johncox

<p>I have a Jupiter 12 I intend to use on my Nikon S2. There's some dirt on the rear element, should I leave that alone, or am I safe to clean it gently?<br> From my initial look at the lens I dislike the aperture adjustment. Is there a way of making it a bit easier? -adding a couple filers or something? Also, are there any quirks to these lenses?<br> Thanks in advance,<br> John Cox</p>

<p>I'd like to try this film out, I would rather use the developer I have on hand (TMAX), possibly stand developing. Would I get decent results without using Adotech II and how viable is it to shoot it at box speed on bright days.</p>

<p>Looks a bit like TXP.</p>

<p>Pretty much every camera apparel company out there makes a "messenger bag". There priced decently and look like they would carry what you need. I think B&H has the Lowepro at around $50</p>

<p>It's worth pointing out, if the meter is out of whack, using an ND filter is not going to be of any benefit.</p>

<p>I have a Bessa R2 and love the thing, but of the two options I would recommend the Agfa. If you can get onto eBay some how look at a Canon P. It's a rangefinder in Leica screw mount with a viewfinder and parallax focusing. Everything you could wan't other than a light meter. There a few up there in your budget right now (minus lens).<br> Keep in mind that you won't have to scan entire rolls with the Agfa if you use slide film. because of the large size you can do proofing just by looking at the positive.</p>

<p>I may soon acquire a Nikon S2 but would need a lens. I have 2 Kiev 50's One of which came with a Kiev 4a. I know they will mount on the Nikon but I'm unsure if the back/front focus make them unusable. They are a 50 2.0(jupiter 8) and a 53 f1.8. I don't need something perfect, as I would probably buy a Voigtlander SC 50 2.5 if I liked the camera. <br> My main method of shooting is zone focus (I usually try and get everything in focus using and F stop of around f 11). I would also like to know if that would be affected also. </p> <p>Thanks in advance,<br> John</p>

<p>This looks great! Is TMAX a compensating developer? <br> Would it be better to do this with TMAX RS?</p>

<p>I guess I see the Leica as a (financial) investment. I can more easily justify spending the CLA money on an investment that will gain value. The Voigtlander doesn't look like it will do that. The lens is more of a toy that I don't really need, but I would like to put the money into this passion. <br> For what its worth I may just increase my stockpile of film.</p>

<p>Thanks for all the replies. I should have mentioned this is more of a GAS thread.</p> <p>The Voigtlander does work but has a broken rewind lever. I can still rewind but ascetically its not pleasing. I know this would be a repair and not a CLA but its something i group into the cost.</p> <p>I use a Da Yi 6x12 camera regularly so I have experience without a built in meter and a very nice handheld meter for times when i need it.</p> <p>The lens I was looking at was either the screw mount Voigtlander 50 1.5 (used) or a color Skopar 35 2.5 (used). I'd like 35 frame lines down the road but currently only own 40mm and 50mm lenses. The lens I do the most with is a Canon 50 1.4 LTM.</p> <p>I should point out that I owned and M4-P at one point and have always regretted selling it.</p>

<p>I have been using a Voigtlander R2 Olive for a while and it does everything I need. I have an income tax check coming and I'm trying to decide whether I wan't to get it CLA'd and maybe buy a lens. I feel this may not be worth it because the cost of a CLA is about the same as a buying another Voigtlander.</p> <p>The other option is to buy a camera that has more value like an M2 or M4-p and not feel as hesitant when it comes to CLAs.</p> <p>I guess what I'm trying to figure out is, would a Voigtlander R2 have enough value to justify regular CLAs and maintenance. Or should I graduate to a Lieca.</p>

<p>You could also look at the hartblei super rotator. (http://www.hartblei.com/lenses/lens_45mm.htm). It's a tilt shift 45mm that can be adapted to several MF mounts if you buy it in Kiev mount or used in Mamiya mount if you buy it native.</p>

<p>From a few days ago in Toronto.<img src="http://www.theworldexposed.com/wp-content/uploads/2015/03/Da-Yi347.jpg" alt="" width="640" height="314" /><br> Da Yi 6x12 with Schneider SA 65mm 5.6 MC, ilford Hp5 in TMAX developer.</p>

<p>The Massive Dev chart has that film and developer combination listed at 5-6 minutes at a 1+4 dilution. Unless you wanted less contrast and or less speed you would want to increase time at a dilution of 1+6.</p>

