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  • What I am wondering is whether the film v digital debate in the stills world provokes the same sort of very hostile reactions from both sides, or are you always very polite to each other?!

    Are there die hard Film junkies in the stills world as there are in the Motion picture world?

    This is an interesting debate.

    Well I still use film Matt. Colour saturation is far better than with my wifes 5 mega pixel digital. Enlargements certainly come out better. I was convinced when scruitinising a print (processed by out local 'pro' lab) - apparently they process the film but print digitally (basically a glorified ink-jet). The blacks in one corner of the print came out blocky and much of the skin tone was flat, as were other areas of the print. I reproduced the print in my darkroom (I'm no pro and wasted a lot of paper making test prints) and the detail and colour rendition in my print, produced on used kit purchased from ebay, printed in my grotty little cellar, was BETTER than the 'pro' lab!

    I can understand the marketplace for digital, but just because 'progress' is made, in reality it doesn't always mean a positive step forward. Look at the education system, and the satete of the hospitals (but that's another can of worms).

    Yes, the top end digital cameras are great I'm sure, but how many of us can afford 5 grand for a good set up to ensure we retain the quality and flexibility that 35mm or medium format offers?

    Digital will have its day - but not yet.
    Not in our house at least.

    Long live Fuji Reala.

  • Yes - a scanner for MF negs is very expensive and as rare as the proverbial rocking horse doo doo. But that's really not the issue.
    The factor that is forcing the issue is that there is only one lab locally that offers on-site roll film processing, which is handy if there is a problem, or we need to give explicit instructions. But we have just been advised that they are likely to cease this service as 'most wedding photographers' are going digital. We are not wedding photographers, we are a small portrait studio, and so enlargements are commonplace. I just want to be sure we will be able to offer the same quality of print if we do have to go digital.

    So Keith, you reckon the 1D II should cope? I guess the best way to check is to have a demo.
    Look out Focus on Imaging!

    Cheers all

  • Hello all

    We are currently using medium format but are considering going digital.
    One of the aspects we need to consider is enlargement sizes. With the Bronica (ETRSi) we can get enlargements to 16X20 and retain excellent quality. So with this in mind, what sort of size can a digital file be enlarged to before pixelation occurs?
    I understand that the more Megapixels the better, but also, the quality of the sensor has a lot to do with the quality of the final image.
    At the moment, we are looking at converting next year, and the Canon 1D II is the favourite (as I already have a Canon EOS and various lenses).
    If anyone already has one of these I would be interested to hear of your experiences/pitfalls/recommendations.
    Also, from reading a few topics here, I get the impression that a decent PC with photo manipulation software is an absolute must - is this correct or can you not simply print straight from the captured image?
    Sorry it's a bit long winded but at the moment I'm still a die-hard film user and know little about digital (other than it's quicker, easier, more convenient, and a decent camera is blooy expensive).

    Happy snapping

  • Cheers all - I did see some Kodax developer in Jessops and there wasa chart on the side with times for different films, and one of the films listed was the infra red. I have several Ilford developers so I think I'll do some more research (from the sites mentioned) and see if I have something I already have that I can use.

    Once again, thanks for the info.
    Happy snapping!
  • If you are standing behind the lens and it is on the left hand side (in front of but between the top rotating lock and the bottom tripod mount lock nut) and it springs back up when you let go, it is definitely the Depth of Field preview button.

    To use it, focus on your subject, and then depress the slider, the aperture will close down to the setting selected. If you look through the viewfinder you should be able to see what is in focus and what is not. If you are stopping down to about f8.5 pwards, it is very difficult to judge as the image is so damned dark. It can be a useful facility, although I rarely use it.

    And when I say depress the slider, I don't mean to tell it a sad story. Ha ha.

    So have you been pumping iron to lift this beast?
    And more importantly, are you happy with the lens and the results you are getting?
  • I have a roll of Kodak High Speed Infrared film I want to try out, and am just wondering what chemistry (developer) and processing times to use.
    Has anyone any experience of this they would like to share?

    I have read most things about handling the film, it's the processing side I am particularly interested in.

    Cheers all.
  • It's a seller!
    One obvious potential customer would be the Prague tourist advertising folk. Good luck.
  • When you say the shutter is about to fail, what exactly do you mean? Repairs are possible.
  • There are some (potentially) good looking bargains on ebay at the moment.
  • If you apply for an ERIC card at Nova, you can quote your number and get a 10% discount. Their web site also displays prices that include VAT, and although postage for most items is 4.99, my lat purchase arrived next day so I was quite chuffed. And items can be ordered over the phone or via the web.
    Okay 10% isn't much on small orders, but any discount is good and at least it can help pay the postage.
  • With regard to filters I bought my trusty EOS600 years ago and was told the Cokin system would fit no problems. Its fine on a 28mm lens but on my 35-70 absolutely useless - the lens recedes too far (or at least tries to) until the filter mount prevents it moving. I have upgraded to a Lee system (as I also have a Bronica) and to get around this problem, I have fitted a skylight (as a protective element) and then bought the cheapest filter I could from Jessops, smashed out tthe glass, and fitted it onto the skylight to act as an extender (and the Lee adapter ring screws into that). I can now focus up, clip on the Lee filter holder with filter and hey presto!

    Just thought I'd share a useful tip for autofocus lenses if anyone hasn't already thought of it.

    Happy snapping!
  • Have you found any advice on the web regarding this?
    Have you sought advice from a solicitor?
    Is it worth contacting picture agencies or professional photographic bodies for their advice?
  • Silverprint are the cheapest I have found for a Lee 95mm adapter - I had to wait a week for it though.

