I was out of the country for two weeks in June, home for ten days, then a
week in Southern California, now home for the balance of the summer. Here is
a bunch of things relating to the pile of digests that I have just finished.
Bandpass filters: There was an article in Phototechniques about a year ago.
A high school student experimented with one that limited to a specific green
wavelength, and compared resolution with and without. This had the aura of a
science project gone, for a change, well. It made a remarkable, visible in
PT's average resolution halftones, difference. Well worth rereading.
Stores: I have had a very, very, very bad experience with Cambridge. Avoid
at all costs, including abandoning photography. Brooklyn Camera exchange,
where I got my 135/2.8, is well regarded.
Film: National Geographic photogs have already severely limited their use of
Kodachrome. Velvia is frequently used, and from what I have been told, Fuji
is often used over Kodak.
Photo CD: Don's know what the status is, but at one point Kodak announced to
dealers that the Photo CD would be discontinued due to low sales. the
proprietary file format made it less popular.
Movie cameras: the one I used in the early seventies was a 70DR, and I was
far from the first user (it was owned by the TV station), and probably far
from the last. I think it would be possible to drive nails with one. I moved
from news to public tv, and from the B&H to a Bolex. Liked the Bell and
Howell better.
Travel kit: My overseas trip was to Lisbon and Barcelona. I took the Xpan,
with 45 and 90, and the OM4 with 21/2 and 28-48. All went well, shot OM to
Xpan about 60-40. Although I got some great shots with it, the 21 wasn't
really necessary, but something faster that f4 was good to have.
On London, I toured England/Scotland about 6 years ago with an IS3 and an
XA. Went great, highly recommend it. (wouldn't go to Italy without something
wider, though) Shot HP5 in the XA, and mostly Fuji 400 in the IS3. Maybe
it's because I grew up with 100 speed films that had about the same amount
of grain that today's 400's do, but I don't find the grain objectionable. I
do find the 4 layer emulsion, and its ability to deal with mixed light,
essential. Since most of my needs end up as prints, I simply can't see
shooting chromes.
Glad to see that things are still the same after my weeks absence.
Bill Pearce
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