Marc453

It sounds like the problm is eith the battery. I tried using lithiumbatteries once and the camera would only fire the shutter at 1/400. Changed back to Duracell alkalines and it worked perfectly.

This happen to me once, and I change the batteries and no problems since.

I’m looking for some infinity stops for a Wista D 4x5 technical camera. Anyone have any ideas where I might find these items. Thanks for your help.

When using a 6x9 back on a 4X5 large format camera you should consider the image circle; the zone of in focus coverage by the lens, available to you from the large format lens. Most LF lenses give you a image circle greater than an 8X10 format so that you can utilize the movements of the LF camera. My 150mm F/5.5 Fujinon W when used with the 6x9 back allows for extreme movements which lets me get a whole bunch of stuff in focus that I wouldn't get with a medium format camera. (In movements I mean tilt, shit and rise of the lens board and lens.) A good reference is a brochure of the Nikkor large format lenses. "http://homepages.tig.com.au/~cbird/nikkor/LF_lenses_141A.pdf" And you may also want to look at the large format photography.info page "A large format photography home page' there is more than enough info to confuse you and provide lots of knowledge about large format lenses.

I like photography. All kinds. My favorite was the 4x5 Polaroids. I had the backs and holders for my Calumet and Speed Graphic cameras. I also like the Hasselblads. I have four of the motorized bodies and three 500 C/M bodies and a slew of lenses. I also have several Mamiya's including a 330f twin lens and three 645 bodies, and a RZ67 with a bunch of lenses. I shoot with whatever moves me at the moment. Right now I'm playing with the Hasselblads. I would like to get a digital back for the Hasselblads, but the cost is prohibitive. I do scan my negatives and I process my own b/w negs. I would like to see Polaroid make a come back, but that's asking a lot. Photography is supposed to be fun. Now that I'm able to afford all the medium format stuff I lusted for years ago it is really fun!

Today I got two new Exell NH-5 6.0 volt 800 mAh rechargeable NiMH batteries for my Hasselblad 500 EL/M. They fit and work great. Only thing is that there is no information about them. Don't know how long to charge them. (Plugged them up to the DIN charger, but they had a charge in them when I unpacked them.) They cost $33 each but if they work out, it will be worth it. They are way lighter than the original batteries. All one piece construction with a black plastic covering. If anyone knows anything about these batteries, please chime in.

Just got off the phone with Quantum Instruments, makers of the Quantum Qflash. First, they are still in business after being bought out by Promark about four years ago. They are still making the T5d-R and Trio Qflashes. And there is a T6 on the drawing board! For those of you who are new to Quantum, you may have hear of their Turbo batteries and Qflashes. The Qflash is a 150 watt flash that must be used with the Quantum (like) battery. It needs a camera bracket and while it will fire with a PC cord, there are TTL adapters to fit most cameras. The big thing about the Qflash is the quality of light it produces. It's just beautiful. Second thing is that they work, and work, and work some more. They don't over heat and shut down, they just keep on going. The regular Turbo batteries would give you about 225 full power shots, and many more if set to auto flash or ratcheted down to 1/4 or 1/8 power or more. The newer Turbo 3 battery uses the new NiHM technology and will give you more than 1000 full power flashes. Quantum still makes several different batteries to work with different makes of electronic flashes. Of course all this comes at a price; Quantum equipment ain't cheap. Their Qflash T5r-D cost around $700, and the Turbo 3 is about $625. You will also need a Quantum cord (around $50) for your flash if you use their battery. Qflashes come with the cord attached. And there are a bunch of odds and ends to complement the system. But, once you buy it, It will work and pay for itself in due time. I know this sounds like a commercial, but Quantum is an American company that got it right the first time. You can buy a Qflash T2 off Ebay.com and it will still work like it did brand new! Quantum was also the first flash company to really get TTL flash right. Also its wireless radio control of remote flashes is hard to beat. There are knock off flashes that look like Quantum's and I won't put them down, cause I haven't used them. One bad thing though, the Quantum T2 series is out of production and with the new owners, Quantum is not servicing or upgrading these units. The T4's and T5's are being repaired and updated when shipped back to the factory. Quantum also will refurbish and recycle its batteries and other equipment. Most of the time we hear of an American company being sold and soon after that being shut down. Quantum's continued existence is a boon for all serious and professional photographers. Check out their website, www.qtm.com.

The Quantum Qfllash is the only one I can think of right now. Some of the copycat strobes might do it (Flashpoint, Godox,Cheetah) but I know the Quantums will do it without overheating. Now that I said that, your mileage may vary. The Quantums are expensive, but they make up for it in their durability and consistency. And the light they put out is fantastic! You can buy a decent one on EBay for a reasonable price. The older T2 and T2d, could be upgraded to T3d-R, which is in essence a T5d-R, except for use with the Qnexus FW7. What it does is makes the flash compatible with the wireless QTTL system and the Quantum Co pilot and Pilot wireless adapters and its accompanying FreeXWire controllers. Quantum was recently sold so getting the upgrades have been iffy with the older models. They are still upgrading the newer models, and I hIGHLY recommend getting the newest firmware upgrade.

<p>Shooting sports at night is one of the reasons Canon and Nikon (and Sony) make expensive hi-speed lenses and cameras. Once you shoot sports with a 70-200mm F/2.8 or a 300mm F/2.8 you won't try it with a slower lens. Another factor you need to consider besides cost is heft. These lenses are heavy! With the 300mm you will need a support system. Most photographers use a monopod. (Note: Spend the money and get a carbon fiber monopod, you won't regret it!) I sometimes use a pistol grip under my Canon 300mm F/2.8 for support. I also have a strap on the lens and one on the camera. This gets clumsy at times but the security of not dropping my lens makes up for the minor inconvenience strap entrapment. Someone mentioned shooting at ISO 1600, at most night high school football fields, I wind up shooting at 2000 or 3200, at 1/400 and up. Go to the game early and practice shooting the players during warm-ups. That way you can get used to their speed and adjust your framing. If you do get on the sidelines, remember that you cannot go past the 30 yard marker into the team's area. (The team can't come past the 30 while on the sidelines going to the goal line). Also stay away from the guys with the chains. The refs get really peeved if you get in the way when they have to move the chains. Although I know, I always ask a ref where I can stand on the sidelines. That way he knows I'm there and that I know what to do. I also shoot from the end zone, especially if the play is coming towards me. For your own safety do not stand in front of another photographer or anybody else. (If the players come rushing your way, you tend to automatically back up. Which becomes a problem if someone is behind you.) One more point about the stands, I wouldn't recommend using a 300mm F/2.8 lens in the stands as if your sitting, the people in front of you will jump up when something exciting happens. And depending on the excitement, your lens might get knocked around or worse.</p><div></div>

<p>The Ferengi rule of finance number six: Once you have their money never give it back.<br> You went way above average to service your clients. Point out the opportunities she had to get a reshoot or refund and explain that the opportunity is lost as you have spent the money. Use her logic on her. If it is the same one that told everyone not to order from you as she was taking pictures for everyone else, bring this to her attention too. And remember, only offer retakes if you don't like the photo. I was asked by a client once, "Supposed I don't like the photos? Can I get my money back?" I explained that I use her money (deposit) to pay for the film and processing of her photos, so no she cannot get her money back, "So make sure you want me to take your photos before you give me any money, because I am going to spend it on your photos." Believe it or not, this ends most talk of refunds.</p> <p> </p>