nick_sandin

<p>Thanks very much for the detailed response. That's some great general knowledge, in addition to being quite helpful in this instance!</p> <p>When I get home today, I'll have to double check, but I think the E-6 kit that I have (made by Tetenal) does have a formaldehyde stabilizer. At least it smells like it... But good to know that I'm safe with my more frequently used C-41 stabilizer. </p>

<p>Hello All,</p> <p>I have been developing film at home for quite some time now with pretty good success. I started off just doing B&W in a Paterson tank, and all that time I just did the final rinse in LFN-treated water in the tank. </p> <p>A few months ago I acquired a Jobo processor and began developing color film at home. In all the literature that accompanied the color chemicals (E6 and C41), there were strong cautions to avoid exposing the stabilizer to the developing tank/reels to avoid contamination. So with the color chemicals I started doing the final rinse (stabilizer) in a separate container. I fill a shallow Tupperware container with the stabilizer and drape the film in a U shape and run it back and forth through the stabilizer. <br />My main issue with this method is that it is time consuming and awkward. It is also difficult to do this without dragging the film along the container and possibly scratching the film.</p> <p>So with all that said, my question is, is stabilizer or LFN really bad for the plastics of the tanks/reels? If it is, what method do you use to rinse your film in the final solutions.</p> <p>Any input would be appreciated!</p>

<p>I agree with what everyone else has said, go for lower contrast and add contrast to taste in post.<br> <br /> As an additional thought, I have found that stand development is particularly effective for scanning. Plenty of info on this method can be found online, and there are some gotchas to look out for such as the halos that form around points of light. But overall I am typically very happy using this method with TMax 100 when shooting high contrast scenes on 35mm and 120. I use Rodinal 1:100 and agitate normally for the first 4 minutes, then let stand for 30 minutes, agitate once more and stand for another 30 using a Paterson tank and rotary agitation.<br> <br /> To really get the most out of your negatives, use a software which allows multiple scans. This acts as a kind of "HDR" aggregate, so you can extract the detail out of the entire range of densities. I use silverfast as supplied with my Epson v850, but I know many other software packages also offer this capability.</p>

Thanks Helen! I sent you an email.

<p>Hello All,<br> I have been looking in to the Pentax system for my primary digital system. I'm primarily considering the K3II, but if the differences between the K3 and the K3II are negligible, then I may go with the older body. <br> I am wondering if anyone knows, from real world experience, if the K3II is really that much of an upgrade from the original. I know that the multi-shot high resolution mode is not of much interest to me. The GPS would be nice, and the astro-tracer feature might be cool as well, but they wouldn't be worth the higher price if the body didn't perform better in other areas as well. My main area of concern is the autofocus. If this was improved in any significant way in the K3II, then I would want to go with that camera.<br> Any feedback on the choice between these two would be greatly appreciated.<br> I'd also like to hear what you all think would be a good set of lenses to start with. I'm thinking about the Rokinon 10mm, Pentax 35mm f/2.8, Pentax 18-135mm, and Pentax 55-300mm.<br> Thanks!</p>

<p>Hello All,<br> I have a Sekonic L-778 that I picked up used from Adorama a couple of months ago. I almost returned it immediately because the viewfinder LCD was messed up, the lower row of LCDs wouldn't come on. However, after having power on for a few minutes, those LCDs came to life and it started functioning normally.<br> Just recently, the bottom row of viewfinder LCDs has been cutting out again. Also, the meter makes a relatively loud hissing noise whenever it is turned on - especially in colder environments. It has done this since I got it, and at first I figured it was normal, but I am starting to worry that there is something close to letting loose internally.<br> I just want to know if these issues are just common quirks associated with this meter, or if this is something I should worry about. If this one is about to give up the ghost, I need to start keeping my eye out for another one, as they seem to be getting kind of rare (for a decent price anyways), and I really love this meter!</p>

You have some fine options there! I can tell you that whether you pick the Hassy or the RZ you will be very happy with your camera. I have owned an RZ67 as well as a Hassy, an ancient 500C though. The RZ67 probably can offer the greater technical quality (by a very narrow margin), but at the cost of weight and bulk. If the "Ideal Format" of 6x7 matters to you then that is a plus, I found it didn't make a huge difference to me, though, as I generally crop to suit anyways. Other than its general huge size, the RZ actually handles quite well. The single throw advance lever is great. I did many hikes with this beast around my neck without it giving me any trouble. The Hasselblad is certainly a sleeker, slimmer option. The superior Zeiss glass gives it a real run at the technical quality of the RZ. I would certainly go with a "gliding mirror" model. The 503 series would be better if you would like to use a TTL flash. Besides that, I'd go with the 501. Really it comes down to what you want to do with it. For traveling light, the Hassy might have an edge. The RZ would be an easy choice for studio work or dedicated tripod shooting.

<p>Hello All,<br> I just purchased my first view camera, a Tachihara 4x5. I know I need a magnifier of some sort for critical focusing on the ground glass. I already have a 10x jeweler's loupe that I picked up at a flea market years ago and is of pretty decent quality. Looking at the prices of purpose-built focusing loupes, I'm tempted to just stick with the jeweler's loupe for focusing. My first impression is that it works well enough. I'm just curious to hear from anyone who owns a purpose built focusing loupe if it is that much better than one not designed for that purpose.</p> <p>Thanks,<br> Nick</p>

Hello all, I'm still seeking out a commercial lab for e-6 and c-41 processing. I did a pretty comprehensive search and found Photoworks SF was about the lowest cost option when factoring in shipping. I'm wondering if anyone has used them before and if so what kind of results did you get? Thanks!

