space (which they say they can handle) and settings shouldn't I continue to have a match? </p>

<p>Thanks in advance!</p>

<p>Thanks for all the advice folks! This is going to be my approach. I'm going to buy the xrite i1 display pro. It's on sale right now so not that much difference between it and the NEC branded one. Hopefully that will correct my funky color space.<br>

Next steps will be:</p>

<ol>

<li>Set up viewing environment.</li>

<li>Calibrate monitor</li>

<li>Print the test image supplied by Andrew with the appropriate icc profile</li>

<li>While viewing the print under the viewing environment, tweak white point, luminance and contrast ratio and recalibrate. Repeat until the image viewed under the appropriate photoshop soft-proof conditions matches the physical print.</li>

</ol>

<p>So basically, I'm starting with wherever the physical print is at and then tweaking the monitor to match?<br>

Here's a wrench. The above describes the process for my personal printing at home. But for our business we use WHCC lab. They provide soft proofing profiles for their various paper types. Do I send them the test image to make a print? Then follow the same process, but with their print of the test image? So when working for clients I would use the profile created with the WHCC print? And when doing that initial print to screen match use the full color space?</p>

<p>Just bought this monitor and have a couple questions. I'm using the Spectraview II software with a Spyder 3 sensor. My printer is the Espon R2880.<br>

First, the color gamut it's showing me after calibration seems to be way off. Or maybe more accurately isn't closely aligning with the AdobeRGB color space. I've attached a couple images showing the overall results and the color gamut. I've run Spectraview II multiple times and it is always the same. I know that NEC does not recommend using the Spyder 3. Is this what is causing this? If I don't have to buy an i1 display pro I'd prefer not to but if that's what's causing the problem, the Spyder's got to go. Can I use the Color Munki sensor?<br>

<br />Second, with my previous monitor I always soft-proofed before printing using the paper profile and made tweaks to contrast before sending to print. With the NEC I have the option to calibrate to a "print standard" target. How will this affect my workflow? Should I follow my old method where I use the photo editing profile and then soft proof? Or do I use the print standard profile to do my soft proofing?</p>

<p>Thanks in advance!</p>

<p><img src="http://studioindigo.net/wp-content/uploads/2014/03/NEC1.png" alt="" /><img src="http://studioindigo.net/wp-content/uploads/2014/03/NEC2.png" alt="" /></p>

<p>Thanks to everyone for their input. And thanks to Garcia for providing the photo. That tells me a lot. I'll stick with my 35, 50, 85 set up and perhaps think about getting something wider for interior shots. Photo.net community ROCKS! Thanks everybody. I'll report back after the wedding (end of August).</p>

My wife's best friend has asked us to shoot her wedding at wayfarers chapel in Southern California. We live in Wisconsin so won't be

able to scout the location beforehand. We're portrait shooters and only use primes. I just found out that we'll be restricted to the back of

the church during the ceremony. Anyone out there shot a wedding at this place? What focal length do you recommend using during the

ceremony for head and shoulder shots of the bride and groom? I'll be shooting with a d700 and d300 and our longest lens is an 85mm.

I'm thinking I'll need to rent a lens. Just wondering which route to go. Thanks!

<p>My vote is for HP5 and push it two stops. Way back when I shot an open shade portrait using Delta 3200 rated at 1600 and HP5 +2 and for me HP5 was the clear winner. If reducing the amount of grain is important to you, it doesn't even come close.</p>

<p>Thanks for the investigative work David. <br>

I guess it's good news that they're doing whatever it takes to keep this great paper available. I also use if for all my printing, color and black and white. In my opinion it's the best out there.<br>

I did notice that the "repackaging process" has bumped the price up by about .40 per sheet. (13x19). Now we get to pay for the Hahnemuhle name.</p>

<p>Somethings up. Atlex.com now lists all FB AL papers as discontinued.<br>

Anyone tried the Harman by Hahnemuhle papers? </p>

<p>Went to itsupplies.com and they show all sizes of Harman FB AL Gloss as discontinued and list Harman by Hahnmuhle papers as their replacements. Searched the Harman and Hahnemuhle sites and couldn't find anything but the original press releases announcing the collaboration.<br>

Anybody know anything about Harman discontinuing the FB AL line in favor of these other products?</p>