carlos_prado2

<p>Hello</p> <p>I'm getting back into processing my own film after many years and would like to hear some suggestions on what is the best darkroom film processing notebook I can purchase for writing down all my: times, temps, dilutions, etc...</p> <p>Thank you all in advance,</p> <p>Carlos</p>

<p>Hello</p> <p>I am using my Microtek i900 to scan my negatives and make contact sheets.</p> <p>Its a real pain to place each strip of film, individually, on the scanner in order to scan the whole roll together and make a contact sheet.</p> <p>I was hoping someone has solved this problem and knows of some clear archival storage pages that fit on the 8x10 scanning area of my scanner and will allow me to make contact sheet of entire roll of film.</p> <p>Thank you very much in advance,</p> <p>carlos</p> <p> </p>

<p>Hello</p> I recently purchased an Hy6 camera that came with a Xenotar 80mm PQS lens. Before buying the Hy6, I shot with an Exakta66 and 80mm Xenotar years ago, and fell in love with the results. The Xenotar produced neutral tones with beautiful Bokeh. So, when I finally had the money to get the Hy6, I thought I was getting my dream camera. Unfortunately, the PQS lens is not rendering the same way. 1) It seems to be cooler 2) It's really contrasty. (I think these modern coatings the give us “pop”, might be just marketing junk.) I was thinking of getting the older: Xenotar 80mm PQ, in order to reclaim some of the qualities I loved about the Xenotar on my EXAKTA66. (I'm assuming the PQ has the older coatings.) Is this the way to go? Is there a better and cheaper route to get what I want? Thanks,

<p>David</p> <p>The V500 has a transparency scan area for large negatives?</p> <p>I so, what is the biggest negative I can scan?</p> <p>Thanks,</p> <p>Carlos</p> <p> </p>

<p>Hello</p> <p>I have a very small home office that is already packed with photo equipment.</p> <p>I would like to get a scanner for making my own digital contact sheets for my 120 PORTRA film negatives.</p> <p>I was hoping to get some suggestions on small scanners that will allow me to scan my 120 film and make contact sheets.</p> <p>I usually cut my 120 film in to 4 strips of 3-frames each. then I place them in archival pages.</p> <p>thanks,</p> <p>Carlos</p>

<p>Yes, I tried transparency, negative, color, etc...</p> <p>I still only get a black and white contact. </p> <p>Can you please tell me what settings I should be using with VUESCAN?</p>

<p>Hello</p> <p>I own an all-in-one that has a scanner. </p> <p>I would like to make contact sheets with it, but its only for reflective.</p> <p>However, I read this article and tried to recreate the results:</p> <p>http://www.shutterbug.com/content/making-digital-contact-sheets-negatives-hybrid-solution-filmdigital-photographer#pdFk5I5B7vgP001o.97</p> <p>I got as far as making B&W contact sheets from my C-41 film. Unfortunately, I cannot get the color information.</p> <p>I am using VUESCAN and tried everything I can think of.</p> <p>I could really use some help.</p> <p>Thanks,</p> <p>Carlos</p>

<p>watson</p> <p>Im looking at the university site. Can you tell me which pages will fit the "sleeved" strips?</p> <p>Also, you seem well informed. Maybe you can help me with another issue. I recently started shooting film again. I sent my C-41 120 negs to North Coast Photographic Services. After some research they seemed like a good choice. Unfortunately, my negs came back with water stains, or chemical stains.</p> <p>Would you kindly suggest a "dip and dunk" lab that does exceptional work?</p> <p>Thanks,</p> <p>Carlos</p>

<p>Hello</p> <p>I cut my 120mm 6x6 color negatives into strips of 3-frames each.</p> <p>I do his because I scan the film and this arrangement is the best for my particular scanner.</p> <p>I also get the film back from the lab, sleeved , but uncut.</p> <p>I cut the film myself into the strips of 3-frames, but I do not remove the sleeve they came in.</p> <p>I would like to find some archival, binder pages, that allow me to store my "sleeved" strips of 3-frames, in them.</p> <p>However, I cannot find archival pages that accept sleeved film, that is cut into strips or 3-frames.</p> <p>I would really love it if someone here might be able to help me out.</p> <p>Thank you in advance,</p> <p>Carlos</p>

