bob_cook

<p>The Xpan is not a "panorama only" camera. It can be used with a standard 24 X 36 frame size. Since I currently own an Xpan and use it a lot, and have owned a Mamiya 7, I do agree that the M7 is more versatile. I have never used the Xpan in other than panoramic mode, since that is why I bought it. Both are great machines.</p>

<p>Thanks Edward. Actually, the Cades Cove loop road opened early over the past weekend - we took a quick look today as far as Hyatt Lane. The Sinks parking area is also closed. The 100 ASA works fine for me. I'm kind of a one-trick pony while here - almost exclusively water, on a tripod, with really long exposures. Probably my 12th year, so I'm hitting a lot of the same spots looking for what has changed. And I love that Spring-green tree cover. The water is really good this year.</p>

<p>This time I really will try and post some results. I'll get the best few scanned. Regarding the E100VS, I got used to it a few years ago using it in a 6X6 H'blad. So, I bought the 35mm version for use in the Xpan, as well. Interestingly though, I bought two Pro Packs of Velvia 120 for this trip. Guess I can't figure out exactly what to do?<br>

Re: the F6 and rain. You're right Lex. I don't remember having to shoot in actual falling rain. Because my favorite subject in the Smokies is the mountain streams and water falls, the overcast weather works best - lower contrast and "greener greens."<br>

Have fun in the Dolomites, James.</p>

<p>Just got to the Smoky Mountains for a about 8 - 10 days of shooting. Decided to break out the seldom used (actually once) F6 and load it up with E100VS. Brought my 20 -35, 35 - 70, and 80 - 200. Coupled with my Xpan, it should be a real "retro" week. Hope I get some nice overcast weather, maybe a little rain. My favorite location, Roaring Fork, is closed for road repair through the end of May, but I'll make do.</p>

 

<p>Over the years we have had a lot of discussion on this subject. As a long time Pentax 67 user, my opinion is that mirror slap is a noise issue. The effect of the large focal plane shutter closing is what may cause loss of sharpness. If you are shooting hand-held, this will not be an issue because your hands dampen any vibrations from the mirror closing. Lots of study has shown that if there is any degradation of the image, it usually happens in a shutter speed range from 1/2 second down to 1 second.</p>

<p>The usual work around for those of us who use the 67 for landscape is to use a sturdy tripod, mirror lock up, and then put slight downward pressure on the camera and release the shutter with the index finger, not a cable release. Holding the camera and exerting the downward pressure on the tripod dampens any vibration.</p>

<p>How can anyone tell by looking at the pictures that it is a whiteface model with 120/220 capability? It looks just like my 2.8F Type I, which isn't a whiteface and is not 220 capable? I agree the price is very reasonable, depending on condition.</p>

<p>There was a 65 mm lens, as well as a 105 mm. I once owned both for my C330 Professional. I also could not get the url to open.</p>

<p>I really like my F6. Don't use it much because I really like working with medium format/WLF. But, I'm glad I have one, even if it is still in the box.</p>

<p>Zack - I agree with Arthur. Having used both extensively, there is no practical difference in the lenses. With the possible exception of the Mamiya 50, which is simply outstanding.</p>

<p>I have owned and used both extensively. The Mamiya 50 mm is an outstanding lens and I used it a lot. But, for the kink of photos I do, I much prefer WLF. So, I guess the H'blad wins for handling, but not necessarily any other reason.</p>

<p>I had the same problem with an F3. I put a few drops of a solution of Cialis dissolved in Jack Daniels right on the shutter release and it popped back up with no problem.</p>

<p>Mine is a Type 1 2.8F, 1961, I believe. I like the removable finder, and I replaced the screen. Late model E's are also very desirable. In the end it is a pretty subjective decision, as you can tell from the variety of responses to your question.</p>

