I've purchased a Nikon FM2 recently on eBay. The ad stated that it had a titanium shutter - looking at the back of the camera the shutter its plain, catching a glimpse of the shutter from the front of camera I can see a pattern. Could you help me determine if this shutter is aluminum or titanium?

Hello all,

I'm afraid I'm drawned to the dark s(l)ide of Photography, and might venture in the world of alternative processes.

I have the feeling that salted paper could be a good introduction, but have no idea of what negatives I should start from.

In 4x5, I use TXP, which I normally rate at EI 200 and develop in HC110 Dil. B

Would you have suggestions of starting point EI and development times so that negatives have a chance to give a proper exposure for salted paper ?

Thanks in advance
Laurent

I just got a 4x5 Super D today. The 190 ektar doesn't have any thread filter. I measured it, almost 43mm.
Which kind of filter can I put ? Snap on ? Would a filter holder fit ?
Any advice from Graflex owner ?
G.

I just received a beautiful Canon P and I'd like to get a reasonably fast 50 for it. I have a Russian 50mm f2.8 that is a wonderful lens, but a bit slow for my taste. I have a Russian f2.0 (Jupiter 8) that is a bit off (plus no click stops). I could send it to someplace like Fedka to get it overhauled. The other alternative I've considered is an f1.8 Canon or an f1.5 Canon/Serenar. Any advice out there?

Thanks -- Mark

Hello,

I shot a portrait using some Fuji 800 color neg film (which I rated at 640) last weekend under house hold tungsten lighting using an incident meter to measure the light. I used no filter over lens. The developed film came out at least one stop underexposed, also very orange which was impossible to correct the in Photoshop even after a quality scan of the film and digital manipulations in levels and curves.

So I decided to brush up on shooting under tungsten in order to better expose the negative film, and use color conversion filters to get the color closer to something correctable in Photoshop.

I learned:

1) Shooting under tungsten one most cut rated film speed by at least one stop even with no filter over lens.
2) If shooting with an 80A filter (to balance the tungsten lighting to daylight film), filter factor is +2 stops.
3) Adequately exposing the film by rating the film down rating the ASA by one or two stops may obviate the need to use a color conversion filter as adequately exposed film is easier to correct after scanning in Photoshop.

I would like to shoot under household tungsten lighting conditions with balanced fill flash strobe and gel (to convert daylight strobe to tungsten warmth light) with an 80A filter over lens to balance light back to dalight balanced Fuji 800 color negative film.

I need to adequately expose this film this time around and also get the color closer to daylight.


Question: Assuming all light readings will be taken with a handheld dome incident meter (and NOT TTL) and using a +2 stop 80A color conversion filter over the lens:

Do I cut the Fuji 800 color negative film rating one stop to ASA 400 right off the bat because I will be shooting under tungsten light, and THEN cut it two additional stops (for the 80A filter factor) for a final rated ASA of 100?

Or do I cut the Fuji 800 color negative film just 2 stops (due to the 80A filter factor) for a final ASA of 200?

Appreciate the feedback, especially from professionals or advanced amateur shooters experienced shooting under tungsten conditions.

I realize my subscription is coming up for renewal, but I'm still shown as a member so I think for the moment I'm good.

This morning I posted a couple of images, and got a message saying they would show up when a moderator could ok them. I came home several hours later, but no images show in the gallery. Did I do something wrong?

Thanks!

Janet

I have searched for a topic like this and couldn't find anything like it, I apologize if there is something already.

I truly miss color infrared film - I have one more 11 year old expired roll in the freezer and it is grain city. It makes complete sense from an economic standpoint why it was discontinued, but is there any snowball's chance it could ever come back in any form at all? Efke, Rollei and Illford all have come out with BW infrared solutions (some true, some not, but still fantastic and better than nothing). Why would kodak not license the emulsion technology to someone else to create in small batches, is that even possible? Why hasn't anyone else tried to develop anything like it?
I realize there is a lot of fiscal naivety involved in my questions here, but is there any chance?

After having read a recent thread here on APUG I got interested in lumen printing. I think I got the basic idea:
- You place an object - often a plant - on a photographic paper under a piece of glass and leave it for a significant time in the sun.
- You remove the object, wash and fix the paper. Toning is optional.

Is there anything more I should know before trying? One question. How do I know how long to expose the paper? Do I check it during the day to see how it changes, or is it trial and error?

thanks
Erik

OK, folks, it's that time again. The great people at PHSNE have gotten all set for another photo show and sale in Wakefield, MA on September 25 and 26. As always, it will be a large room filled with stuff you want and people you want to talk with. I've been going to these shows for a number of years now and never leave disappointed or with an empty bag. (I bring two big ones, one for the things I know I want to buy and one for those things I couldn't have anticipated and could not possibly pass up. Last year I needed a third for the Folmer Schwing Studio Master 8x10 that went for $50!) After the Saturday session there will be an auction.

This is a wonderful opportunity to meet other camera nuts and talk film. It's not as large a gathering as it once was, but these pictures will give you an idea of what the place is like. This link will give you the details. Come early, stay late, say hi while you're there.

