Recent content by ic-racer

Ilford‘s dual filter settings essentially use the neutral density trick; that is magenta and yellow together equals neutral density (for a red insensitive substrate. ) Just as you had suspected.

Well, I think the take home message is that galvanometers measures both current or voltage, depending on if it’s wired in parallel or series with an electromotive force. This is a good concept to understand in light of the fact that many many many repairable mechanical cameras have galvanometers.

Is the lens hazy when you look through it?

To get more shadow detail over expose a half a stop or so. In terms of development, do they look good when printed on grade 2 paper or lower?

The notes at the bottom of the linked page suggest that he is selling, or had sold repair manuals on e-bay. But I can't find a link to them.

I can't say I have ever had a situation that required t-stops. Even all my cine equipment is calibrated in f-stops.

What I don't like about Isopropyl alcohol is that in the US, the common points of purchase (drug stores) have a product with too much water in it. If I'm going to drive all the way to a more specialized store, I'll just get the denatured EtOH (ethanol).

I use EtOH and/or Windex with microfiber cloth.

Wow, great post! Worth saving the link.

I have been doing daylight flash for years, my take home message is that it involves a lot of trial and error. Sometimes a simple non-ttl auto set to 1/2 or 1/4 of the full exposure works as well as a more complicated ttl matrix fill flash.

Why ignore Nikkor? The main reason I got Nikon bodies was to use Nikkor lenses.

Nice camera, I have one too, though I can't say I know much about the serial numbers. Mine starts with 73xxxxx. I recently repaired it and hope to use it more this summer.

I had the pleasure of meeting Lee Friedlander on a couple of occasions. He was very enthusiastic about his Bessa and said he left his Leicas in a drawer. I went out and bought a Bessa right away. This was about 15 years ago, though, when the Bessas were still available new. I’m not much of a...

That’s nice. It looks like your lenses are very well matched although I consider this somewhat more important in cinematography. That is, to have matched color rendering in the lenses. Especially if changing lenses during single scene.

I got the Nikkor 28/1.8 G a few years ago as a modern replacement for my Zeiss 28/f2 Distagon in Rolleiflex mount. Printing B&W is hard enough, I have not exposed or printed color film in decades, so I cannot comment. The lens is a fantastic performer, equaling or surpassing my beloved 28/2...