rajmohan.

After a long hiatus from this site, I am back :). Great to see all the familiar names, and a few new ones, with a range of wonderful images! Here are a few from a Robot Royal mod III and Fuji C200 film.

Nice write-up, Ben. I love my F2SB, so much so that when an opportunity came along to buy another F2 (AS this time), I took it. Superbly built cameras.

I am also fond of the 50mm focal length. The M3 finder is superb, and the camera is beautifully made. I have tried the M6 a couple of times, but didn't like the finder and framelines. My only metered M is an M5, which has a good (but not as good as the M3) finder, and a superb match needle metering display and shutter speed wheel overhanging the front of the camera. The metering arm is supposedly a point of weakness on these cameras and they have their detractors, but they are relatively cheap (cheaper than the M3), very well built, and (in my opinion) great to handle. And since you like architecture, should you ever decide to get a wider lens, the M5 finder will accommodate 35mm.

My apologies, everyone for not responding since my last post a few weeks ago - swamped with work and other commitments. Thank you to everyone (Rick, JDM, Bill, Mike. Glen, Julio, Ben, Raghu and Wouter), who added comments and information since my last post. All of this is very helpful information (which I have carefully stored) for when I do manage to extricate myself from my work responsibilities and am able to start developing. Thanks again for all your generous and helpful advice! Raj

I'm frustrated with the focusing screen on my 5DIII for use with legacy manual focus lenses. I understand that the standard focus screen can be replaced with a split image focusing screen, and I've found some resources demonstrating/describing how to do this. But I'm loath to do it myself for fear of damaging the camera or misaligning the placement of the screen. Has anyone had this done on their 5D3 camera? Do you have recommendations for repair places (in the US, preferably) who do this well? With the split-image focus screen in place, does AF still work, are all AF points still visible and useable? Thank you for your help!

Steve said: "My choice of film, developer, lighting, the ISO I choose to shoot at, exposure, lens and format choice, where the camera is placed, etc all dictate what the image will look like. Then, how will I print it? Add contrast, take it down, print it with filters, toning, choices of exposure and paper" Agreed. Furthermore, in the digital setting, the output 'straight-out-of-camera' is also subject to the vagaries of the camera's processing engine (if shooting JPGs) or the algorithms of post-processing software (if shooting RAW). So whether shooting film or digital, the image has been transformed in some way from the moment the photons approached the film/sensor to the final image. When dealing with factual documentation (eg photojournalism), I feel that any further manipulation should be kept to a minimum to keep the final result as 'straight' as possible. But for photography for many other purposes, I don't see any need to keep things 'straight'. I don't like heavily processed images, but that's just me - everyone has their own preferences and tastes, so live and let live!

Hope everyone's having a great weekend!!! A few from a Voigtlaender Prominent with 50mm f2 Ultron and Ektar

Thank you, Wouter. These are not the best compositions - just quick out-the-window tests. Nevertheless, at first I thought that it was just the typical old wide-angle peripheral softness at wider apertures, but it should perform much better stopped down than it does. I'll contact the dealer and see what they can do. Thanks again.

Hi folks, My newly acquired Nikkor 20mm f3.5 UD Ai shows good center sharpness but both sides are quite soft from f/3.5 to f/8. Only at f/11 do the edges get better. From my reading, this lens is optimized for center sharpness with some corner softness, but as you can see in the example images (2 images, shot at f/3.5, f/5.6, f/8 and f/11), the softness is very pronounced. Have any of you encountered this with this lens? The return period has expired, but it is under warranty. Should I send it back for warranty repair, or is this performance typical of this lens? Thanks very much!

A few from a Fujica GM670 / Fujinon 100mm f3.5 / Ilford Pan F 50

What a great and diverse set of cameras! I have a 3-day weekend, and hope to stretch the legs of a few cameras, weather and energy permitting - Mamiya Six folder (TMax 400), Yashica FX3 + Contax 50mm f1.7 (TMax 400), Minolta Autocord (Provia or TMax, yet to be decided), Rolleiflex Old Standard (TMax 400)

Thank you, Neil. I managed to find a way to make the Graflok backs work on the Norma.