<p><em>I didn't know what forum to put this in, if there's a better place pleased move this there.</em></p> <p>Right now I'm shooting film with a 6x12 medium format and some Leica bodies. I also have a nex 5r that doesn't cut it for digital. <br> I'm selling the 6x12 and upgrading either the 19 2.8 on the NEX or just getting a A7II and using my Leica glass. </p> <p>So this is where I wan't ideas. Do I get a better lens (say a samyang 35 1.4) and an EVF or do I get an A7II and use my leica 50?</p> <p>The reasons I dislike the NEX isthe lack of EVF and poor autofocus (with MF lenses Zone focusing makes life easy). <br> For the lens to be functional to me it has to be wider than 50mm and my widest Leica is a 50 1.4. </p> <p>Thanks in advance.</p>

<p>You need a lens, a 120 back, possibly a viewfinder and; possibly a grip unless you intend to use a tripod (you may need a tripod). There's no reason to have both the Pro S and the Pro SD there both different iterations of the same camera. I would sell or return the Pro S. <br> I would recommend a 90 or 127 lens to start out. You could get by with a 220 back but finding film for it is very difficult. </p>

<p>Lots of pictures here http://www.flickriver.com/search/kodalith+ortho/<br> Most made with expired film.</p>

<p>Hey, I just realized if your in Japan. Check the yahoo.jp classifieds, they have a larger user base than eBay over there.</p>

<p>I don't have a digital M, but I have auto ISO on my Sony. I set a minimum aperture (and use Aperture priority) and then let the camera choose a shutter speed (The camera sets the shutter speed by changing the ISO). Most of the time I'm using the zone system so I can tell what aperture I'll need, as long as the shutter is above 1/125 I feel like I'm fine. <br> When I upgraded my D700 a few years ago gaining auto ISO was not a feature I was expecting to be a big deal. It turns out it was, it's now almost a deal breaker if the camera doesn't have it.<br> This works well for me because I do mostly B&W, so I do have to worry about colour noise at high ISOs.</p>

<blockquote> <p>The Pentax 645 might be the way to go, as I would be able to use the same lenses with the Pentax 67 if I decided to get that later..<br /><br /><br />As for scanning negatives with a digital camera, I think I understand the process, but doesn't that defeat the purpose of shooting in Medium Format in the first place? I mean, won't the image quality and resolution be defined by whatever digital camera you use to "scan" the negative then? Sorry if I'm totally misunderstanding this >< lol</p> </blockquote> <p>That is the main issue I think, although I know it's possible to do multiple shots and stitch them.</p>

<p>You can scan negatives with a digital camera. You will need need some way of illuminating them. I believe some people use phones however I don't really know much about the process. You would need a macro lens/option with the digital camera if you were to do this. It's not likely that your home scanner can scan medium format negatives.<br> As far as the wet process goes, anything done to the negative can be done without a darkroom more or less. You'll use a black bag, chemistry, and a developing tank. Anything done to the print will be done in a dark room, as you would need an enlarger. -That's a bit simplified but will get you through this stage.</p>

<p>I would recommend an RB67 from KEH. There are pentax 67 (not II's) for well within your price range but in my opinion the RB67 is a more easily repaired camera (Something not everyone takes into consideration). The Pentax bodies, and the RZ as well as the fuji rangefinder and bronica GS-1's are all in some way electronic. So if a circuit board goes the whole thing needs to be scraped. a completely mechanical camera can be made to work for decades or centuries with very few replacement parts and those easily fabricated (3d printed).<br> Food for thought.</p>

<p>Thanks, that helps a lot. I'll start bracketing at +/- 1 stop at 200 and subtract a minute from dev time to lower contrast (the massive dev chart has this film at 7-8 minutes so I think I'm fine at 6).<br> I'll post results when I the film shows up.</p>

<p>I've settled on Foma 400 (Freestyle branded) for a film to try out and I could use some help with the correct EI and developing times to start at.<br> I want to get images like this; with a less grain and slightly less contrast. I'm using a 6x12 Da Yi panorama camera so I'm not too worried about the grain. I'm planing on pulling the film to get the contrast I want, but should I start at 250 or 200? I'll probably start in TMAX developer since I have a lot of that.<br> Thanks in advance,<br> John</p>

<p>I assume you have a Pentax 67. It would help a bit to know if it was a 67 or a 67II. The cheapest 67 screen I could find was on he B&H used section for $60. There are a few 67II screens on eBay for about the same.</p>