dennisbrown

I gave up on the hammerheads a long time ago. That, and the battery packs that I lugged around with them. I owned almost every model of Honeywell Strobonar at one time or another. The same went for my Quantum Turbo Flash, along with my Lumedynes and my Armatar LR200. Too much weight, along with Mamiya 645's and film backs. Don't miss them at all. Thanks for the miseries! :D:D:D

As long as we're talking medium format scanning, here's what I've found: I have several thousand medium format slides and negatives in several formats, 6x4.5, 6x6, 6x7. I started early in 2017 by purchasing an Epson V850. I, too, wasn't really happy with the results until I bought an insert from Better Scanning. Their holders use anti-Newton glass, and are a fixed height from the glass. I also use three different scanner software packages; VueScan x64, Silverfast 64bit, and Epson's proprietary scan. There isn't a single application that's perfect for all films. There are just too many algorithms among the companies to get the results I like from one package. The algorithms used for Fujichrome in Silverfast aren't the same as those in VueScan, so you have to try each one to see what works best for you. I also save everything as a TIFF. When I move the image to Affinity, Corel, or Photoshop, I can use the appropriate package, again depending on the image, and how it can be best edited. I've discovered over time, that the software packages cause the same arguments as did developers in the film days - Is D-76 better than TMax, better than Rodinal?

Well put. I keep the f/4 in my go bag with the D750. I also have a Sigma 70-200 f/2.8 APO DG, if I need an extra stop. However, it tends to reside in its padded case. The Nikkor is tack sharp, even @ f4. And, like most folks, I'll kick up the ISO by a stop when I need to. I also had the older AF "D" version, but the newer model is really heads and shoulders above it.

Try KEH. They're in Atlanta. They can probably do it, or know who can.

An advisory here. I used the same mailer for transparencies about a year ago. The USPS insists that these mailers go a Parcel Post, not First Class. It requires paying extra postage.

It's possible that it's in the base of the camera. I bought an FE at a garage sale that wouldn't advance the film. However, the shutter would cock using the DE feature. It turned out a gear in the film advance, in the bottom of the camera, had gotten off track. It was a ten minute fix by a Nikon tech at my local shop. Just sayin'

I run an Epson V850, and use VueScan 64bit, SilverFast 64bit, and EPSON Scan. All three have assets and drawbacks, and over time I've chosen the software that fits the film. I run Win 10 on a Dell desktop and the scanner is cabled to it. I don't think that any of the scanning software packages are a "do it all". There are just too many algorithms out there for Fujicolor, Fujichrome, Kodachrome, Kodacolor, ad infinitum.

According to this site, it's around 46 volts. Photo Strobe Trigger Voltages

I use a Canon T90, and an A1. Both are excellent performers. The Canon F1 is a great camera, and I would look for the New F1. There are a number of improvements in it, not the least of which is the conversion to silver oxide cells. For me, I won't use any camera that requires mercury cell batteries. I know that people like the F1, FTB, Nikon F, Minolta SR-Tnnn cameras, but the silver cells are so easy to obtain, that I prefer the A-1 and newer Canons; I never have to guess at exposure compensation.

Just in case your itch hasn't been scratched lately, a local dealer has this one listed on eBay - ~Nikon F3HP/F3AF 35mm SLR Camera Body w/ MD-4 Grip **MINT** | eBay

I owned and used an F6 for a couple of years. Part of the problem with the F6, was that it wasn't as far advanced vis-a-vis the F5. I added the MD40, but it still didn't have the feel of the F5. Earlier this year, I traded the F6 for a Hasselblad 500 C/M, and don't regret it in the least.

For a wide angle prime, I'd go with a 24mm. Over the years, I grew into the 24mm. The 35mm is only a few degrees wider than the 43mm diagonal coverage, so the 28mm is truly a wide angle prime. I have a 28mm f/2.8 in my bag, but I seldom use it except with film. Wider than 24mm, especially at 20mm, distortion starts to creep in, especially if the subject is not perpendicular to the film/sensor plane. I own both the 20mm f/2.8 AF-D and the 24mm f/2.8 AF-D, neither of which is the latest glass, but I've had them for years, trust them, and love the results they yield. They work fine on my D750, F5, and F4.

