ian_watson1

My D3 feels as though it were made for me. The grip and the controls are just right. The D800/D810 feel fine too. The D750 feels just that little bit too small. You sound to be in the same boat.

 

Between the D3 and the D3S, the latter offers less noise at higher ISO and a feature that shakes dust off the filter in front of the sensor. If you do not mind the slightly higher price then it would be my recommendation. That said, I am in no hurry to give up my D3. It is a better camera than I am a photographer :)

True, but it is the sort of place that might. It doesn't hurt to ask. Another place that may be able to help is Fixation in London, England.

 

Fixation

 

Good luck!

Try this place:

 

Nikon camera service and repair - Authorized Photo Service, Inc.

 

I have used them and been happy with the work and the service.

<p>For RA-4 prints I have been very happy with Pikto in Toronto. Postage is much more reasonable than US$30.</p>

<p>Downtown Camera still has the best selection of B&W supplies that I have found in the city. However, for chemicals it might be worth grabbing a copy of The Darkroom Cookbook and having a go at mixing your own. The raw materials are easy enough to find online in Canada. If I resurrect my darkroom then that is what I intend to do. </p>

<p>Perhaps Allan was referring to Nikon's own 18-35/3.5-4.5. That will work very nicely on a D610.</p>

<p>The Eaton Centre in Toronto.</p><div></div>

<p>I do not know of such a screen. If you do find one, consider that the F100's screen is far better for manual focus than the one in the D700. It isn't that much dimmer, at least to my eye. What I want is a screen like the one in the F100 for my D3!</p>

<p>If it must be in the US then try this place:</p>

<p>http://www.nikoncamerarepair.com</p>

<p>They did a good job servicing an AI lens for me a few years ago. However, please consider Sover Wong. He might be in the UK but you will have a hard time finding anyone who knows the F2 better. I live in Canada and am a happy customer.</p>

<p>http://www.soverf2repair.webs.com</p>

<p>Rodinal at 1+50 is my favourite for FP4+. I get sharp negatives with nice contrast in the midtones and the grain, while more noticeable than with HC-110, is far from unpleasant. I'm guessing that stock ID-11 would smooth the grain but take a bit of the sharpness with it. </p>

<p>Pushing is basically underexposing the film and extending the developing time to drag the highlights up to where they should be. The result is lost detail in the shadows, higher contrast and more grain. I have exposed HP5+ at 1600 and pushed it in HC-110. If I want gritty then its a good start. Try it with the ID-11 you have. Experimenting is part of the fun!</p>

<p>I quite liked the Tudor Hotel at 304 E 42nd Street. There is (or was in 2009) a nice diner around the corner for a good breakfast. I discovered corned beef hash there. </p>

<p>For food, what do you think of this place: http://www.ulyssesnyc.com/home</p>

<p>It was a nice stop for a pint or two on a hot day. It's in the narrow streets at the bottom end of Manhattan. </p>

<p>The John Hancock Centre offers magnificent views. There is a viewing platform on the 94th floor but a fee to go up there. A better idea is to take the free elevator to the Signature Lounge on the 96th floor and spend the money on a nice drink, a comfy chair and the same vista.</p>

<p>My father was very impressed with this place</p>

<p><a href="http://www.fixationuk.com">http://www.fixationuk.com</a></p>

<p>Nikon would not service a manual lens for me so they likely will not tackle an FM. It is worth asking at Downtown Camera. They still appreciate film and cameras that use it.</p>

<p>Max, keep in mind that the times listed at Digital Truth are only starting points. Try them, see what you get and adjust accordingly. That applies to any time that anyone suggests to you.</p>

<p>For what it is worth, when I tried pushing HP5+ in HC-110 I determined what multiple of developing time Digital Truth suggested for 1600 versus box speed of 400. Then I applied that factor to my own time and it worked nicely. </p>

 

<p>The '65 Galaxie had vertical headlights. The profile looks like a '63 to me. It was available in a variety of body styles and with engines that ranged from mild to wild. (You'd never guess that I was born in 1975!)</p>

<p>As for the lens, I'd be lost without my Nikkor 24/2.8. Rick described the perspective perfectly.</p>

<p>Black-and-white is my pleasure and I use only film. There is a modest darkroom in my basement. I enjoy the whole process. Digital may be very capable but it lacks a certain je ne sais quoi.</p>

 

<p>The AIS lenses are like your AFD lenses in that respect. However, it will not hurt them to turn the aperture ring to a position halfway between the full stops.</p>

