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08-26-2012, 03:12 PM   #31
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QuoteOriginally posted by ChrisPlatt Quote
You will get more for your money with a KM, KX, K2, MX or ME Super.
Buy a clean functioning body and send it to Eric Hendrickson for CLA.
For a total investment of under $200 you will have a photographic tool that will last a lifetime.

Chris
How can I be sure an MX is made in Japan? What is the exact engraving on the front of the pentaprism and what is the engraving on the back? I think an MX may be a good choice.

08-26-2012, 03:55 PM   #32
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QuoteOriginally posted by ChrisPlatt Quote
All Pentax MX bodies were made in Japan.

Chris
Now that what I call a simple solution! Thanks my friend!!
08-26-2012, 04:53 PM   #33
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QuoteOriginally posted by ChrisPlatt Quote
You will get more for your money with a KM, KX, K2, MX or ME Super.
Buy a clean functioning body and send it to Eric Hendrickson for CLA.
For a total investment of under $200 you will have a photographic tool that will last a lifetime.

Chris
Just got an MX body off ebay. Not a bad price, the camera seems close to mint & the sellet answered my questiins honestly. So when it arrives I suppose I should send it to Eric for any service it may need. It's the cleanest MX I've seen lately.
08-28-2012, 05:28 PM - 1 Like   #34
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QuoteOriginally posted by CMG Quote
Well said! What kinds of film do you use? Where is your lab? Which Pentax manual camera body do you shoot?
I've taken a liking to Kodak Portra 160 and 400 for color and Ilford 100/400 Delta and Kodak 125 PX for black and white.

I have a local lab in town (Iowa City) that is still hanging on called University Camera. It's basically the only lab in the area that still does this sort of thing, and I think even they probably mail out some of the stuff for development. Going to try to take advantage of them being close as long as I can.

When I shoot manual I use my MX. I've been using my PZ-1P a lot lately, though.

Here's a few film shots from the FA Limiteds to tide you over until you can shoot











08-28-2012, 05:33 PM   #35
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QuoteOriginally posted by Urkeldaedalus Quote
I've taken a liking to Kodak Portra 160 and 400 for color and Ilford 100/400 Delta and Kodak 125 PX for black and white.

I have a local lab in town (Iowa City) that is still hanging on called University Camera. It's basically the only lab in the area that still does this sort of thing, and I think even they probably mail out some of the stuff for development. Going to try to take advantage of them being close as long as I can.

When I shoot manual I use my MX. I've been using my PZ-1P a lot lately, though.

Here's a few film shots from the FA Limiteds to tide you over until you can shoot

Wow...awesome shots!! Which FA Limiteds did you use? Can you take me through the process please? What I mean is, how do you get the image from the negative to your computer without spending $15K on a scanner? Do you do any PP with your film shots?
08-28-2012, 07:27 PM   #36
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QuoteOriginally posted by CMG Quote
Wow...awesome shots!! Which FA Limiteds did you use? Can you take me through the process please? What I mean is, how do you get the image from the negative to your computer without spending $15K on a scanner? Do you do any PP with your film shots?
Hmm, this is one disadvantage of shooting film, it's hard to remember exactly what lenses you used . But I believe in this sequence it was:

1. FA77
2. FA31
3. FA43
4. FA43
5. FA31

I have to admit that my workflow for these was pretty lazy -- I dropped off the film at the lab and they developed and scanned it for me. I generally have them do 8x10 inch scans so I can print them that big if I want. I do minimal post processing on them, maybe a little exposure tweaks and sharpening. The guy at the shop told me they use Silverfast for the scanning if you want to try it yourself with your own scanner. I've used Vuescan before with my own scanner but I've struggled getting consistent results out of it, which is why I usually just pay a little more to have them do it especially if I used it for a project.

I have a friend (also a forum member: Todd Adamson) who does his own developing and scanning. Here's one example of his shots (FA77)
08-28-2012, 07:45 PM   #37
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QuoteOriginally posted by B Grace Quote
I guess a good question for any of us to ask ourselves is why not just set our digital camera(s) up like film cameras and shoot with them in that manner. Before leaving home, pick an ISO and WB, decide to shoot 36 shots, and then touch nothing but aperture and shutter speed while shooting. Digital shot like film, in other words.
He's hit on a key point there re: choosing an ISO. To me, the single "killer app" that digital has, and anyone who has only ever shot digital (e.g., 14-year-olds) has no idea or appreciation of this, is the ability to switch ISO mid-"roll." My wife does food blogging; I can shoot for her a tomato out in the garden in full sun with the camera set to ISO 100; then come inside and shoot that same tomato (sliced up) under ambient room light at ISO 1600. (And that's only my K20D; those of you with K5s etc. can use ISO 12800 or whatever it goes up to.) To do similar with film, your solutions include:
  • A medium format camera with swappable backs (e.g., Hasselblad, Bronica), and carry backs with different film speeds.
  • Carrying around multiple fixed-back cameras (such as the K1000) loaded with different film speeds. Swap lenses among them as you go from one to the other.
  • One camera with fast (so more grainy) indoor-ready film, and carry various ND filters (in various diameters for all your lenses) to "slow it down" in outdoor light.
  • One camera with slow outdoor-ready film, and carry a tripod and lighting kit for indoors.
  • One camera, multiple films, rewinding mid-roll, swapping films out, reloading them and winding back to where you were -- this is really far-fetched.
  • Or similarly, one camera and waste the remainder of any loaded roll when you need to switch speeds. (Less bad if loading your own rolls so you can carry short ones, not always 36 exposures.)

