jmg1911

<p>Have you checked the mirror and the mirror stop? If either has come adrift, focus will be erratic.<br />Just a thought.<br />JMG</p>

<p>Paul's essay bears study. There is a lot there, both on and between the lines.<br>

Still, I can't resist one last shot concerning a point that many of the respondents perhaps took for granted: Get out from behind the camera! The model looks at the camera because you are supposedly in charge and you are behind the camera peering through the viewfinder. At the very least get the camera off your face and onto a tripod until things start popping. Even then, keep out from behind it as much as posible. Focus, Frame, Pop up and direct, Duck back and shoot. Get a looong cable release, or better yet, an electric release and get out where you and the model can make contact as actual people. Very few of us ever establish rapport with a camera and most of us that do are not very photogenic.</p>

<p>People, whether models or not, don't like to look at space. Space is nothing, boring, isolating. Just give the poor thing something or someone to look at. You are there and presumably mobile. Have her look at you and mirror or otherwise try to inspire the kind of expression you are after. Give her something to do even if it is just scratching her nose. Then shoot the transitions.<br>

But first, like Doug said, establish rapport. Rapport is not established by minute direction of body parts, but by the type of conversation Mr Grosjean talks about. I dare say he knows whereof he speaks.<br>

Good Luck<br>

JMG</p>

<p> </p>

<p>While I hate to discourage anyone from trying film, I really don't think you are going to be happy with any flat-bed scans. Here in the states I am lucky enough to be reasonably near a lab the supplies excellent scans at time of processing for a reasonable fee. Perhaps there is something similar within reach of post for you.<br>

As for depth of field, optics is optics, so there are no new difficulties there. (See a recent thread in, I think, the MF forum and the comments of Q G Debakker) Film has many virtues. I, for one, hope you make the effort if your chances of sucess are reasonable.<br>

And you need not apologize for your English. I wish I wrote a second language half so well.</p>

<p>Take a good look at the Tokina 11-16 AT-X Pro. It is fast (f2.8) and sharp. I love mine. Build quality is quite good and did I mention it is sharp. I think I paid about $500 for it. a bargain.</p>

<p>Very nice work - and not just two or three but 1025. One seldom sees a portfolio as consistantly gorgeous.</p>

<p>Hyperfocal settings are a way of getting "acceptable" sharpness. To get maximum sharpness, use the setting recommended in the table for the next wider aperture. one-and-a-half or two steps is not a bad ides. For example, if you are shooting at f/11, try the hyperfocal settings for f/8 and f/5.6 and see which meets your expectations.<br>

Have fun.</p>

<p>Re the suggestion to send it to Harry Fleenor - He currently has my 2.8F and reports he cannot repair the meter because "parts are not available." So it is probably a good idea to contact him before shipping off your camera. N.B. I have the greatest respet for Mr Fleenor and his work. No criticism is intended. My camera's problems may be entirely different.</p>

<p>When I had a wet darkroom I printed everything on glossy paper and dried them on fiberglas screens. Been doing this ever since Varigam BT was discontinued. <br>

Now I am looking for an inkjet paper to reproduce this effect. Any sugestions?</p>

<p>I have an ulterior motive, I guess, but I have to mention the Horseman 980 with a 6x7 rollfilm back that I currently have for sale. It is a Baby Linhof clone with extensive movements. I suggest you google it and see what you think. If you are interested, shoot me a query. Glad to discuss it, deal or no deal.</p>

<p>I have a D90 on the way and noticed Amazon has a whole page full of guides for same. What is your experience with such? Useful? Waste of time? Whose is "best"? How come?<br>

In my case, I am at home with film cameras, but I'm getting on, as they say. It seemed like time to bite the digital bullet for autofocus, if nothing else.<br>

Thanks for your insights.</p>

<p>And Tempe Camera on University.</p>

<p>Thanks, Q. G. ! I figured you would know.<br>

Jim</p>

<p>Double and redouble what was said about for-profit "colleges."<br>

FWIW, the D90 has two control wheels, which allows you to control aperture and shutterspeed directly and with no fiddling. The D5000 has only one wheel, so it is much slower and fiddely (sp?). D90 ergonamics are outstanding.</p>

