kevin_ing

The new Epson is already out in Japan (model GT-9700F)... And if it's shipping here, it *might* not be too far off for other countries as well.

I'm seriously tempted to get one and sell off the Canon D2400UF I got in May (which has been a big disappointment).

The literature for the Epson does a direct comparison between their new unit and the Canon D2400UF. Normally I would not be inclined to trust sales literature so much... but their sample scans from the Canon unit DO look like the scans I get myself (blurry and bleeding highlights). The samples from the Epson scanner look a LOT better.

Time for me to start saving those pennies... er... one yen coins!

It seems the GS and ETRS series lenses have been accounted for.

Just thought I'd chip in that, yes, my two SQ series lenses (80mm and 50mm S lenses) make this slight rattling noise as well.

I wondered about it too when I first got the camera, but after a while figured it's normal since both lenses do it and otherwise operate fine. (^_^)

Hi, Larry.

How was the film from your Bronica? Same problem?

Were all the rolls from the Hasselblad that way? Or only the ones where you got close to the lava? (By the way, I didn't mean to say that because the Hasselblad was a rental that it was the source of the problem... just that it leaves open some possibilities. Being a rental, you would probably not be familiar with any problems it might have... and the store you got it from might not know either)

Honestly, I really don't know what the problem could be. All I really wanted to say is that it *MAY* not be due to the dark slides being too hot and so you should consider other possible sources of the problem. In all my shooting in Hawaii, I've never run into that problem, nor have I ever heard mention of it from any of my photographer friends. I don't think I was overly careful either... just that whenever I swapped film backs, the one that came off the camera went back into my camera bag.

As for the cooler and dry ice... Umm... Please be careful. Cold equipment coming out into hot moist air (Hawaii is fairly humid all year around)... condensation. Bad.

-Kevin

Yes, I know that it would be impossible (aside from deliberate superheating of the darkslide) to get it to emit visible light. That was just a silly comment on my part.

But seriously, unless the original poster left the film backs out and exposed to direct sunlight with the dark slides facing up for long periods of time (not a good idea anywhere on this planet)... I don't think the problem would be hot dark slides.

And if one were to leave the camera or film back in a glove compartment or in the trunk of a hot car (not a good idea either) then I don't think only a few frames would be affected, but rather, the whole roll would get it.

Of course, I'm only speculating. Seeing the film would help.

Were the affected frames discolored across the entire frame evenly? Were the spaces between frames affected? Also, knowing if ALL rolls of film from both of his cameras showed this problem would help. Being that the Hassy system was a rental also opens up some possibilities as to the root of the problem, IMO.

Um. I hope this doesn't come across the wrong way... But I am truly puzzled by the problem you've experienced, but suspect that is not due to overheated dark slides.

I'm from Hawaii (although currently working in Japan... and believe me... Japan gets hotter than Hawaii!). I've shot lots of film in Hawaii. Many friends of mine have shot lots of film in Hawaii. I've never lost a frame due to an overly heated dark slide, nor has anyone else that I know of.

If the dark slide were hot enough to emit wavelengths anywhere near the visible spectrum of light... I don't think you'd be able to pick it up with your bare hands.

If it's purely a matter of heat, I suspect that more than just a few adjacent frames would be affected... and probably the space between frames would be affected as well. On your film, does the space between frames show any "heat fogging"? (for lack of a better term) And is the effect even across the whole frame?

If you want to scan MF film for printing enlargements beyond 8x10, please stay away from the Canon Canoscan D2400UF.

I bought one in May and have been totally frustrated with it. It seems to have a major problem with focusing because nothing comes out sharp. It also has a problem with handling high contrast areas (light against dark). And its 2400dpi mode looks worse than 1200dpi -- meaning that I paid extra for a 2400dpi capable scanner but end up using it at 1200dpi most of the time.

If you care to look, have some sample scans at: http://www.tbns.net/kevinspages/canoscan/

Okay. Here's a direct link to that thread on the Kiev Report Forums:<BR>

<A HREF="http://forums.delphi.com/kievreport/messages?msg=2679.1" TARGET="_blank">http://forums.delphi.com/kievreport/messages?msg=2679.1</A><P>

There are a few older threads about Hartblei's shift and tilt-and-shift lenses... but the link above is to the most recent thread as of today (Sept. 19, 2001).

