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  1. Best of luck on that--I hope you recover quickly.
  2. I'm not positive about this, but most professional strobe brands have proprietary mounts and so reflectors usually aren't interchangeable between brands. There are some adapters out there, but this will not always place the flash tube/modeling light in the same position, thus not always giving the light effect that you want from a particular reflector. This is one of many factors to look at when making an initial purchase of professional lighting equipment, since just the flash unit itself is not that useful without a variety of reflectors to create different types of lighting. One of the reasons I chose White Lightning monolights in the first place (I own 6) was because of their range of reasonably priced accessories such as reflectors.
  3. If you didn't notify the client about your returned print fee in advance then you shouldn't try to apply it now. Any working pro has had or will have clients like this--you have to weigh the alternatives of burning a bridge or attempting to satisfy a client. If you do good quality work and have lots of other satisfied customers who would recommend you then maybe it is time to simply refund the money (on receipt of all of the rejected prints) and be done with it. At least that will put an end to this. I had a similar situation last year, but the second set of prints did the trick once I figured out that they wanted were what I felt were prints that were way too light.
  4. I'm not a customer for this lens--my vintage rangefinders are mostly Contax, but the single helical design is very familiar to me as that is how Zeiss made their lenses for the Contax. This can be a nuisance at times, especially since none of the Zeiss lenses have click stops for f/stop settings. The Nikon RF lenses made for the Contax at least have click stops, which I appreciate. Fortunately the infinity lock on the Contax only applies to 50 mm lenses with the exception of the earliest Contax I models. When I got my Contax I (version c) I initially thought that it was defective when I mounted an 8.5 cm f/2 Sonnar and it wouldn't move off infinity, but quickly realized that I needed to release the infinity lock in order to focus the lens.
  5. I agree that the 35 mm (3.5 cm) lens apparently on the camera can potentially damage both the shutter and the lens, so I hope you haven't tried to use it that way. The long lens is a 135 mm f/4 post war Jena Sonnar, not an 85 f/2. It is a good lens if it is in good shape. Be aware that one of the idiosyncrasies of this camera is that when mounting a lens the camera focusing needs to be locked on infinity focus. Look up a manual on line if you're not familiar with this. Damage to the focusing track can result if you don't pay attention to this. Good luck with your find--the presence of the separate light meter probably indicates that the camera's meter isn't working any more, a common problem with these cameras after 60-70 years.
  6. As with many new technologies, the fact that something is possible doesn't necessarily that it will be a good thing to do. I would hate to be that wedding photographer or his unlucky assistant who gets to go through all of those files. This reminds me of a student I had about 10 years ago who managed to set her camera to low quality JPEG and when directed to shoot 35-40 images for an assignment would shoot 400, and then complain about how long it took to look at and edit her image, which still didn't look very good. I finally got her camera (a P/S, so no raw) set to highest quality JPEG and got her to stop holding the button down when she was shooting and her results improved.
  7. Given the ever smaller market for prints it wouldn't surprise me if some if these sites go under. As other posters have mentioned, large new hard drives are cheap and it is easy to have redundant drives so that you're prepared for their inevitable demise, My important files reside on 3 separate hard drives and I replace each one when they get to about 3/4 full. I have had a couple of drives fail in the past but have always had enough redundancy to be able to restore my files. Back to the original post: while 25 years ago any time you fired up your computer or hard drive somebody was probably burning a lump of coal or some oil to make that possible, increasingly electricity is coming from renewable sources. That doesn't mean that digital storage is completely benign in an environmental sense, but it probably beats film at this point.
  8. I recommend the Zeiss lens wipes that come pre moistened in individual packets. I have found them at Walmart for around $6 for s box of 100. They were recommended to me by Henry Scherer, the Contax repair guru and have worked well for me.
  9. With the volume of 4x5 that I was doing when I bought my JOBO 4x5 tank doing it in trays a few sheets at a time in total darkness was a nonstarter for me. I never attempted any JOBO tanks or reels for roll film--like you, stainless tanks work well for me and I saw no reason to switch from multiple Kinderman tanks and Hewes reels.
  10. When I first got my Jobo sheet film tank I had a problem with streaks on the 4x5 film that I processed. I called a company rep and he advised a development time of 10 minutes (which for me meant experimenting and coming up with a different dilution of Kodak HC 110 than what I had used previously) as well as taking the tank off the roller that I was using once each minute and agitating vertically for 5 seconds. Those two steps cured the problem and I went on to develop a couple of thousand sheets without any further problems. I hope this helps.
  11. As a Contax and Kiev owner, I would say that Kiev cameras are a bit less polished but functional. Keep in mind that any of these are now upwards of 40-50 years old and may require a CLA or more to be useable. As for lenses, the Helios has a better reputation but a good Jupiter is also a good lens. There are some quality control issues with former Soviet gear but if you get a good example of a lens the original Zeiss design shines through even if mechanically the focus isn't as smooth. Be aware that the Contax/Kiev handling is something of an acquired taste. It is easy to cover the rangefinder window with an errant finger of your right hand and the focusing wheel/infinity lock is a mixed blessing. But if you want a relatively inexpensive camera that is capable of good results with some work on your part it can be a good choice.
  12. Glad to see him back! His posts are always intriguing.
  13. Kodak tried something like that with their disc cameras back in the 1980's and it didn't work out too well. They lost millions but created a market for small 35 mm P/S cameras that made the Japanese manufacturers lots of money. And you're right, it wasn't very useful if you needed an immediate result.
  14. One of the accessories that I bought with my Zone VI enlarger was their wall mount kit with cables and turnbuckles to make fine adjustment easy. It was overkill with that enlarger since it was so solid, but it did help to guarantee sharp 16 x 20 prints. I had improvised something similar for my Omega D2 before that since its design (in the words of Fred Picker) was "a watermelon on a stick". This is easier with a permanent darkroom set up--one of the nice things about the Durst M 600 was that it broke down easily into a compact storage box for those who do darkroom work in a bathroom, etc. and can't leave everything set up all the time.
  15. I would also go for the glassless negative carrier and mask for the condensor. One problem I had with the M 600 was dust on the glass surfaces which resulted in a lot of print spotting. If you can get the original parts for this I would do that since in my experience they held the film pretty flat so that prints could be sharp from corner to corner, and also got rid of a lot of the dust problem. Compressed air, either in a can or from a compressor with filtered air will also help with getting rid of dust. Beware of cheap compressors that can put out oil along with the air.
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