  • Lee filters is the answer Debs, or the Cokin Z range (which are 100mm and fit the Lee system. Persevere on ebay - they do crop up from time to time - I've had a couple of lots over the last few months, and missed out on others.
    So did you buy the big Bronnie lens?
  • I've just done some sums - looking at the Buy it Now pricw, when you include 25 shipping, 6.7% excise, and then VAT the total is about 570 - that's less than half price you would pay for a new one.
    Also, with Adorama, the pics on ebay are of the item for sale - you can check the serial number on the front of the lens.
    The cheapest I have seen one in the UK (on ebay) had a start bid of 700 (I think)!
  • If it's on the mirror it won't affect your pictures. The mirror is there to reflect the image up through the prism so you can see it (and focus) through the viewfinder.
    When you click the shutter, the apperture closes, the mirror lifts, the curtain opens and the image instead of going through the prism to the viewfinder, goes through the shutter curtain to the film on the back plane. At this point the viewfinder will go black.
    Once the correct shutter time has elapsed, the curtain closes and the mirror drops into place. And Hey Presto, you can see through the viewfinder again.
    Does the mirror damage affect focusing?
    It might be worth enquiring on getting a replacement mirror fitted if this is the case.

    Good luck.
  • In fact - there's one on ebay from Adorama now - but it goes in 16 hours and is currently at a silly price!


    All I will say is be prepared to sit up until the early hours watching for late bids - an put your bid in at the last minute.
    I missed out on one a week or two before we got ours due to connection problems - the guy who won it was in Holland and got it for a riduculously cheap price.
  • Oh yes - forgot about the VAT - 17.5% is added to last of all. Silly me!
    Bumps the price up a bit but still a bargain.
    I know the wife has no regrets, and I'm quite chuffed at the price overall as well.
  • In fact there's one available now:

    $1019 comes to about 547 (using Smoothounds Currency Converter).
    I think shipping was about $45 (20ish) and then there's 6.7% excise for Golden Gordon's piggy bank.
    Do the sums - still cheaper than getting one over here (if you can find one).

    Happy hunting.
  • We had a 150 and although it produced great results, the wife wanted more flexibility. We sold the 150 and bought a 100-220 zoom on ebay - had to get it from the good ol' US of A. It was advertised as mint, boxed, and has a soft carry pouch. It's BIG. But excellent! Cost including shipping (took 4 days via UPS so you can track it) and excise duty was about 650 (not a bad price overall methinks). The store that sold it was www.Adorama.com. They usually have quite a lot of stuff going on ebay - but if you are interested check their site - they have had a number of these in stock.
    But for this lens you will definitely need a tripod!
  • Thanks for the info all. What about these sodium spectral safelights - the Duka 50 by Kaiser (and Wotan)? Has anyone any experience of them?

    I have tray processing for 7X5 and 8X10 prints, and a Jobo for larger prints. Tray printing is obviously quicker (and I don't have to keep drying the Jobo drum) The only problem I'm having is that due to the moulded ridges on the base of the trays, the chemicals are not quite getting to the right operating temperature. I am sure if I could find some flat bottomed trays (perhaps some tin baking trays) it would be okay as the dishwarmer gets very warm. Results are okay but not brilliant (prints are a bit dull)- but as it was my first attempt at colour printing last night, I am encouraged - and amazed by what can be achieved.
    I guess digital has its users but I love tinkering in the darkroom - and there is far more satisfaction when it all comes out good.
  • Can anyone give me advice on what safelight I need for colour printing please?
  • Was it a new film or one you have had lying around for a while? The reason I ask is that I'm wondering if ant grit could have found its way into the film canister. Unlikely but you never know. In any case, I would do what everyone else suggests - complain to the lab and don't use them again.
  • Hello All.

    I want to have a go at colour printing (for enlargements) and wouldn't mind advise on what brand of chemistry others would recommend from experience. And also, which brands to avoid (again from experience).
    I'm not going to develop my own colour negs just yet - one thing at a time - I'll leave that to my regular lab.

    Happy snapping!

  • I have read of this type of thing being done in a studio set up which works if everything is blacked out. Putting it simply, the camera is set up with shutter set to B, and a single flash is fired at the right moment. The right moment usually being triggered by sound, or when a photo electric cell is triggered.
    Have you experimented with the position of the lights?
  • Apologies to you too Mr Waiter. After reading back my original question I agree I perhaps didn't make it clear I was talking about 120 roll film, and that the tone of my rrevious response may have appeared a little terse.
    Anyway, I think I have enough tips now to persevere with plastic spirals (despite my current loathing).
    Incidentally, has anyone else experienced the last exposed neg being right at the end of the film? And if you snip the corners, how do you avoid damaging the last neg? (Or do you just put keep the last exposure for a 'throwaway for exactly this scenario?)
  • Film retriever? I'm having problems with roll film. 35mm is fine - I load the start in daylight as you say, but roll film is completely different kettle of fish. Another problem is that if you are not careful, the damn thing just unspirals off the spool in the dark bag more than you want. And the paper backing gets in the way.
  • The box idea sounds like another good trick. I reckon this works best with a large dark bag though?

    Has anyone seen those glassfibre changing boxes with a lock down lid and elasticated arm holes? Any idea who makes them and how much they cost?
  • Yes - I've tried practising a few times in daylight, and it's great if you can see what you are doing. But in the dark bag - I know what mikeo means about hands getting sweaty and the temperature in the bag rising! I guess the answer is a totally blacked out room (lets say, the kitchen at 3.00 am providing there's no moon) and some night-vision goggles.

    Incidentally, for those who have tried, what is the problem with stainless steel spirals?
  • The graphite pencil trick looks a good tip. I'll give it a go and persevere.
    Thanks for the info.