I do not believe that Hartblei currently makes their Super Rotator in Hasseblad mount. And as far as I know, there is no adapter available to go from Pentacon or Kiev mount to Hasselblad bayonet mount.

As for use on a Contax 645, Hartblei now sells this lens in Contax 645 mount so you can avoid using an adapter. Otherwise, you could start with a Super Rotator in Pentacon Six mount and use an adapter to mount it on a Contax. Since the lens is manual-aperture-only to start with, you lose nothing with using the adapter, but you keep your options open as far as using it on a variety of other cameras (instead of only the Contax).

Specifics on the lens... There is a recent thread about this on the Kiev Report Forum. Some are saying that Hartblei's 45mm shift and tilt-and-shift lenses are simply redone Ukrainian Mir-26 45mm lenses (for the Kiev line of cameras). Others are saying that there are differences in the design. So far, no one has been willing to take apart their lenses and compare them element for element, or do an x-ray of them... so the jury is still out on this.

However, quality control for the Ukrainian Mir-26 was dodgy at best... and the lens has a fairly bad reputation even though some good samples do seem to exist. The Hartblei lenses, on the other hand, usually get good reviews. The multi-coating is definitely better and the fit and finish is done to a higher level than the Ukrainian originals. Basically, their quality control guys seem to be working.

You might want to take a look at the recent thread on the Kiev Report Forum: http://www.delphi.com/kievreport/messages/ (sorry, I don't have a direct link to the thread) and if you want the specifications for the Mir-26 (on which the Hartblei lenses *MAY* be based) you can check Kevin Kalsbeek's lens spec chart on http://kievaholic.com

Lots of good suggestions so far. Here is my two-cents worth (from a guy who looks for the most bang for the buck... i.e. cheap).

The requirements:

> 1: SLR 2: Lightweight 3: High quality lenses with a broad range. 4: Robust

If you don't mind going with 645:

1. Mamiya M645 or M645 1000S -- Pros: Cheap, good, reliable cameras with a good selection of lenses (and a HUGE selection if you go for Pentacon or Kiev glass via a $30 adapter). Quite light if you only use the waistlevel finder. Cons: Battery dependent (not good in the cold) and no interchangeable film backs (sometimes nice to have).

2. Pentax 645 -- Pros: Not too expensive on the used market, simple to use, and also has access to P6 lenses through an adapter. Cons: Not-modular bodies, a bit heavy-ish, battery dependent.

3. Mamiya M645 Super -- Pros: Modular and can operate at 1/60 without a battery. Good lens selection as with older M645's. Cons: More expensive.

Some 6x6 options:

1. Bronica SQ series -- Pros: Good lenses, lightweight without a prism. Cons: Expensive lenses and a bit limited on selection. Battery dependent (only 1/500th without a battery).

2. Bronica S2 or S2A -- Pros: Cheap and no battery dependency. Cons: Heavy-ish, all are pretty old, limited lens selection.

3. Old Hasselblad 500C/M -- Pros: Lightweight without a prism, excellent lenses, no battery dependency. Prestigious. Cons: Expensive system to "grow" any more than the basics.

4. Kiev 60 or 88 -- Pros: Cheap, wide lens selection, cheap, not too heavy without a prism, cheap, no battery dependency, and cheap. Cons: Very questionable reliability, not prestigious at all.

One last note... If you really like 6x6, I would recommend sticking with 6x6. It's not that easy to "grow to like" 645 when you really want to be shooting square.

-Kevin

Sorry, I don't have any actual experience with remounting Pentacon lenses onto focal plane Hassy's... but I couldn't resist posting since I'm also thinking about doing the same thing and did a little research into it.

It is of course possible, but you will lose diaphragm control. As far as I know, no one has ever succeeded in maintaining full diaphragm automation during a conversion. The systems are too different.

As for registration distances, from what I've read the Hassy is 74.90mm while the Pentacon is 74.10mm. That's only 0.8mm off which isn't very much.

One of the nice things about the Carl Zeiss Jena lenses for the Pentacon 6 is that they have easily removable mounts. If you have a lathe or know someone who is willing to help you, it should be fairly simple to machine a new mount for the lenses (a hair thinner than the originals to reduce the flange to film distance by 0.8mm) and just replace the originals with your new ones.