Note that all these add weight (mostly) and/or cost and/or complexity. If you aren't prepared to deal with this, that could lessen your enjoyment of film. That said, in a lot of situations you will be likely to shoot a full roll of 36 exposures in a given lighting situation anyway, so it's not all bad. Still, I think the sheer magic of digital's mid-"roll" ISO switching, for anyone who grew up with film, should not be understated.

--Dave

08-28-2012, 08:45 PM   #38
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QuoteOriginally posted by Argenticien Quote
He's hit on a key point there re: choosing an ISO. To me, the single "killer app" that digital has, and anyone who has only ever shot digital (e.g., 14-year-olds) has no idea or appreciation of this, is the ability to switch ISO mid-"roll." My wife does food blogging; I can shoot for her a tomato out in the garden in full sun with the camera set to ISO 100; then come inside and shoot that same tomato (sliced up) under ambient room light at ISO 1600. (And that's only my K20D; those of you with K5s etc. can use ISO 12800 or whatever it goes up to.) To do similar with film, your solutions include:
  • A medium format camera with swappable backs (e.g., Hasselblad, Bronica), and carry backs with different film speeds.
  • Carrying around multiple fixed-back cameras (such as the K1000) loaded with different film speeds. Swap lenses among them as you go from one to the other.
  • One camera with fast (so more grainy) indoor-ready film, and carry various ND filters (in various diameters for all your lenses) to "slow it down" in outdoor light.
  • One camera with slow outdoor-ready film, and carry a tripod and lighting kit for indoors.
  • One camera, multiple films, rewinding mid-roll, swapping films out, reloading them and winding back to where you were -- this is really far-fetched.
  • Or similarly, one camera and waste the remainder of any loaded roll when you need to switch speeds. (Less bad if loading your own rolls so you can carry short ones, not always 36 exposures.)

Note that all these add weight (mostly) and/or cost and/or complexity. If you aren't prepared to deal with this, that could lessen your enjoyment of film. That said, in a lot of situations you will be likely to shoot a full roll of 36 exposures in a given lighting situation anyway, so it's not all bad. Still, I think the sheer magic of digital's mid-"roll" ISO switching, for anyone who grew up with film, should not be understated.

--Dave
It's all true. Sigh....
08-28-2012, 09:15 PM   #39
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QuoteOriginally posted by Argenticien Quote
Still, I think the sheer magic of digital's mid-"roll" ISO switching, for anyone who grew up with film, should not be understated.

--Dave
This is true. This can be especially annoying when I get lazy and take a long time to finish a roll, so I'm stuck at the same ISO and look for weeks on end.

But two thoughts...

1. If you shoot digital and film you can get the best of both worlds.
2. ISO400 film is pretty versatile if you have fast glass.
08-29-2012, 10:20 AM   #40
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QuoteOriginally posted by Argenticien Quote
...Still, I think the sheer magic of digital's mid-"roll" ISO switching, for anyone who grew up with film, should not be understated.

--Dave
It's funny to think about now but Kodak sold their popular 35mm films in 36, 24,12 and even 8 exposure rolls up until maybe 10 years ago or so. Shooting with 8-exposure rolls of film made it a little easier to switch film types as needed but the bulk of carrying around three or four times as many rolls of film took the fun out of it.

Ansel Adams once stated that in his early days he would pack 7 or 8 glass plates in his backpack, go climb El Capitan or some such, and hope he could get to the top without breaking more than one or two of those plates leaving the rest for a day of shooting. From my experience, leave your house with one 8-shot roll of film in your camera and your keeper ratio improves markedly.
08-29-2012, 10:51 AM   #41
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Eh, that depends upon the photographer. 8 shots would never do it for me. I leave with 2-3 rolls of 24 exposure film when I go out with a film camera and usually I come back with at least one if not two rolls. Right now I'd say I was keeping maybe 70%. (That figure may go up with the new KX. That camera makes manual focusing so much easier.) I'm not quite as deft with film as I am with digital but I still keep a respectable amount of what I take. I'm a little worried about not having anywhere to develop though. Walmart is stopping the developing of film here and there are rumors that Target won't be far behind. There are fewer and fewer drug stores sending out film to be developed and the 2 photo labs that are left here are rather expensive and only open 4 days a week. I may just have to bite the bullet and go learn to develop if I am going to continue to shoot with film. I want to though. I like it but it's definitely something I have to work more at doing.
08-29-2012, 03:12 PM   #42
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Great thread! My personal, totally unbiased suggestion, (right!) is that the K1000 while a classic, lacks certain features which will soon really bug you! For example, no on/off switch, no centerweighted metering, no depth of field preview, no motor/winder. You get the picture. It is a fine basic tool, but overpriced today. For example, I found an Olympus OM-10 in virtually like new condition with the f1.8 AND an everready case at a local shop for ... $35.00! Have a look at used K1000 prices at KEH or other reputable dealers.