One of the things I like about my F3HP is the versatility. The body, for a "pro" build, is very compact, a testament to the shrinking size of electronic components. You can add the MD4, and make it a handful, as well as adding a number of backs. There's nothing on the camera which isn't functional. I foolishly sold my first one when I went "digital". A while back, I found a mint condition F3 on Craig's List, bought it with a 50mm f/1.4 AIs, along with 12 rolls of Tri-X. I had an MD4 lying around, so now it gets lots of use.

There are a number of basic photography books which explain exposure, composition, film, and other elements of photography. Yes, shooting film and keeping notes is extremely valuable, and it should be supplemented with the printed word to guide you. You're wise to attend some classes, because they provide not only written, but hands-on experience. 35mm "rules" are also the same as for medium format. The exposure triangle never changes for formats.

Always measured enlargements by area, not linear measurements. Been in it for over 50 years, and I've always used area.

The 8x10 print is a 4x enlargement from 4x5.

Late in the week, I was browsing the same dealer's eBay offerings from where I got my F2. In this listing they had a mint condition FG, with the box and manual. Only thing missing was the registration form. This gem is really compact; and not a mark on it anywhere. Almost hate to use it, but none of my cameras are shelf queens.

Unfortunately, resolutions require removing the coating. I had an N90s with the same problem, and ended up removing the finish with a mild scotch brite pad and some dilute paint remover. There are a number of ways to remove the goo, but none of them can usually save the finish. I have an F5, and an F4s, but both of those finishes are rather pristine; no hint of "crudding".

I used the F2 a couple of times in the past (mid-70's). Even though it was a work horse, I really didn't want or need one, because my work took me more to medium and large format. I did add the F3 and F5 over time, but sold all my film cameras when I went 100% digital. Lately though, the but came back around, and I've added film cameras because I like film, and the great film cameras are going begging. Today, I found this F2 on my local dealer's eBay page, and pulled the trigger. It's not an "AS", but it's in mint condition. The previous owner must have kept this one in the eveready case, because the finish is gorgeous. The shutter sounds right, and the meter matches my Gossen Luna Pro SBC. The lens is spotless; no dust, hazing, or fungus. Not a black model, but gorgeous.

Here's an example on eBay, of a 210mm Sironar for less than $300. There are a number of them available. Rodenstock Sironar-N 1:5.6 f=210mm 4x5 large format lens - excellent condition | eBay

You'll need a lens with a minimum coverage circle of around 220 mm, but there's no room for camera movement at this coverage. As Bob mentioned, there are some 150 and 180 lenses which have coverage of 220, but you'll need much more for swings and tilts. Here's a web page which provides a lot of lens data, including coverage for lenses: Large Format Lenses

The subject of selenium cells comes up a lot, since many older 35mm cameras, and some M/F cameras used them. While the sensitivity seems to worsen with age, it's not constant. One of the other causes can be the electrical contacts which show the results. Those contacts can age, develop corrosion, etc. It's fairly complicated at times, trying to determine the cause of failure.

I understand that the meter was stored, sans battery. However, oxidization can occur on the battery contacts even during storage. I suggest that you remove the battery, clean the contacts thoroughly with a pencil eraser, and re-install the battery.

I can second the consideration for Japanese-located cameras. I've bought a number of cameras and lenses from Japanese dealers, and they're all rated far below their actual condition. Their "good" condition ratings usually translate to near-mint around here. As to the "yellowing" of their lenses, I'd suspect the sample photos, and not the coating. I have a bunch of Pentax 35mm lenses and they don't exhibit any yellowing. I'd suspect that the yellowing might be the reflection of the Canadian balsam used to adhere the lens elements. Some early 50mm f/1.4 Pentax Takumars did have Thorium (a radioactive metal) in the coating, exhibited yellowing, and still measure a minute amount of radioactivity. If you decide on 6x7, but not Pentax, keep the Bronica GS-1 in mind; very portable.

I still have a couple made of chain, both plastic and metal, using speed links and a couple of 1/4x20 eye bolts; about $20 into both versions. I still keep one in my "go" bag.