You will probably also have to remove the depth of field stop down mechanisms from certain lenses (DOF levers on the CZJ 50mm and 80mm are definitely problems) because they are so far back on the lens that they would most likely hit the shutter speed selector dial on the focal plane Hasselblads. Also, certain fat-barrled lenses (like the CZJ 180mm Sonnar) may not fit at all, requiring you to machine some metal off the lens to clear the shutter speed dial.

If you do attempt to remount Pentacon lenses for the Hasselblad, please let us know how it goes. I will do likewise if I try it myself.

-Kevin

The Mamiya M645 series of cameras had no metering capability built into the bodies. However, TTL metering was available with accessory prisms. There were four prisms available for the M645 series cameras:

1- Non-metered

2- CdS metered prism (match needle metering)

3- PDS metered prism (red and green LED readings)

4- AE prism (Aperture Priority auto-exposure - match needle metering)

One thing to look out for when shopping for these prisms is that on a good number of them, there is a dark horizontal line running through the center of the viewing area (most say it's separation of the glass parts due to decaying glues). This won't affect the resulting photograph, but it is a little annoying when you're trying to focus and compose your shot.

-Kevin

If you're using TTL metering, then the meter reading will account for your use of the tube(s).

Otherwise you'll have to do a little math:

(lens focal length + extension)^2 / (lens focal length)^2 = adjustment

This adjustment figure is the number of times the amount of light you need to give the film (not the number of stops of exposure).

Example:

(80mm lens + 55mm extension)^2 / (80mm lens)^2 = ?

(135mm)^2 / (80mm)^2 = ?

18225 / 6400 = ?

2.85 = exposure adjustment (this would be about 1-1/3 stops)

-Kevin

Wow. And I thought I was pushing it when I took out of the freezer an old roll of Provia that expired in January 1999. (^.^)

-Kevin

ps- Shot the roll of Provia and it was perfectly fine.

Sorry. Not much to say on the camera and lens side, since I believe our equipment choices and what we are willing to carry are very personal decisions.

Just a few comments though (Honolulu is my old hometown)...

Pro labs on Oahu: Colorprints (moved from their location near Ala Moana Shopping Center to a downtown office) and Light Inc. (maybe they're still on South Street?). Either place does good work.

Theft: Echoing what another wrote, do NOT leave anything of value in a rental car. Rental cars are really easy to spot (even though most companies took off the dumb stickers that blared "I'm a rental!"). No matter where you go -- tourists = money and cameras.

Beautiful sunrises and sunsets are abundant in Hawaii -- they were my favorite photography subject. A compass helps. Pay attention to where the sun is rising and setting, and you can get yourself into position in advance the next day (since it sounds like you'll have the luxury of time).

I would personally recommend taking a medium weight tripod with a sturdy head -- perhaps one with a hook under the center column to help weigh it down and make it more stable when you're shooting. At twilight and dusk, a handheld camera just won't do.

Also, a graduated ND filter really does help to bring those twilight skies under control.

Have a nice trip!

-Kevin

I have both non-metered and Spot-TTL Kiev prisms, but no real experience with the Hasselblad prisms (except for a brief period of use many years ago).

The Kiev prisms DO pick up internal reflections that some people find to be quite distracting. Personally, I do not... and I find it easy enough to focus my attention on the viewing screen. Your needs may vary.

The non-metered Kiev prism is reputed to be something like 5% brighter than the metered prisms. And a crude test with a light meter did concur that the non-metered prism is brighter... but in practical use, I can tell no difference.

The metered prisms to have a black "tab" that intrudes into the top of the viewing area which is used to display the over-under exposure indicators. The Kiev meters, like most Kiev things, get both good and bad reviews and quality control is "creative" at the factory. Some say theirs work fine, others report exposure readings that are WAY off even after calibration (which the factory does only sometimes).

I have only used the meter reading from my Spot-TTL prism on a few ocassions since I normally use handheld meters... but it when I did have to use it, it gave me good readings -- even when shooting chromes.

Sure, the Kiev prisms are probably inferior to the Hassy prisms. If you want to stay top-notch Hasselblad all the way, that's great. But if you'd rather save a bit on the prism, put the money towards lenses, and then sell the Kiev prism and replace it with the real thing when you strike it rich... sounds like a good plan!

-Kevin