mark_thomas2

The museum pieces comment was made jokingly. I love my MF equipment and hope to use it long into the future. I use Contax G2s when I want something light that uses film. I don't really feel I need all the latest bells and whistles by any means. If I lived in the states, where I'm from, this wouldn't even be an issue.

 

Although my work keeps me traveling to some of the darkest parts of the world, I'm in Angola right now for a couple days, I didn't intentionally leave out where I'll be living. My home now is in the Philippines. I'm in a small town/community in Mindoro. My use of the word 'remote' wasn't meant to imply hardship but rather inconvenience. I too have lived without running water and electricity in a few different countries, but those aren't situations I like to call home. My home does have the modern conveniences of high speed internet and hot water! When I was living in Bangkok I had a great lab that would get my film developed in a few hours and a drum scan in a day or two. I haven't found the same in the PI but will keep looking. Again, the convenience is a big plus for me.

 

Yes I did consider developing myself going back a few years and am now considering it again. I've just been out of the loop for a while and was interested in your comments as I've always found a great deal of information and experience from many of the users on photo.net. I won't rush into anything and am just starting to evaluate my options. I imagine I will end up developing at home just to exhaust that possibility. I see there is a new Nikon scanner that isn't too pricey or bulky. Imacon makes some nice equipment but I hate the idea of trying to get it home or worse, get it fixed. Going back about 20 years I did a fair bit of developing in a lab of both (mostly) B&W and color. Now it will be just the film so I guess I'll need to do my research again to find the best way to go about it and see if there are any chemical shipping issues I need to deal with.

 

Thanks again for your comments and ideas.

 

Mark

Thanks for your comments. I do realize I won't get much for my gear if I do sell it and that's a tough one to swallow. On the other hand, sometimes you just need to move forward.

 

I have considered the 35mm digital route simply because it seems (for now anyway) the lenses will always be useful on the latest bodies. To change bodies every few years at 3 to 5 grand a pop is a bit more tolerable than an MF digital back at 5 or 6 times that amount. I've already looked at what will keep me happy with the 35mm lenses and that will run around 8 to 10 grand.

 

Maybe I'll just have to keep the museum pieces 'and' try the 35mm route. I still have around 50 to 75 rolls of roll film in the freezer around 1 to 2 years expired. I imagine that can give me some satisfaction for a while. Time to start looking at film scanners again.

 

Mark

I have an RZ ProII and 645 Pro TL with about 8 lenses total that are

in like new condition that I want to get back into using. I'll be

living in a remote area (of the world) that will not leave much in

the way of options for film developing. As in the past I plan to get

all my 'keepers' into my computer and am interested in your comments

on what my options may be for the future.

 

I'm not a working pro (or non-working pro for that matter) that is

looking for a particular return on investment. I'd just like to have

a feeling that any more money I put into photography will be spent as

wisely as possible with a hobby like this. I've considered home

developing and a film scanner as one option but am looking more

seriously at the digital options on the near (1 to 2 years out)

horizon. I'd like to continue to use my lenses and imagine the only

way to do that would be to buy two new bodies, the RZ ProIID and,

assuming I can use my manual focusing lenses with the 645AFD, that

body also. Then I'd be ready for the ZD back. Is this a reasonable

way to go?

 

I can't imagine there aren't others in a similar situation and I'm

quite curious what you have done or are considering doing. It's a

frustrating decision. Sometimes I think it might be best to sell all

the old equipment and move forward with the latest technology.

 

Thank you in advance for your time and thoughts,

 

Mark

I'm progressing from my IBM Thinkpad form of mobile digital

manipulation to a home setup in the next few months and would like

some info and clarification if you will. My goal is a sub-$10,000

system which will include computer, printer, film scanner. I'll

address each separately. I'm posting these separately so hopefully it

will help with future searches.

 

I'm leaning toward the Nikon Supercoolscan 8000 as I will primarily

use it for MF but was wondering about alternatives and possible

problems.

 

On the problem front, I read a couple articles or threads about

banding problems if that's the correct term. Can someone elaborate on

known or possible problems to consider? I don't know if some of the

issues I read about are from earlier version or if there is such a

thing as an earlier or late model.

 

I've read some interesting info on the Scitex flatbed scanners but

can't seem to find a price anywhere. Do they make a model with a

price in the ballpark of the Nikon mentioned above? Any comments on

taking this route as opposed to a dedicated film scanner?

 

I also can't seem to find much comment on the Imacon scanners and was

wondering if there is any experience with these for the good or bad.

What about price?