Good to know! I forgot to mention I'd be carrying a medium sized manfrotto tripod & ball head as well.

Thanks for the responses all! I ended up going with a Mamiya RZ67. Still pushing the limits of hand-holdability, but a little more reasonable. I figure I will probably acquire a proper view camera at some point in the future, but I figured that the RZ would meet more of my requirements right now.

Thanks for the ideas all! The LowePro 75 is a great idea for carrying it around without the whole kit. The Domke F1X also looks like a great option to haul around everything. To specify, my kit will be the RZ with waist level finder, 50mm, 110, 250, two 120 backs, a Polaroid back, compendium bellows, the grip, and a gossen luna pro SBC meter. By the way, I was finally able to find a grip. About 8 pages back in a Google search there was one for sale from a camera shop in Pittsburgh.

Hello All, Just wondering what everyone might be using as carrying bags for their RZ67 outfits. I just purchased a full compliment of RZ67 gear, and I'm not sure that the case logic backpack will work. I had a Domke F-2 bag which worked brilliantly with my 645 pro kit, so I'm curious if there is a bag that will fit the RZ like a glove in the same manner. Also, has anyone had any luck finding the grips for the RZ lately and if so where? I haven't had much luck finding them on eBay or something elsewhere. Thanks!

Thanks! After looking at the Praus site I might give them a try, even though the shipping is a little expensive.

Hello all, I have just gotten back in to medium format fil photography after a long time sticking to 35mm and digital. I currently have a Mamiya 645 pro and I love it. However, for some of the photography that I do, I want a camera with more control through movements. I am looking at a couple options. I could hold on to my Mamiya & get a Graflex Super Graphic or something similar; but then I am forced to take on the cost of purchasing & processing 4x5 film. My second option is what brings me here. I could sell my Mamiya and get a Fuji GX680. My concern with the 680 is the considerable increase in size of the camera. What I'd like to know from someone who has experience with the 680, is the camera small enough to be used handheld? I know that it would be a handful, but is it still practical? I would love to be able to have one camera that could suit all my needs. Also, while on the subject, what is the lens selection like with the 680? Could I get the body, a couple backs, a wide, normal, and tele lens for under $1500 or so? All input is greatly appreciated, thanks!

I recently went through a similar scanner search. I ended up with the v850 and I am very happy with it, stated simply. I'll attach a scan from it below.<div></div>

Hello all, I just developed my first roll of film at my new apartment. It was a 120 roll of TMax 400. When I did the pre-soak/rinse, the water came out a deep blue color. I have never noticed this before, especially with TMax 400. Some films I have seen the water come out a little dark, but nothing like this. Could this have something to do with differences in the water in my new location? The negatives came out just fine, so I'm not really worried, just curious.

Thanks for the advice everyone! My darkroom hobby was held up for a month or so by a relocation for work. Now I am back to it, and my first couple of attempts went well. The first roll I just shot around the house and used as a a practice roll. I quickly realized that it is easier to unroll the film and separate it from the backing before attempting to wind it on the reel. I tried just going straight on the reel first time and hit some snags. I'll post a sample from my latest roll below.<div></div>

Hello All, I'm just wondering if anyone may know of a good photo lab in the Hudson Valley/Catskills region of NY. I just moved up here from New Castle, Delaware, where I had the luxury of having Colourworks Photographic Services rough around the corner. All I'm worried about is processing for C-41 and E-6 film. A place that does good work, but doesn't charge an arm & a leg either, preferably under $10 a roll for 35mm and 120, but I know that might not be reasonable anymore. If nobody has any leads for a lab in this area, how about mail order labs? I imagine there must be some decent ones in NYC, but none have popped out to me in my search thus far. Thanks for your input!

Hello All, I have been developing my own 35mm B&W film for a few months now. I have recently caught the medium format but again and ordered a Mamiya 645 Pro. I have shot medium format before, but this will be the first time I will attempt to develop it at home. I'm just wondering if there are any peculiarities of 120 film vs 35mm that I should watch out for in the developing process. I intend to use the same Paterson tank I use for 35 and I generally either develop in DDX or rodinal for stand development. Thanks! Nick

Thanks for the responses everyone. I have pretty much determined that it must be very fine particulates between the camera film guides and the emulsion, I have taken to blowing out my cameras every time I load film, which seems to have minimized the issue. Also FYI I have always opened the film canisters to remove the film, I don't pull it through the felt.

<p> There is one photo that exhibits the characteristic scratching that I have seen. </p>

Hello again everyone, I am about 2 months in to my first foray in to the world of developing film myself. I have had a lot of success and good results so far, but I seem to have a continual issue with a handful of frames on every roll having small scratches in the emulsion. The scratches are irregular and not straight across, they are often in an arc or slanted line taking up about half the width of th 35mm frame. I have this issue with all my camera bodies (Nikon F4, FE, and FE2). I don't use a squeegee or any other mechanical means of removing water from the film. I am always very careful in my handling of the film and loading it on to the reels (I use a Paterson super system 4 tank). What else could be causing this? Is it just a fact of life when shooting roll film?