What are the benefits of a Power Drive

[andrew_littleford]

I have a ProSD (which I love) and wanted to get opinions on the benefits (and negatives) of using a power

drive or motorised back and what the benefits of the 6x8 and 6x7 format are. Thanks

[golden]

i have the power drive for the mamiya pro which i like, I use my leaf shutters alot and with the power drive it automatically cocks the shutter, it also has on the shutter button a place where a standard release cable will fit, i like also not having to advance my film by turning the littl crank, as far as negantive size goes, the bigger the negative, the bigger the enlargement, grain becomes less a big deal, i shoot 6x9 sometimes with my crown graphic and when i compare my 645 negs against my 6x9, well the 6x9 is exactly twice the size. you get alot more detail. biggest drawback, bigger format less images per roll. 645 15 images, 6x6 12 images, 6x7 10 images, 6x9 only 8. the big neg is nice though

[Ed_Ingold]

A power drive enables you to shoot reasonably quickly in a fast-paced situation (e.g., studio fashion, runways and weddings). It allows you to keep you eye to the viewfinder, which is hard to do when cranking by hand. It is also useful for portraits in which you need to maintain eye contact to engage the subject.

 

6x7 is very close to the proportions of an 8x10 inch print, and is sometimes called the "ideal format" for that reason. It has about 30% more image area than a 6x4.5cm camera (or 6x6 cropped to fit an 8x10). 6x8 is the same aas 6x7 if so cropped. 6x9 is the same aspect ratio as 35mm film or a DSLR, and fits 4x6 or 8x12 inch prints perfectly.

[jean-louis llech]

Edward,<br>

While I totally agree with what you wrote, at the beginning, I think that this "ideal format" was basically and only a marketing argument. As the most used "modern" medium format was 6x6, the 6x7 was a kind of market niche. And several camera manufacturers, Mamiya, Linhof or Fuji, "stepped into the breach" to promote "something new". I don't know who was the first one, but I remember the first advertising for the Mamiya RB67 and its "ideal format" as well as the Linhof advertisings for their 6x7 backs.<br>

Of course, you are right, the 6x7 format was also called the "ideal format" because it enlarges to standard 8x10" paper. But why ? 8x10" paper is not the only existing paper format. And everybody knows that all american film formats have their european counterpart : 4x5"-10x12, 5x7"-13x18, 8x10"-20x25. And, of course, the winner was...<br>

The ratio between width and height of a 6x9 negative is the same 2:3 as on 24x36 films. I don't like the 6x7 format, because it is "somewhere" between square and rectangular format. (I would say "too square" for a rectangle and "too rectangular" for a square). Of course, that is nothing but a personal opinion. That's why I only use either 6x6 or 6x9.<br>

Except for 6x12 or 6x17 panoramic pictures, 6x9cm gives the maximum image size that can be obtained on a 120 or 220 roll-film. Thus, I would consider the 6x9 as the real "ideal format".<br>

But I insist, only a personal opinion.<br>

[jean-louis llech]

Concerning the power drive, there are two different situations : for social events, weddings, it is maybe a useful feature.<br>

For landscapes, architecture, street photography and probably also portraits, I don't like power winders, either on the camera or on the roll-film holder.<br>

A power drive has some drawbacks : first, the weight. On a RZ67, the power winder with its 6 batteries adds nearly 600g to the already important camera weight. If the camera is in a studio, on a sturdy tripod, this added weight is not a problem, but it really becomes one in the field, where each "saved pound" has its value at the end of the day.<br>

The second drawback is the noise. Of course, when using a large camera like a Mamiya RZ67, it is quite difficult to stay unnoticed. But when you add the noise of the power winder, such a camera cannot be used anywhere.<br>

The third drawback is IMO the most important. Rather difficult to explain.<br>

Edward says that a continuous sight through the prism or the viewing hood, with automatic film advance and shutter cocking helps the photographer to concentrate his attention on the subject.<br>

A power driven camera does not increase my concentration, on the contrary. Shutter cocking and film advance is a part of the process, and a kind of "gap" between two shots. I always use the most mechanical cameras that I can find, either in MF or LF. Separated film advance and shutter cocking helps me to concentrate on what I am doing and avoids some mistakes.<br>

Of course, many cameras have securities to avoid forgetting to advance the film or to cock the shutter. But it is when you become too confident in your equipment, when you finally forget it that you make mistakes.<br>

I use 120 films, in 6x6 format with TLR or SLR Rolleiflex, or 6x9 format with a folding Linhof. On my MF cameras, film advance is coupled with shutter cocking, but I really prefer the Linhof where I have to advance the film before cocking the shutter. On such a fully mechanical camera there are absolutely no securities, for film advance, double exposure or shutter cocking (Not even when you forget to remove the dark slide). And this helps me to concentrate on my subject. This "check-list" becomes an habit and a part of the photography. Nothing is done unconsciously, thus nothing is forgotten. A mechanical camera has much less malfunctions or electronical failures !<br>

I consider a power winder like autofocus or automatic shutter and aperture determination : something which directly interferes between the subject, the camera and the photographer.<br>

Please forgive the length of my post : it is not a technical problem, but a true philosophical one.<br>

[Ed_Ingold]

In a fashion shoot, the model is often directed to move in a certain way. She can't keep this up for long, and a motor drive helps the photographer capture as many shots as possible, looking for THE SHOT. This is even more true for a digital MF camera where you are not interrupted to load film (but still need to reset the shutter and mirror).

 

For portraits, the camera would normally go on a tripod. I find it best to NOT look through the finder once the composition and focus is set, rather to face and engage the subject. A motor drive with a remote release maintains continuity without having to continually wind the shutter by hand, which serves to distract the subject.