Hi Cotty,
It was a 6x7 with the 105/2.4 lens. Just a quicky. I couldn't park there
for very long, so I took a meter reading down the block with an incident
meter. Parked the car, hopped out, and shot. The yellow curbs are
reflecting in the grille. I don't like that. I'm going to go back and do
it again when the theater marquis lights are on at twilight. I'll bring
a monopod and an assistant with a white reflector. I'll have him lay the
reflector over the foreground yellow curb. I can always take it out in PhotoShop.
Paul

Cotty wrote:
> 
> >I'm not sure if Ektachrome 64 is still available. But you're right: it
> >had a distinctive blue cast. Ektachrome 100S is totally different. And
> >if you want a slight warm cast, Ektachrome 100WS provides a bit of that.
> >It makes it look like everything was shot an hour before sunset, which
> >can be good if everything isn't being shot an hour before sunset:-). But
> >I like all of the new Ektachrome 100 variants. The 100VS provides high
> >saturation, but not as pronounced (dare I say garish) as Velvia. Like
> >Velvia, it's more difficult to scan than the 100S. Here's a scan from
> >Ektachrome 100VS:
> >http://home.earthlink.net/~pnstenquist/_uimages/55chevy.jpg
> 
> WOW. Cracking colour! Nice shot. Was that on MF or 35mil? What I need is
> a Kelloggs variety mini-pack with RSX, Velvia, Ektachrome etc in it. Boy
> this is gonna be fun.
> 
> BTW I've just mastered loading a Paterson multi-format spiral with a
> practice 120 roll. I could see where i was goning wrong: the leading edge
> needed help getting past the steel balls as the front curl wanted to go
> under the balls and not over them. I've now overcome this and am happy,
> having loaded/unloaded three times in a row, eyes closed, faultlessly.
> Also causing it to jam on purpose and starting again, eyes closed. It's
> fine. I've got some Pan-F in the freezer - Ansel Adams move over!
> 
> Cheers,
> 
> Cotty
> 
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