Last roll from our Paris trip. The Retina IIa was a good choice until it developed some mechanical problems. When I started scanning, it showed the film wasn't tracking straight. Also, I didn't have time to apply a buffer to the sharp metal eyepiece and now have a circle of scratches on the distance portion of my new, expensive trifocals. The Reveni did an acceptable job of metering but encouraged me to buy a Gossen Digisix 2 for those times when I want a small meter but has more to offer.
Woman in a doorway, Paris
Pasta e Fagioli, Paris We had dinner there twice. They had a Halloween special with a pumpkin soup followed by sage ravioli. The next time was one of the best calzones
madNbad wrote:
Last roll from our Paris trip. The Retina IIa was a good choice until it developed some mechanical problems. When I started scanning, it showed the film wasn't tracking straight. Also, I didn't have time to apply a buffer to the sharp metal eyepiece and now have a circle of scratches on the distance portion of my new, expensive trifocals. The Reveni did an acceptable job of metering but encouraged me to buy a Gossen Digisix 2 for those times when I want a small meter but has more to offer.
Pasta e Fagioli, Paris We had dinner there twice. They had a Halloween special with a pumpkin soup followed by sage ravioli. The next time was one of the best calzones
lifeandmylens wrote:
Thanks, I love that film. Are you having it processed by a lab? Is there anything you can do to improve results?
Yes, lab processed here in Berlin. There might be two root causes to my statement above: light leaks in the Pentax MV and I exposed for Iso800 (and instructed to dev accordingly, though I am not sure if they did)
Ineound wrote:
Yes, lab processed here in Berlin. There might be two root causes to my statement above: light leaks in the Pentax MV and I exposed for Iso800 (and instructed to dev accordingly, though I am not sure if they did)
Oh yeah, I remember now. I would give it a try shooting a half stop faster than box and developing normal and see how you like it.
madNbad wrote:
Last roll from our Paris trip. The Retina IIa was a good choice until it developed some mechanical problems. When I started scanning, it showed the film wasn't tracking straight. Also, I didn't have time to apply a buffer to the sharp metal eyepiece and now have a circle of scratches on the distance portion of my new, expensive trifocals. The Reveni did an acceptable job of metering but encouraged me to buy a Gossen Digisix 2 for those times when I want a small meter but has more to offer.
Pasta e Fagioli, Paris We had dinner there twice. They had a Halloween special with a pumpkin soup followed by sage ravioli. The next time was one of the best calzones
lifeandmylens wrote:
Oh yeah, I remember now. I would give it a try shooting a half stop faster than box and developing normal and see how you like it.
Ineound wrote:
Thx for the recommendation! That means Iso320?
That would underexpose it; try shooting 250D at ISO 160.
A typical recommendation for the Vision 3 films is to shoot them as follows:
50D – shoot it at ISO25
200T – shoot it at ISO125
250D – shoot it at ISO160
500T – shoot it at ISO400
It's interesting that the remjet-removed versions of these films (e.g., from Cinestill) are quite a bit faster; I guess removing the remjet increases their light sensitivity along with allowing them to be processed in C-41.
Ineound wrote:
Thanks, very helpful! Unfortunately Iso160 is to slow for me. I usually shot at Iso400 or Iso800 and use a variable ND during the day.
If you want to use Vision films, you could
- shoot 250D @ 400 and push 1.
- shoot 500T with an 85 filter (during the day) @ 400 and @ 500 at night w/o the filter and process normally.
- shoot 500T @ 800 and push 1.
But shooting it at or close to box and processing normally will provide the best results.
Desmolicious wroteLove the ME! Should never have sold mine.
Yeah, they're lovely little SLRs
And you can still get them today in good condition for 50-100 bucks, at least were I live - but just so you know: they do apparently have a capacitator in the circuitry of the exposure meter that's prone to drying out (the boss of my local photo lab / camera shop told me most cameras from that era are facing this problem sooner or later, but he saw it way more often with Pentax and (I think) Minolta bodies..) - when this happens the meter doesn't work reliably any more. And repairing it would be like 150 bucks because the thing is hard to get to apparently..
Two of my ME bodies "died" due to this happening this year, now I have one left (and a ME Super), fingers crossed they'll keep working for a while