<p>Hi everyone,</p> <p>I need a suggestion for a small and cheap flatbed scanner I can use for making contact sheets.</p> <p>I am currently shooing 120 PORTRA and the lab sends me the film processed, but uncut or without contact sheets.</p> <p>they charge too much for them.</p> <p>I would rather do it myself, but don't want to spend a great deal for a scanner that will only be used for contact sheets.</p> <p>I also don't have much room left in my office.</p> <p>I could really use some suggestions,</p> <p>Thanks everyone in advance,</p> <p>Carlos</p>

<p>Hello</p> <p>I just purchased a Flextight Precision II scanner and am planning on connecting it to a 64-bit WIN 7 machine. I noticed some posts on this thread that lead me to believe it can be done. </p> <p>However, this thread is a few years old, and I was hoping that the original contributors might be able to offer any new tips or insights?</p> <p>Thanks so much,</p> <p>Carlos</p>

<p>Hello</p> <p>I am hand rolling my own film using the AP- Bobinquick 135 bulk loader.</p> <p>After processing, I cut my film into strips of 5-frames each and place the strips into pages that hold five of the cut strips. So, each page holds a total of 30 frames, max.</p> <p>My question is, what should the length of the front and rear "leaders" be, and what should I set the frame counter to - on my Bobinquick - in order to get exactly "30 FRAMES" from each roll?</p> <p>Please see attached image.</p> <p>(by the way, I am using a LEICA M4, if that makes a difference.)</p><div></div>

<p>Ok, If I cannot use "Camera Profiles" on my scanned RAW images - which I understand are not really RAW images - what can I do to get better color accuracy?</p> <p>I can use a Whibal card for the "white balance" correction. I thinks that pretty easy to do in ACR.</p> <p>However, I still don't know how to use the "black" and "white" portions of the card to correct "color balance" in Photoshop. (unless this can also be done in ACR)</p> <p>The person that taught me color printing explained that if I get the "whites" and "blacks" neutralized in an image, that pretty much takes care of 99% of the color issues in an image.</p> <p>So, can anyone tell me how to use the Whibal card to achieve this with "Slide Film" that has been scanned?</p> <p>For example, do I take a shot of a Whibal card at the beginning of each roll? But then, how do I use it for all images?</p> <p> </p>

<p>How do I open it in ACR once I convert to smart object?</p>

<p>Yes, you are correct.</p> <p>And yet, I read a forum post, some time ago, discussing a work-around.</p> <p>I cannot find that post and am hoping someone on this forum can help.</p>

<p>Hello</p> <p>I am making RAW scans from my Konica Minolta 5400 scanner using VUESCAN.</p> <p>I also took a photo of the "Colorchecker Passport" with my camera/film combination. (it is slide film by the way.)</p> <p>I then used the Colorchecker Passport EDITOR to make a PROFILE. </p> <p>I then opened my RAW scan with ADOBE CAMERA RAW and tried to apply the profile.</p> <p>Unfortunately, the profile does not show up.</p> <p>1) yes, profile was placed in the right location. I am using a MAC.<br> 2) I tried converting my RAW file into a DNG and then re-opening it in ACR. Profile still does not show up.</p> <p>I am in desperately in need of some help, because I know this can be done.</p> <p>I thank you all in advance for your help.</p> <p>Carlos</p> <p> </p>

<p>Hi everyone,</p> <p>Can anyone please tell me where I might look, aside from Ebay, to buy an IMACON 646?</p> <p>Also, can you tell me what I should expect to pay for one in good condition?</p> <p>lastly, are there any repair services still available for these scanners?</p> <p>Thank you,</p> <p>Nestor</p> <p> </p>

