[Gareth.Ig]

Yeah, I understand its the negatives that need to be scanned. I had a nice chat with the local camera store last night and I'm going to try out black and white, but I like the idea of the challenge of color slides. I feel like I have alot to learn though.

[Silent Street]

Yeah, I understand its the negatives that need to be scanned. I had a nice chat with the local camera store last night and I'm going to try out black and white, but I like the idea of the challenge of color slides. I feel like I have alot to learn though.

Oh, there' s certainly a learning curve with slides, but it's not dramatic. I made terrible blunders with early Ektachrome slides, better with Kodachrome, initially terrible again with Velvia and now, "just so...!". You'll learn form the obvious errors of judgement with metering, which mens be aware of what the needle is doing in the 67 (and protect the eyepiece from stray light). There is a five-stop range in the metering readout from top to bottom; slightly over or under the midline is fine for slides (e.g. Velvia, which I term as "Vaudeville Velvia" ) but any wide deviation will have the effect of blocking shadows or blowing highlights (not all slide film behaves as tempestuously as Velvia; Provia 100F might be more suitable for learning as it is much more forgiving with its relaxed contrast and muted colours). Ideally, spot meter scenes (you'll need to meter separately anyway after the 67's limit of 1 sec).

• Rise of the Belt of Venus, Lake Bonney, South Australia, October 2012
Velvia 50, 45mm.

[gofour3]

Ektachrome 100G and Provia 400X are also worth trying out. (E100G has been discontinued but you can still get it)

Phil.

[bull drinkwater]

This, absolutely this. I've printed a couple of my digital shots that I am pleased with and without a doubt I am always more excited about getting the print than any equipment I've purchased. Getting a film shot strikes me as requiring more effort, thought skill and practice and therefore getting the first print on the wall that I am happy with will be that much more satisfying again.

All that to one side I was under the impression I could have te prints scanned by the lab initially until I got the hang of shooting MF.

you've already got alot of good advice so far. my only question is, do you plan to develop and print yourelf?

[Gareth.Ig]

you've already got alot of good advice so far. my only question is, do you plan to develop and print yourself?

I don't expect to right away. My current thinking is to go through enough film to be satisfied that I can use the camera and get good exposures. I've gone through 2 rolls already and I'm pretty sure I've ruined 12-16 of the exposures just fiddling with the camera. I don't want to throw the additional variable of developing and printing into that mix. Plus I have two young kids so time is at a premium right now. I have found a local shop that develops film and has been for 30+ years, so I'm going to stick with that for now.

In the long run, assuming shooting film sticks, yes I would love to be able to develop and print myself.

[Digitalis]

Provia 100F might be more suitable for learning as it is much more forgiving with its relaxed contrast and muted colours

I agree, not to mention the greater latitude in reciprocity failure, over a certain length of time many films lose effective ISO as your exposures get longer - velvia was the worst at this, the newer 100F and revised 50F versions handle longer exposures with more grace than the original emulsion did.

Ektachrome 100G

Kodak E100G was easily my favorite film to use during the winter months and the light needed a bit of warmth to it. Also even when it is expired Kodak E100G handles cross-processing better, and without the hideous colour casts most Fuji films have.

Velvia, which I term as "Vaudeville Velvia"

My colleagues and I referred to Velvia as Disneychrome.