I apologize if this question has been asked before; the search function in the forums yielded no results. I have a Calumet C2 roll film back for 4x5 which is not working. The film counter is at 7, and when I press the little knob to release the film winding knob (which should then turn freely), it is not movable. An inspection of the outside and inside of the back reveals no obvious issues. Before I open it up and perhaps damage it irreparably, I'd like to ask if anyone has encountered this problem, and if there is a simple fix. Thank you very much, Raj

Joe and Bob - thank you. I'll examine the camera more closely when I get the chance and look for the points you mention.

No worries - thank you.

Hi Greg, it would help to know what sort of ballpark figure you were after. I might be interested in the 105. Thanks!

Hello LF photographers, I'm considering acquiring a Sinar Norma 4x5 camera, and have been trying to find which (if any) models of 120 roll film backs it will accommodate. I've read that some of the early Normas did not have a standard back, and therefore would not accept roll film backs without modification. Many thanks, Raj

I'm afraid I can't help resolve your issue, Anthony, but you have my sympathies. I would be most unhappy if this occurred - I hope that someone here has a simple solution. As an aside, perhaps the lens is best stored vertically, out of the leather case (to avoid humidity/acidity issues that contents of leather cases may suffer).

Thanks, JDM. I'll sacrifice a cheap roll for several rounds of practice before loading the reel (!!) thing. Thanks to everyone's very helpful comments, I have a roadmap. The only point about which I'm undecided is the developer. It sounds like you all have your favourite(s), at which you arrived no doubt after much experimentation and experience. I'll have to select one based on shelf life, simplicity of use (minimal dissolving/mixing/dilution steps) and forgiveness/latitude with respect to temperature and other small errors on my part. I have some reading to do! Lastly, Bill mentioned the Photographers Formulary as a source of supplies. Is this the supplier everyone (in the US) uses? Are there other recommended options? Thanks again, Raj

Thank you, Raghu, for the information.

Don and Glen - thank you for providing me with more food for thought! I think the first decision for me is the chemistry with which I should start - I'll do a little more reading about all of the suggestions here: Pyrocat HD, Rodinal, D76 (x2), Ilfosol, and Diafine. My current lab uses D76, and the results are pretty good, but I've been seduced by the tonality of some of the images I've seen here that were processed with Pyrocat. I'll do some more research before selecting one. Thanks again, everyone :)

Bill, Bert, Charles, Chuck and Gary - thank you very much for the detailed information, suggestions and (most of all!) support!! I feel much better about wading into these uncharted waters. Once I digest all of this information, I hope you won't mind if I come up with a few more (likely very basic) questions. Thanks again, Raj

Hello CMC members, I've seen a lot of fine film images here, most of which were processed by you. I am thinking of dipping my toe into film processing, but am nervous about royally screwing it up - so I'd be grateful if I could seek your advice with regard to a few points: 1. I'm buying a plastic Paterson tank and a stainless steel tank to try them out and see which suits me better. From my reading, people seem evenly divided between the two. Any advice or recommendations? 2. There seems to be a bewildering range of chemistry for BW - what do you use, and why? And for a total newbie like myself, what would be a simple regimen to start with? I've read that Diafine is forgiving in terms of temperature, but are there any downsides to it? Are there better/simpler options? I figure that given the steep learning curve at the beginning, my criteria for success in the initial rolls are just to get decently developed negatives without streaks or blobs. 3. I have a very small workspace - is this a limiting factor? 4. I suppose that in addition to the reels, I'll need a changing bag and the developing chemicals. Anything else I will need? 5. Are there any links, articles or books that you've found helpful when starting out with film processing? Thanks in advance for any help or recommendations you might be able to offer. Raj

Hi Jim, I'm interested - may I message you? Thanks, Raj

Thanks, Mike. I'll let higher powers decide for me - if I manage to secure the camera, I'll use the helpful info from this thread! :)