<p>Mine is a Type 1 2.8F, 1961, I believe. I like the removable finder, and I replaced the screen. Late model E's are also very desirable. In the end it is a pretty subjective decision, as you can tell from the variety of responses to your question.</p>

<p>I'm guilty of the same thing: F3HP new in the box; FM3a new in the box; F2SB, never used but not in a box. When I shoot 35mm it is either an F6 or a Contax G series. I guess the other stuff is just a security blanket.</p>

<p>Piper,<br>

Here is a link to a site that used to have the largest collection of information related to the Mamiya TLR.<br>

http://www.gapatterson.com/grahamp/</p>

<p>Andy,<br>

I should also have mentioned that I always use mirror lock-up, and wait a few seconds for any vibration to die before releasing the shutter.</p>

<p>And,<br>

I have used P67 and 67II for many years. Mirror slap is not the issue. As Steve Rasmussen noted, it is the shutter travel that is the culprit with longer lenses and shutter speeds from 1/2 to 1 second. The solution, regardless of tripod, is to weight the camera. My technique was to put the camera on a tripod, and then use my hands to put slight downward pressure on the body. I released the shutter with my right index finger, not a cable release. The use of your hands will dampen the effect of the large shutter curtain traveling across the film plane. This technique was recommended years ago by a retired Kodak photographer who frequented the forum, and many others on the forum have used the same technique successfully.</p>

<p>"You may not have any need for the feature, but others will." Another reason why I still shoot medium format film when I'm doing the work that means the most to me, personally. Simplicity, and familiarity with the camera allow me to concentrate on the image. That said, other people will be most comfortable with the newer feature sets on their digital cameras.</p>

<p>I use a Sekonic 408 or a Pentax Spotmeter. With all my cameras, not just the H'blad.</p>

<p>I use the Tokina 12-24 on a D200 and get excellent results. It is a very versatile lens, I think.</p>

<p>Jonas' post is correct. The lenses are priced where they are because that is the highest price people will pay. If there was evidence that people would pay more, the price would be higher. Profit is the motive, and I'm glad they command a high price and commensurate profit. Remember, wether it is lenses or legumes, the buyer always sets the price.</p>

<p>As Matt said, you can't really "adjust" your depth of field. You can change it, by switching from a smaller to larger aperture, or from a larger to smaller aperture, or by changing the lens-to-subject distance. The lens you have chosen is really good; you could also use a 200mm macro for more working distance, but you sacrifice magnification (I think). My wife uses the older 70-180 macro for flexibility and ease of use, although I don't think it is quite the lens that the 60 or 200 is.</p>

<p>Most of us use manual focusing and aperture-preferred metering with these lenses specifically to control depth of field through aperture choice, and to choose which part, or how much, of the subject is in focus.</p>

<p>I've always had best results with an incident meter for outdoor portraiture. An incident meter reads the amount of light falling on the subject, as opposed to a reflectance meter, like the one in your F3, which measures the amount of light reflected off the subject. Plenty of good, cheap meters that will do both. I have an older Sekonic 408 that has both, plus a five-degree spot meter. Probably available fairly inexpensively now.</p>

<p>I own a mint condition F2SB, purchased from a person who bought "one of everything" when new and held on to them for awhile. I paid $600 for it about 12 years ago and it has just been on display since then, or packed carefully in a Pelican case. Also got a couple of lenses that are in equally pristine condition. For extra $ of course. The price on the AS seems somewhat high to me, but it all depends on how important it is to you.</p>

<p>Marvin,<br>

You might consider using a separate tripod for the Rollei; that's what I do. I have the Rolleifix mounted to a small ball head on a Bogen 2001. No need for any more QR plates, etc. Not as economical, but a little more handy for me. Regarding the screen, I had a screen from a Rollei SLR, fitted by Marflex in New Jersey, put into my 2.8F. Made a big difference. I'm not sure that Marflex still has an office in the US. Someone more up to date on Rollei may know the answer. They also calibrated the focus for me.</p>