<p>Joseph Wisniewski wrote:</p>

<blockquote>

<p>2. An aperture ring with half click stops.</p>

<p>An ergonomic abomination that should be outlawed. I've written before, at length, exactly which tendons that trashes. </p>

<p>3. A focusing ring with just the right resistance.</p>

<p>Agreed.</p>

</blockquote>

<p>Pardon my ignorance but why is using a focusing ring less damaging to one's tendons than using an aperture ring? I ask because I enjoy using older manual lenses on my Nikon F100.</p>

<p>I prefer a Manfrotto 055 for the height. Mine has three sections to the legs and still fits inside a suitcase. I even managed to stay under the weight limit for a single case, too, and that was without skimping on the rest of my luggage. </p>

<p>There are a few ways to tackle the problem. First, if you only release the shutter button halfway, to the point where it engages the autofocus, then it will retain your focus lock. Another way is to use the AF-ON button and keep it pressed after the focus locks. You can remove your finger from the shutter release and not lose focus. You do not even have to disable autofocus using the shutter button for this to work. Finally, you can disable the autofocus from the shutter button, use continous servo AF and stay away from the AF-ON button once you are happy with the focus.<br>

<br /> I just tried these with my F100.<br>

<br /> Hope that helps!</p>

<p>Don't worry, Michel, it is a bit confusing at first. Early Nikon metering used a pin that couples with the rabbit ears. One sets the lens at f/5.6 when mounting and everything meets happily. One then twists the aperture ring to and fro so that the meter knows what the maximum aperture of the lens is. That is called indexing the lens. It is necessary because the rabbit ears are at the same position on the lens, regardless of maximum aperture.</p>

<p>I have never tried it myself, my F2 being a later F2A. More on that in a moment. </p>

<p>Nikon eventually provided a way to mount the lens and have the meter be able to account for the maximum aperture. No more faffing with the aperture ring; indexing was automatic. AI stands for "automatic indexing." On the lens, look at the rear edge of the aperture ring. Is there a ridge along its circumference? If so then it is suitable for AI. One edge of the ridge engages a lever on the camera. The position of that edge is always a certain distance from the maximum aperture of the lens. Hence the meter can automatically account for the different amount of light seen through lenses with different maximum apertures. Such lenses retain the rabbit ears, so they can be used on earlier cameras.</p>

<p>AI lenses with the ears can be used on earlier cameras. Non-AI lenses, which lack the ridge at the back of the aperture ring, can be used on some later cameras by metering when stopped down. (More modern designs are not always accomodating, but you will have no problem with any F2.)</p>

<p>Now to the wonderful F2! It is a modular design. There are several designs for the head, some AI and some not. "Photomic" simply means the head contains a light meter. Hold your camera with the lens mount towards you. Look at the right edge of the head, just above the lens mount. Do you see "A" or "AS?" If so then it is intended for AI lenses. You will also see a small lever protruding from the head at the same spot. It is moved by that ridge on the rear of the aperture ring of such lenses. It is possible to push it into the head, out of the way, to use non-AI lenses with stopdown metering. There is a small tab just above the "A" or "AS" that is pushed sideways to return the lever to its normal position.</p>

<p>Clear as mud? :-)</p>

<p>The FM2n and a Nikkor 50mm f/1.8 would be a good start. The Sigma 35-70mm offers very little that you could not do with the Nikkor. Save your money for later, when you have a better idea what you need to supplement the 50mm. </p>

<p>The FM2n and a Nikkor 50mm f/1.8 would be a good start. The Sigma 35-70mm offers very little that you could not do with the Nikkor. Save your money for later, when you have a better idea what you need to supplement the 50mm. </p>

<p>Thank you for your response, Doremus.</p>

<p>I had several rolls from a trip developed by a lab. Those negatives produce lovely prints at grade 2. My own efforts with similarly "normal" scenes require grade 4. Shadow detail seems OK, so I presume I simply need to develop for longer.</p>

<p>A bit of reading about HC-110 and its various dilutions makes me think that dilution E would lift me comfortably above 5 minutes while allowing enough developer to do two rolls of 35mm at the same time. I don't think I can do that with dilution H. (My tank has room for two but no more.) I will extend the five minutes proportionately and then add a bit more for my starting point. </p>

<p>Regards,<br>

Ian.</p>

<p>Thank you for all the advice, gents. I will experiment with more dilute HC-110, and perhaps give DD-X a whirl. </p>

<p>Larry, I used the time suggested by Ilford but wondered if not waiting before starting the clock, as Mister Adams did, was the cause of my woes.</p>