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pieterdekoninck

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  1. I have to disagree there. I dislike a camera that does not have an optical viewfinder, and the Leica S is among the best.
  2. A few observations. I do not think the Nikon lenses will cover the GFX sensor. You will have vignetting. Also, not being familiar with the adapters available, you will most probably lose some of the lenses capabilities, like autofocus and automatic aperture control. Lastly, the size of the MF sensor (not truly MF, but larger than FX) can give a much nicer image than the same number of pixels on an FX sensor. If you do go for the GFX, spring for the Fuji lenses. They are excellent. Otherwise, you might not get the quality the camera is capable of delivering. Older MF lenses don't necessarily have the resolving power needed for digital, plus who knows what image deterioration an adapter might introduce.
  3. This whole idea of removing a partial roll is pretty silly. What are you going to do with it? You will have to waste a few frames to reload it and might even introduce issues when doing that as far as I know--I've never done that. Just bite the bullet and either leave the film in the camera or fire off the remaining frames. If the cost of mounting/printing is an issue, maybe you need a different hobby. There are not that many frames on a 120 roll and film isn't all that expensive.
  4. You don't have to work very hard at it. Pointing the camera randomly is not a burden and who knows what you might get. Better than a blank frame, even if it is a blank frame.
  5. I had the same or similar problem with my SWC. I took it to the local Hasselblad repair shop and they replaced a spring in the cocking mechanism. They did a complete CLA as well. Not an arm and a leg but not dirt cheap either.
  6. Is it really that much of a hardship to snap blank frames? Maybe just shoot something random, you might end up with something you like.
  7. If your goal is to get assignments and sell photos, I would recommend you skip film and invest in a good FF digital camera. Or if you have deep pockets, a MF digital camera. No one assigns film work unless you have an outstanding look and style to your work that cannot be achieved with digital.
  8. I was one of those dreaded advertising art directors until I retired a number of years ago. I have worked with photographers with in-house e6 processing show me test transparencies, let alone Polaroids. I never had a photographer refuse to make a Polaroid--even when shooting 35mm and using a 330 or such camera for the test--but if such a situation occurred, I would be have been happy to walk out as long as the the photographer would guarantee to reshoot the same day I saw the film--picking up all expenses along the way. A Polaroid was something of an assurance the art director and the photographer understood what to expect.
  9. Not necessarily ones with leaf shutters or electronics such as VR.
  10. Dave Feely at Key Camera in Longmont, Colorado. I believe he is the only one left in the US. 303-772-7690
  11. I'm surprised no one has mentioned the Rollei 6008. Although it is heavy, it is well balanced and easy to hand-hold with the action grip. I use it hand-held all the time, More sophisticated and less finicky than a Hasselblad. Downside is you will most likely have to rebuild the battery with NiMH cells, and service is difficult to find in the U.S.
  12. I have a couple of thoughts on the matter of Hasselbad's reputation. As a former advertising art director, I expected the photographers I gave jobs to to have current, pro-level, reliable equipment and back-ups. Those professionals usually had experience with that equipment and knew what was necessary to maintain it. A failure on the job did not bode well for the photographer, me or go over well with the client and talent involved. Hasselblad equipment (bodies, lenses, backs , etc.) were readily available from rental houses to provide additional equipment as needed. Not that there weren't other brands available, just Hasselblad was the best-known.
  13. An option to the well-known California repair service is Key Camera in Colorado.
  14. Now that we're on the subject of cars, I remember once being at my mechanic's shop when one of his clients stopped by in his new-to-him 7-series BMW. He was crowing about how he got the car for a low price. The mechanic then reminded him that he was still going to have to pay for a complicated, high-tech $80,000-car maintenance, parts and repair costs. I guess the same goes for cameras: you might be able to buy into a Hasselblad system relatively cheap (compared to the original price), but you still have the same cost of maintenance for the body, the backs and lenses.
  15. Recently I have come across several 500 EL/M bodies at what seems to be bargain prices. Is this a problem-laden camera? I know the batteries can be replaced with an adapter to take off-the-shelf ones. I cannot find anything much about the Hasselblad 500 EL/M online, which leads me to think I should shy away from buying one. Anyone out there know about this camera?
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