This doesn't answer your question specifically but since it never hurts to have a little info what the heck. The place your friend wants to go is a section of town called Chungmuro. The spelling may be off a little but if you say that too a taxi they will know the area. There are a gazillion (I counted them) photo related shops just next to or down hill from the subway station. It should be pretty hard to miss unless your fried tries real hard. Anyway, I saw lots of gear there for good to decent prices. I did see some Mamiya 7 gear that was new in the box but didn't look at it as I was interested in RZ stuff. There are loads of used camera equipment all over the place but if your friend doesn't know what to look for you may want to stick with new. I just left there last week so the info is current. Best of luck,

 

Mark

I'm soon going to be staying put in one location overseas and think I

would like to start processing my own film. I'm talking primarily

about E6 and B&W but would like to do C41 if possible. This is not a

how to so much as a what do I need. I remember from past threads

something about E6 chemicals that last a few or several weeks and

that seems like what I could be interested in. What about processing

tanks and things of this nature? I have no idea of price for this so

I'll suggest that three digit prior to the decimal is acceptable. All

help will be greatly appreciated.

 

For anyone that wants to know why I choose to go this route it's due

to remote location. I don't mean sleeping bags and tents but no local

labs and no timely mail service. I'll be scanning (although I haven't

decided with what yet either) as well as printing at home.

 

Mark

With Mamiya`s floating element lenses, are you supposed to just

approximate how close your subject is on the floating element dial? I

understand you can`t really see the difference in the viewfinder but

that there is a noticeable difference in the final results.

"Soft corners, soft everything, murky contrast, very cool, greenish color rendition"

 

Does this really sound like a lens Mamiya could continue to sell successfully for years? I own the 35 mm and think it's a great lens. Remember, it's a manual focus lens so don't forget your bifocals or you too may get soft everything. I wouldn't hesistate to recommend this lens but like anything else, it can be used imporperly and produce poor results.

 

Mark

I mistakenly said 840 when it fact I meant 830 as the 640s bigger three section sibling. You can see it on the japanese version of the velbon.com site.

I have this tripod as well as its big brother the 840 three section monster which may have only been sold in Japan. I love them both and carry the 640 in by luggage all over the world. As with any tripod you don't really want to extend the center column unless you just can't get the shot without it. However as a practice, if you are buying a tripod with the intent on using it primarily extended, you are probably trying to get too much out of a too small tripod for your needs. This tripod is good at what it does. It's light weight (carbon), compact (4 section) and can support RZ gear which will rival most LF configurations with regard to weight but that is pushing it too the edge of it's usefulness. If you really need compactness you may have to sacrifice height. As in a decision on which camera to purchase you have to make decisions on what you are willing to sacrifice when purchasing a tripod. You can't have light weight, great height, sturdiness and/or compactness in any extreme without sacrificing one or two. Cost is another factor but you didn't mention it so I assume that's not an issue.

 

As for you comments on it being short, I had to run and set it up to rimind myself before misleading you. I can extend only the two largest leg sections and use it very comfortably with a waist level finder or bending over slightly but not uncomfortably with an AE finder. I'm 5'10". I have only fully extended the third section a handful of times for creative tripod placement. Additionally the center column is removeable so you can get right down on the ground when folding the legs out to their widest setting and keeping them unextended. That's something you won't be able to do with some bigger tripods that will get your camera up higher. In fact, to save a few ounces and taking into account I don't extend the center column, I rarely have that center post on my tripod which I often carry on the side of a pro-trekker pack. I leave it in the hotel. Best of luck on your decision. It's tough buying something you can't play with but this is a well made tripod with all the benefits of carbon fiber and four leg sections.

 

Mark

Here's a link from Imacon, maker of Flextight scanners. I found this just the other day while looking at their website. I've never used one and don't know of anyone who has or any reviews to point you to.

 

http://www.imacon.dk/usr/imacon/wppImacon.nsf/htmlpages/3020freedom.html

I was in Tokyo last week and stopped by Yodobashi to see what I could add to my RZ. I went there primarily based on recommendations found in various threads. In the past I've done my purchases in Japan from Kitamura camera in both Osaka and Fukuoka. I have the best relationship with the store in Fukuoka. I found the price of the 65 lens to be about 10,000 Yen higher at Yodobashi. Not a significant difference and I imagine buying a whole kit you can swing a little deal. For reference, Kitamura in Fukuoka sells the equipment at 70% of (Japanese) list price. I've found similar savings on Contax equipment as well.

 

MF purchasers should note the Kitamura shops I've been to offer quite a bit more elbow room than the closet where they sell MF gear at Yodobashi. Not to say I would mind a closet or even a van parked at a different corner everyday if the price it right (and it's legit of course) but it is nice be able to move a little if more than a few people are in the area.