<p>Larry</p> <p>I won't process it myself. ill send out to be processed at a PRO-lab, and ill ask them to pull-process it by (-1 stop)<br> Ill probably have the same lab scan it.</p> <p>However, I have not shot the film yet and only have two rolls. That is why I wanted to get as much info as possible.</p> <p>Actually Larry, I'm so glad to hear you are in communication with the folks that sell "RETROCHROME 320". You are exactly the resource i am looking for.</p> <p>Can you ask them the questions you posed me?</p> <p>Also, can you ask them if they think the film can remain stable in mu fridge for a while?</p> <p>Lastly, can they tell us if they are experiencing variations with different batches, or are most rolls of film they are selling producing consistent results?</p> <p>Thanks again,</p> <p>Carlos</p> <p> </p>

<p>Hello</p> <p>I am accustomed to shooting Tri-X 400 at "ASA 100", and then "pull processing". I basically underdeveloped it by 2-stops and I get less contrast and SMALLE GRAIN.</p> <p>Recently, I purchased some of this film:</p> <p><a href="http://filmphotographyproject.com/store/35mm-chrome-fpp-retrochrome-high-speed-320-1-roll">35mm Chrome - FPP RetroChrome High Speed 320 (1 Roll) | Film Photography Project</a></p> <p>Its an old color slide film that has an interesting look to it.</p> <p>Unfortunately, it is EXTREMELY grainy. </p> <p>I was wondering, if I shoot it at 200 ASA and then pull-process it by 1-STOP, will the grain be reduced?</p> <p>Also, since it is a "COLOR SLIDE" film, will the color shift? (will it get "warmer" or "cooler"?)</p> <p>Thanks everyone in advance, I can really use some help with this issue.</p> <p>Carlos</p> <p> </p>

<p>Hi everyone,</p> <p>These are the monitors I can afford:</p> <p>1) LG 31MU97-B 31" Digital Cinema Widescreen LED Backlit IPS 4K<br> 2) BenQ BL3201PH 32" 4K IPS Monitor<br> 3) ASUS PA328Q 32" 4K/UHD 3840x2160 IPS</p> <p>I would love to know which is the best for Photo Editing.</p> <p>Thank you all in advance,</p> <p>Carlos</p>

<p>Hello</p> <p>I purchased some bulk "COLOR FILM" and need suggestions on what is the best, "daylight" bulk film loader?</p> <p>Also, I could use opinions on "film canisters" as well.</p> <p>Thanks everyone in advance,</p> <p>Carlos</p>

<p>thank you,</p> <p>can someone put these brands in order of quality choice:<br> HOYA, B+W, Heliopan?</p>

<p>Edward</p> <p>I am shooting film, more specifically PROVIA 100F.</p> <p>I would like to use the "81A filter" to warm it up a bit.</p> <p>As I mentioned earlier, when i contacted HOYA, they explained that their "warming filters" did not have the latest tech: anti-static, great transmission, super hard surfaces, etc..</p> <p>I would like to find a brand that HAS updated their "warming filters".</p> <p>And yeah, I definitely want an "81A filter" that also helps with haze, is that possible?</p> <p>Thanks,,</p>

<p>Hello</p> <p>I recently purchased a top-of-the-line HOYA UV filter that has everything from incredible transmission and scratch-proof surfaces, to an "anti-static" coating. I am really happy with it and the technology seems to be pretty amazing.</p> <p>Unfortunately, when I contacted them looking for an "81A Warming Filter" with the same latest technology, i was very disappointed to discover they don't incorporate all their best tech into the warming filters.</p> <p>So, I was hoping someone might be able to point out a brand that makes 81A Warming filters that have been updated to the latest technology available today.<br> In other words, who makes the best 81A Filters?</p> <p>Thank you all in advance,</p> <p>Carlos</p>

<p>Hello</p> <p>Can someone please suggest a "small" or "compact" flash capable of "High Speed Sync" for my LEICA R9?</p> <p>Thanks so much in advance.</p>