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Fuji's GX617 and Linhof's 617 image quality


buckie_joe

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<p>Hi fine folks! I wonder if any of you have ever got the chance to compare the images you got from the Fuji GX617 with the images from Linhof's Technorama 617 (which I own). What I'm curious about is how, well, 'technical' the Linhof images seem to be - although it seems everything is there regarding the image quality but the image is somehow always unemotional and dead. Bring Linhof to a construction site and it shines but try making a photo of a beautiful tropical landscape and it seems... wrong in an inexplicable way. I ask because I own Fuji's GX680 and its lens produce absolutely outstanding images. The faces in the portraits for example seem to be alive and I haven't seen that kind of special quality to the images in any other camera/lens yet. Landscapes are equally very pleasing. I wonder if those qualities of the 680 transcribe somehow into GX617. This could probably be answered by anyone who's handled LF lenses from Fuji and Schneider as I presume them to be similar (as in Fuji's case) or even downright the same (Schnieder/Linhof).</p>
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<p>I think you would be hard pressed to find any definitive differences in the results from either camera/lens combo. I have heard mention thru the years of Japanese lenses being "warmer" than their German equals, though I have yet to observe this personally.</p>

<p>I have used both the Linhof and Fuji 617 cameras, though I own the Fotoman 617, with many different lenses... Fuji, Nikon, Rodenstock and Schneider. Results are uniformly excellent, assuming good technique.</p>

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<p>My bet:</p>

<p>If I would capture with a LF any identical scene with a 5.6/90mm Schneider Angulon, 5.6/90 mm Rodenstock Grandagon and 8.0/90 mm Fujinon in less than 5 minutes with identical focussing, aperture and exposure, you wouldn't be able to notice any difference.</p>

<p>Anything else is a myth.</p>

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Worry is like a rocking chair.

It will give you something to do,

but it won't get you anywhere.

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<p>I guess you would have to check the lens specs for clarification. I have no idea. However, I can't imagine that they develop a separate line of lenses for basically the same sort of camera: a 6x17 translates into a 5"x7" large format camera, only with the upper and lower 3rd of the image chopped off.</p>

------------------------------------------

Worry is like a rocking chair.

It will give you something to do,

but it won't get you anywhere.

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<p>This might confuse you more. I gave up using my Technorama and settled down to 13x18 (5x7) in a home-made box for sake of practicality. The box is just faster to set up and shoot. But, but definition is nowhere as good on sheet film as it is on roll film. Moreover, my 120mm SuperAngulon is nowhere as sharp as the 'equivalent' Linhof 120mm. But, but the colour results 'look' nicer because they lack that high-definition micro contrast. </p><div>00ZzaQ-440873584.jpg.edde311b08c9fdba53b16dbab7fea624.jpg</div>
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  • 1 year later...
<p>I believe Paul has a good point: you cannot substitute a quality lens for good technique and a skilled eye. I own the Fuji GX617 and I previously owned the Fuji GW690II and GSW690III. IMHO Fuji makes excellent lenses with beautiful contrast. I've never shot the Linhof 617 camera though I have to say I wasn't impressed by the design, as you have to disassemble the camera just to load and unload film whereas with the Fuji, you simply trip the lever on top and the door swings down: simple! Perhaps Peter Like doesn't mind leaving his camera exposed to the elements while he sets down the camera back and screw but to me, if you are working in wind, dust, sand, wet conditions... you don't want to leave the interior of your camera exposed to the elements longer than necessary.<br /> I will say that switching to the 617 format from 690 has been most challenging for me. The GX617 requires a center ND filter (which I have) to light the whole frame. This requires compensating +1 stop when metering. In addition, if I'm shooting in a high-contrast scene I'll use a CPL as well, so now I'm compensating +2 Stops: in other words a meter reading of Zone 5 at 1/15 of a second actually becomes 1/4. It takes a bit longer and I have to remember to slow down when using this camera as it's not quick like my Pentax K5 IIs. Whenever I try to rush, I always mess up, so patience is the real key to making great images with this format. Honestly, I would say patience, technique and a trained eye are all MORE important than the brand of lens you're using. I'll give up my Fuji GX617... when they pry it from my cold, dead hands ;-).</p>
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<p>Dean, was the sheet film the same speed and type as the roll film? Fuji still makes Velvia 100 for 4x5 and Kodak and Illford still have 4x5 film. I would compare like to like and also make sure the lenses are evenly matched as 30+ year old lenses won't have the same coatings as modern Schneider, Fuji or Nikon lenses will (ex: Super Symmar vs Super Angulon).</p>
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<p>@Christopher: Hey Chris that's cool! You should make a YouTube video of how you load and use that box camera. I've been wanting to add a 4x5 to my workflow but haven't yet due to available funds... ;-) Every photographers biggest problem!</p>
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<p>@Christopher: Hey Chris that's cool! You should make a YouTube video of how you load and use that box camera. I've been wanting to add a 4x5 to my workflow but haven't yet due to available funds... ;-) Every photographers biggest problem!</p>
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<p>Dean, was the sheet film the same speed and type as the roll film? Fuji still makes Velvia 100 for 4x5 and Kodak and Illford still have 4x5 film. I would compare like to like and also make sure the lenses are evenly matched as 30+ year old lenses won't have the same coatings as modern Schneider, Fuji or Nikon lenses will (ex: Super Symmar vs Super Angulon).</p>
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