I've read quite a few messages about problems with circuit boards

going bad on RZs. I didn't get the impression it's a common problem

and it surely doesn't cause me any hesitation to go with this system

however I thought I'd get some suggestions/comments on things I can

to proactively to identify this sort of issue. It appears from what

I've read that it happens fairly soon after the system gets put into

service, in some cases during the first roll and others within a few

rolls. I'm new to RZ so don't know my options. Is dry firing an

option or perhaps just running a few rolls through the camera to see

if the battery gets extremely hot or any other possible problems? Any

info would be appreciated.

 

Mark

I guess it was kind of inconsiderate of me to give only half the info. The fax number of the shop is (Japan Country Code)(92)733-4264. I would recommend serious inquiries only as they aren't a mail order shop in any way although they are a quite large chain. I would suggest including your e-mail address on the fax for them to contact you as I doubt they're going to be interested in faxing back too much. As for an address, his card has a lot of Japanese writing and some numbers where I believe the address should be but that's not going to help you. For anyone physically looking for the place, it's right in the city center near one of the Tenjin metro station exits. I priced gear from Nikon and a few others without much in the way of huge price differences from the states. Nikon was in fact higher on many things. However, Contax equipment was inexpensive similarly to the price disparity of the Mamiya gear, at least as far as the G2 equipment goes which I picked up there. If I could recall what a Softar costs there you'd swear it was fake!

Erik, that does look like what I read before. I hope to hear further comments on it. I can't say I'm attracted to 'APO' so much as sorting out what I really need/want. This trip or down the road I'll go as long as the 350/5.6 and I think the 180 and 250 don't really accomplish a whole lot more than I can do by moving a little. I have thought it through and wanted to get other opinions on the 210 as it would be my first choice.

 

Phillip, you asked before I could. I had been referring to (but didn't mention) the 250 APO myself and was curious if Bill was talking about the other 250. I will assume he was as I've heard and read many good things about the 250 APO. It can be bought for around 1550 USD in Japan right now.

 

If anyone's curious, I buy most of my equipment from Kitamura Camera in Fukuoka, Japan. I looked at other stores in Japan, (other Kitamura branches as well) and they've all been higher. I deal with the store manager and they give me 70% of the list price in the Mamiya brochures. He says he'll mail to me but I haven't had the need yet. He says a body price would be about 100 USD to ship but considering the prices I'd say it's worth it. Besides, I take most of my time off in Thailand and it's not too expensive to fly there from here.

 

Thanks for the comments, I'll keep looking for more.

 

Mark

Somewhere (possibly not Photo.net) I read something about a

shortcoming with the 210 APO lens. I searched all over photo.net and

found a few comments but nothing specific. I would like to know if

there is anything anyone doesn't like about this lens. I will travel

to Japan next week to pick up some RZ equipment and am not sure if I

will get both the 180 and 250 or just the 210. I can get the 210 for

approx. 1400 USD and I really think it will take care of my needs

(and save me a buck or two) but I just can't seem to get too much

info on it specifically. By needs I'm referring to portraiture

(indoors and outdoors)including tight head shots etc. Thanks in

advance for any info you can pass along.

I'm staying in Bangkok for a while and want to get some filmed

scanned. Any recommendations? Preferrably something pro like a

drum scanner but I'll try whatever I can get once. Thanks in advance,

 

Mark

Thank you all for the comments. That does make a lot of sense and perhaps the tests I did were not complete and in adequately varying settings. They were done in different settings but only one group of shots showed obvious differences. That is the shot I referred to of a castle (in Japan) with the green tiled roof. There was a blue sky and white building with some detail that was washed out at some exposures. Also in the shot were a lot of green trees and bushes around the bottom. I bracketed from what I considered to be a correct exposure in half stop increments up to two stops over and down to two stops under to see the affect. I actually made these tests using a 35mm back on my 645 so I could save a little money on the enlargements and see what the grain difference would be. After reviewing the transparencies I chose either the exposure I started with or half stop under in some cases as my preferred print. I enlarged these to 5x7 and really was pleased with the resulting information I obtained. The Provia 400F was pleasingly fine grained for the speed. As noted the Provia 100F was also very fine grained but not quite that of the Velvia. Two noticeable color variations were first; the roofs were all a subtle different shade of green except for the Velvia, which almost glowed. However in this case it wasn't cartoonish but rather pleasing. Not that I don't appreciate others experiences and from reading all your messages I will certainly do more testing or at least shoot some side by side rolls in the future to see the differences. I do that now sometimes but for different reasons. The second difference I found was with the Ektachrome E200. Although all the skies were a bit different among the Fujis I would attribute that probably to slight variations in exposure. With the Ektachrome there was a very slight purple tinge to the coloring. Nothing bad and probably not immediately noticeable if not holding the prints side by side but it was there. E200 is another favorite of mine in that speed range.