I have a bunch of it that I need to unload. If you know about this stuff, it takes up a LOT of room, but it's a really wonderful system. It processes everything up to 20x24. The S2 box needs work. I have a huge load of tubes of just about every description. I also have a tabletop model processor.

I did every kind of film, color prints, etc. in it. It was the heart of my lab.

I'm trying to figure out what to do with it, and wondering whether anyone could be interested enough to discuss it.

It is located at present in storage in Seattle. I am in Anacortes, some 75 miles or so north. I would much rather not ship, but that could be done if necessary. I could possibly deliver it in the region, if compensated for expenses.

This really needs to go to someone who knows what it is and would be able to use it to its full potential.

I'm about to sell my Wisner Traditional 8"X10" and am having a hard time pricing it.
Does anyone know of a "Blue Book" for cameras, or any other suggestions.
Thanks in advance,
Rory

Friends - Looking for a B&W lab in Barcelona...and while we are on the topic a good supplier for B&W ISO 3200 (Kodak OR ILFORD)...any thoughts? thanks and cheers! sam

I thought Apug readers in this section would appreciate this article. It's quiet amazing how old and how good the quality of these photos are! Enjoy!!

http://www.boston.com/bigpicture/201...stPop_Emailed1

Gentle Readers,

I've decided I need a short-tele/portrait-length lens for my 5x7, but I don't need it enough to justify spending huge amounts of money. Thus I'm looking at some lower-cost alternatives, a number of which (the 375/6.3 Caltar, for instance) come in the monstrous Ilex #5 shutter.

On paper, it looks like it should be possible to put together a lensboard that will mount the monster; it'd probably be easiest to make a "top hat" lensboard with a little forward projection to clear the front of the camera, since the outer diameter of the shutter is actually significantly larger than the size of the lensboard. But I'm worried about the size and weight of such a setup in practice; the 2-D is already a beast, of course, so maybe a few extra tons from the lens and shutter wouldn't make a big difference.

Has anyone used one of these titan shutters with a 2-D? Does it work OK, or do the two giant objects together set up a gravitational system that collapses into a black hole or something like that? :-)

Thanks

-NT

Ever since I got my first Ansco Anscoset I've been falling in love with rangefinders.

I missed a stunning deal ($10!!!) on a mint Hi-Matic 7s the other day (thanks to thinking my ex g/f got some sense in her and we could make things work haha...shouldn't have wasted my time haha), and I've been looking at them since then...

I love, love, love the way the 7s looks, but they're generally pretty pricey...however, the Gs and the Fs are pretty cheap...are they garbage? Should I just save my money for a 7s or are they still good stuff?

Thanks,
Tamas :)

Do you shoot instant prints? Why? What do you use them for?

I'm lucky to have a 4x5 film back that holds the FP100C45 film. The trouble is, I'm trying to decide what value it is. I've used it before, but I haven't lately. I'm thinking of selling it but maybe I'm just overlooking the value of instant prints.

I could use it to confirm exposure, but exposure isn't usually very hard to determine with negative film, and with slide film, the speed correlation between the instant film and the slide film is probably too weak to be of supreme value. This film costs $3 per sheet...or over twice as much as TMAX 400. I could shoot 2 extra negatives for the same price as shooting one instant print, so it wouldn't be saving me money over bracketing.

I can see how the instant prints could be useful for cataloging purposes or proofs for clients, if I had clients. I guess you could use them as finished objects in their own right, but they are pretty small and not enlargeable or scannable. Taking an instant print really allows a good look at the composition...I often fail to notice background objects or OOF foreground objects until I see them on the instant print. This I suppose has value if it saves you from wasting a hike because you found out the cable release or camera bed was in the image. But you have to carry the bulky film back with you.

When I scan a negative to post on the web, how much manipulation do you feel is ethical? When I shoot digital it is a different situation but when I shoot film I want the process to be analogue. But as we all know to share our film photography on line we have to scan a negative or a print.
Some "sharpening" seems to be necessary maybe some contrast???
What are your thoughts. Please accept this question in the spirit it is being asked.
When I post here I want to show my analogue skills and not my PhotoShop skills.

When I scan a negative to post on the web, how much manipulation do you feel is ethical? When I shoot digital it is a different situation but when I shoot film I want the process to be analogue. But as we all know to share our film photography on line we have to scan a negative or a print.
Some "sharpening" seems to be necessary maybe some contrast???
What are your thoughts. Please accept this question in the spirit it is being asked.
When I post here I want to show my analogue skills and not my PhotoShop skills.

Looked at CVS and the dust-covered Kodak HD-400 3 packs (72 exposures) were marked 12.99. Had them scan it, and it came up $9.74 before tax this week even though there was nothing on the shelf mentioning it or in the flyer. The film is short-dated, end of 2010. Is it worth it at this price?

Hello.

I am looking for recommendations for a reliable, affordable light meter. I've recently bought a Bronica GS-1 and need a meter to help determine exposures.

Anyone have opinions on the Gossen Luna Pros I see for ~$80?

Thanks in advance.

David