Zeiss 28mm vs 35mm?

[SDK]

Hi,

Thanks for the detailed reply. What lens was employed for the picture entitled "Moonrise, Brooklin Maine"?

Again, as I am learning the ropes please excuse my novice level questions but have one additional one. In reading some of the posts on the RFF several posters make reference to the methods of development which some of the terms are bit 'foreign' to me. My early days of shooting have me taking the film to Ritz for prints and I typically have a CD made. Some of the posters refer to a 'scanned negative' which I can't translate into "novice RFF speak"! Can you enlighten me on this terrm or are they simply stating the images are scanned to a CD.

Secondly, years ago as a teenageer with an old Zeiss RFKodacrome 25 speed color slides. Again a novice question, but assume when shooting color slide film most development companies (like a Ritz) can produce a CD with the scanned images(?).

Hi Kingsley,

"The Moonrise, Brooklin" image was shot with an AF Nikkor 180mm and a Nikon TC-16A teleconverter, effectively with a 288mm/4.5 lens, with Nikon F4 body on a tripod. I think I used f/5.6 effectively f/9 with the converter. It's not the sharpest combo, but it's what I had at the time (about 1996 I think). I now have a 300mm/4 AFS Nikkor, which is much better for such long telephoto work, though I still use the 180mm quite a bit too.

Most photofinishers can scan either slide or negative film and give you a CD or DVD with positive images from either source. Negatives are more forgiving of exposure error, and give better highlight and shadow detail. The new Fuji Pro 160C and Kodak 100UC and 400UC are fantastic color negative films with very high resolution and low grain.

I have a rather primitive digital workflow for my website images, since I mainly do my own optical contact sheets and printing in a closet color darkroom in my apartment. After I get a nice print on 8x10" Kodak RA4 Endura paper, I scan it on a flatbed (Epson 2450 Photo) with a Kodak R14 grayscale control strip, adjust the white and black levels, tweak colors if needed, and clean the dust specs off in Photoshop with the Healing Brush and Clone Stamp tools.

If someone is scanning your film, you probably won't have to do much cleanup, but you may have to adjust the color and brightness levels. Ask for 16 bit/color TIFF or RAW scan files, not JPEGs when you get your film done.