 

 

As for the types of photographs I'm making, that is also varied. With the above-mentioned films, I'm shooting landscapes, architectural/city scenes. I shoot a lot with my 35mm lens in towns and cities and like that affect. When people are involved, I change films accordingly to something more appropriate. I am a little late and just playing catch-up on the digital scene. I can not lug around a scanner but am learning quickly and like the added flexibility. I will keep those comments in mind while heading up that road

 

Again, thank you for your opinions. Just this morning (7 am) I shot some Provia 100F and Velvia side by side for a few shots with a very clear sky, in a coastal city scene, using a polarizing filter. We will see tonight (morning stateside) how they look.

I hope not to bore or upset anyone with this but I send this after

extensive thread navigating and Photo.net reading. I read the film

lesson by Greenspun and disagree with him on something and would like

a comment or two if you will.

 

The issue is what to expect from the different films. I do not want

comments on all of them so I will be specific. I am hooked on Velvia.

I lug 20 plus pounds of MF equipment (Mamiya 645 Pro TL) all over the

world while I am out and about with my day job, because I want

enlargability, fine grain and the flexibility of the larger negative.

I have tested many different films like Velvia, Provia 100 and 400,

Ektachrome (more than a couple) Porta etc. and can see the subtle

differences that result. I am not a working professional but have

sold some work and will get more into that in the future.

 

Now for the specifics, what is it about Provia 100 that makes so many

people use it? My thoughts are, it is only one stop faster than

Velvia and if I am going to take the time to take my shots as I do,

including tripod and exposure calculations, that does not justify the

speed. Grain is a no brainer, Velvia wins that race. Sure I saw the

different shades when I shot some tests of a castle with a green

tiled roof but I could not (at least not any time soon) begin to

think about knowing in advance what exactly to expect from the two

and if anything my technical abilities are developed and capable way

beyond my artistic abilities. Then there is the comment from

Greenspun not to buy anything 200. I like the jump in speed from 50

to 200. My next stop, generally for hand held work is Fuji PN800

negative film. By 200 I am referring to Ektachrome E200. I am just

curious if there is something I am missing about Provia 100 that you

other MF users can clue me in on. Thanks in advance,

 

Mark

This is a beginner flash for MF question

 

I've been using my Mamiya 645 Pro TL for a while now without the need

or desire for a flash system. I wanted to pick up a 35mm camera for

street/candid shots to be carried anywhere and was leaning toward a

Nikon and asked a question about the SB-28 a while back. Well, I

opted for a Contax G2 system, love it and take it everywhere. I

picked up a Contax flash for it and started to kick around the idea

of using it with my 645. So I downloaded the owners manual (I'm on

the road overseas) and as my luck would have it, a special note on

the side that is associated with an X-Sync comment says not to use a

flash dedicated to another system or damage may result to the 645

body or something like that. Well, I don't intend to use it in TTL

mode just manual or automatic which the flash offers. Are they just

cautioning on the use of other dedicated flashes that perhaps don't

offer manual or automatic options? Am I not understanding something

about the PC connection on the system? It seems a workhorse like the

M645 would be able to mate up with most accessories. I know I could

have made a better flash choice but it serves its purpose with the

Contax system. Any clarification on this Mamiya warning would be

appreciated. I received no response from Mamiya when I e-mailed them.

For clarification I'm not even considering connecting the Contax

flash to the shoe on the side of the camera. Thanks in advance.

Thank you for the quick responses. That's what I needed to know. The reason I asked is because I want to get the F5 soon and thought I would try to get one flash for both cameras. If that is possible without losing too many features for either please give suggestions.

I am new to MF and have recently purchased a 645 Pro TL. I would like

to know if it will be possible to use a Nikon SB-28 flash unit with

the Mamiya and get the TTL benefits. This would save some money as my

other option will be to go with the Metz 40 MZ-3i. If the Nikon unit

will work what about the SCA396 and SCA300 that I apparently need for

the Metz to work? I too must admit to being spoiled by the "auto

everything" world we live in. Now it is back to basics with MF and

after looking at the shots off the first roll of film through the

camera I am going to love it. By the way, I'm in Japan where I bought

everything and the prices are great as far as I can tell by the

comparison shoping I've done online. For example, 200mm APO 2.8 for

1100 Dollars U.S. seems to be below everyone including Robert White.

If anyone would like some info from the far east feel free to ask.

Thanks in advance.