<p>I have two Hasselblad left hand flash brackets. One fits my 503CX and uses a totally internal mechanical linkage to the shutter release (NO cable release). The center of the attatching screw in approx .960in from the bolster that limits how far it slides on the camera. That's just for comparison. The real subject of my question uses a cable release to activate an internal mechanism that, in turn, presses the shutter release. It does not fit my 503CX because the distance from the bolster to the screw center is more like .560in. So the question is: What does this one fit?<br>

Many thanks for any help. I bought it not knowing there were different fits and I can't very well resell it if I don't know what it is.</p>

<p>Nikon D90 with kit lens if you can hack it. D5000 if you can't. Canon surely has equivalents, but I have no experience with them. You will be a long, long time outgrowing a D90.<br>

Good luck!<br>

Jim</p>

<p>It does look to be in good shape overall, but it is by no means "Mint" in anybody's lexicon. Note the paint loss at 2 o'clock on the escutcheopn under the film advance crank. This is a good indication the camea has been through a <strong>lot</strong> of film. That doesn't mean it isn't sound, but it sure ain't mint.<br>

Like Mike says, I would want assurance the shutter and wind mechanisms are functioning to spec or at least okay. What is the seller's return policy?</p>

<p>Collectible Cameras has one that appears to be NOS in the box.</p>

<p>Ian -<br>

It's hard to tell on a posting this size, but I think you should be able to expect more than shown here. What size scan is your local lab providing? And did you you apply any kind of sharpening before you posted?<br>

I can say this much, I think: North Coast Photographic Services (NCPS) premium scans satisfy me if I do my part.<br>

Are you in the US?<br>

Regards, JMG</p>

<p>John -<br>

I totally understand your painting critic and the painter. After his one-word critique, all the learned elaboration in the world just boils down to rationalization.<br>

Jim</p>

<p>Thanks everyone! Going out tomorrow to check out the wonderfulness of it all. I even have filters bought for a Kiev 4a. Jim</p>

<p>Messed up posting the photo. Here 'tis.</p><div></div>

<p>Just got this Horseman 980 complete with GG and rollfilm back and have it mostly figured out with 2 glaring exceptions.<br>

1. What in the world does that knob on the left side of the front standard do? It is just about in the center of the attached picture. It is very stiff or maybe just overtightened and I am a little leery of messing with it until I have a better idea what I am doing.<br>

2. Loading the rollfilm back, how far do I wind on before closing the back? Surely something lines up with something, so far I don't get it.<br>

Thanks much for any help. This is one time good old Butkus wasn't much help. His 095 manual is more of a what than a how-to.</p>

<p>I respectfuly disagree with almost everything advised above. To my mind, 35mm is not the place to start in photography, it is a place to graduate to. Yes, I know Photography 101 will invariably require "a manual 35mm SLR." Well, you already have one - and a pretty good one at that. I think one reason the course requires 35mm is that every little mistake shows up in that format. It makes the instructor's job easier.<br>

In the meantime, you can be developing your eye and putting some of your peer's eyes out with gorgeous prints from your new MF rig. Add a bellows or a couple of extension tubes and you are set for the macro you expressed an interest in.<br>

Get the MF setup and you have the best of everything -a fine digital outfit for when that is indicated, a fine film outfit for the times digital won't do, and a tough old SLR to take to class.<br>

All the above is predicated on my assumption based on your curriculum that you will be doing a lot of black and white work. It this is wrong, I still like MF, but not as vehemently.<br>

In anycase, lot's of luck with your studies, whichever way you go.</p>

<p>I just moved up to a 2.8F so I have a MX-EVS (first model) for sale. Krikor went over it last summer and installed a bright screen. Everything works except the self-timer and cosmetically it is pretty good. Comes with a "Neverready" case (worn, but useable) orange filter and 2 very nice rolleinars, 1 and 2. $300 for the kit plus shipping (I would be glad to check the cost whichever way you wish). Keh is good, too. If interested, leave me a message. Jim</p>