My suggestion? Okay, the LX is the ultimate film MF Pentax. But...it ain't cheap. Watch for a MX. You'll get: a rugged, mechanical body. Full viewfinder info: shutter speed, f stop. What else do you need? Center weighted metering. Interchangeable viewfinder screens. Depth of field preview. Try shooting macro without that! A winder good for 2 fps. Interchangeable backs, 250 frame bulk film back - but if this is your bag go for the LX, although the data backs are obsolete. A huge, bright viewfinder! Its like a picture window.

One member thought the camera was too small for his hands: get the winder. Not expensive, two frames per second (how many do you really need?) and adds just the needed bulk, makes shooting vertical format much easier and just looks cool. Not too hard or expensive to find.

BTW. While the 50mm f2 is okay, it seems that the f1.7 or f1.4 is better. And of course, if you got lotsa money, go for the f1.2. But look for the A version, so you can use it on your DSLR.

What's not to like? Its an oooold camera! Pentax offers no support, but Brother Eric Henderson Home is the best in the US. Slow flash sync 1/60. I think the top ASA supported is 1600, but is that a problem?
08-29-2012, 07:38 PM   #43
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QuoteOriginally posted by B Grace Quote
From my experience, leave your house with one 8-shot roll of film in your camera and your keeper ratio improves markedly.
There's always rolling your own from bulk. Unfortunately this leave us only with the option of B&W...that is unless you like your own little FYI projects and like to crack open rolls of 36 (smallest bulk film roll ever!).
08-29-2012, 07:56 PM   #44
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We discussed the short roll method and determined that due to the incredible waste from the ends of each roll when you roll your own, or the added cost of buying shorter rolls, it doesn't take very long before it woulda been cheaper to buy a second identical body and have it refurbished so you can keep it in the car or even carry both (adjust neck strap so one is above the other) and shoot both ISO's at once if necessary.

With modern high end 400 being almost grainless I never bother with less than 400 (I can use a ND filter if I need wide apertures for some reason) and I haven't yet needed higher than 400 though I revert to my A50 1.4 a lot when it gets dark, the thing has better night vision than a person.
08-29-2012, 09:37 PM   #45
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QuoteOriginally posted by Argenticien Quote
He's hit on a key point there re: choosing an ISO. To me, the single "killer app" that digital has, and anyone who has only ever shot digital (e.g., 14-year-olds) has no idea or appreciation of this, is the ability to switch ISO mid-"roll." My wife does food blogging; I can shoot for her a tomato out in the garden in full sun with the camera set to ISO 100; then come inside and shoot that same tomato (sliced up) under ambient room light at ISO 1600. (And that's only my K20D; those of you with K5s etc. can use ISO 12800 or whatever it goes up to.) To do similar with film, your solutions include:
  • A medium format camera with swappable backs (e.g., Hasselblad, Bronica), and carry backs with different film speeds.
  • Carrying around multiple fixed-back cameras (such as the K1000) loaded with different film speeds. Swap lenses among them as you go from one to the other.
  • One camera with fast (so more grainy) indoor-ready film, and carry various ND filters (in various diameters for all your lenses) to "slow it down" in outdoor light.
  • One camera with slow outdoor-ready film, and carry a tripod and lighting kit for indoors.
  • One camera, multiple films, rewinding mid-roll, swapping films out, reloading them and winding back to where you were -- this is really far-fetched.
  • Or similarly, one camera and waste the remainder of any loaded roll when you need to switch speeds. (Less bad if loading your own rolls so you can carry short ones, not always 36 exposures.)

Note that all these add weight (mostly) and/or cost and/or complexity. If you aren't prepared to deal with this, that could lessen your enjoyment of film. That said, in a lot of situations you will be likely to shoot a full roll of 36 exposures in a given lighting situation anyway, so it's not all bad. Still, I think the sheer magic of digital's mid-"roll" ISO switching, for anyone who grew up with film, should not be understated.

--Dave
Don’t forget with a DSLR you are stuck with the same sensor all the time. When shooting film every time you load a different type of film you basically have a new “sensor” and a totally different shooting experience.

I can go from ultra sharp 25 ISO b&w, to colour slide to IR b&w film and it’s just like having a new camera.

Phil.

Last edited by gofour3; 08-29-2012 at 09:56 PM.
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