steve_stracquodaine

Hello,

 

Can anyone tell me if there were any photography books specifically on the Fuji 6x7 and 6x9 rangefinder film

cameras.

 

And if there are any good web sites devoted to these cameras and their history. I've been to The Fuji Rangefinder

Pages. It's a nice web site with beautiful photos, but at this moment, I'm looking for information about the cameras

themselves.

 

Appreciating some good information.

 

Kind regards,

Steve

This thread is a bit old, but one member wanted to know about the factory. Although the name "sounds" to be European (Italian), it is in fact an Asian company. Giottos was originally a Taiwanese company who moved their production to main-land China due to rising cost of production in Taiwan. There is an Italian engineering company named Giotto and the original Giotto was an Italian Renaissance artist and architect. I was told taht the owners of Giottos liked the name and the engineering background related to this name.

I was looking to buy the 80-200 f/2.8D lens for about $860 new, but decided and bought a mint in box (unused) 80-200 f/2.8 AF-S for $1,200 (eBay). My only regrets might be the potential for flaring due to the additional elements and the extra size/weight compared with the 80-200 f/2.8D lens. I will decide after receiving the lens. I didn't go with the 70-200 VR lens because of it's higher price (I already spent too much for the AF-S model) and because the VR feature might yield ever so slightly inferior image results. In my experience with the 24-120 VR lens, the VR feature works o.k. but if you put the VR lens and camera on a tripod and forget to shut off the VR function the lens will not perform as well. It seems that the VR likes movement. And when movement is absent (as with a tripod) the lens might create its own movement by shifting the lens elements as if hunting for movement. Anyway, I wonder if other VR users have noticed the same. If you shoot digital and want a 2 or 3 stop advantage, instead of buying a VR lens just boost your ISO by 2-3 stops. The D200's and D2x's can handle 800-1,000 ISO with no problem.

 

Steve

When comparing the 80-200 f/2.8 AF-S to the newer 70-200 VR, I think there is a trade-off. The 70-200 VR lens would theoretically allow you 3 stop improvement, but possibly at a cost. First the monetary cost as this lens is more expensive than any of Nikon's previous 80-200 f/2.8 lenses. Second according to my understanding the VR feature works by moving one or more of the elements around to compensate for camera shake. But this optical design is likely inferior to the fixed element 80-200 f/2.8 models. If you shoot with a film camera (F6, F5, F100, etc.) the VR feature might be worth your while. But if you shoot digital (D200, D2x, etc.) just boost your ISO up by 3 stops. From ISO 100 that means ISO 800. And for those shots where you need a 3 stop advantage (ISO 800) with a D200 or D2x you will likely be very pleased with your images. The noise is imperceptable and the overall image quality at ISO 800 is quite good.

 

For wedding work I use the 80-200 f/2.8 mainly for outdoor shots (after the ceremony but before the reception). For indoor work at the reception there are better choices than the 80-200 or the 70-200.

 

Steve

My sense is that 18-200mm is made to "consumer" standards, whereas the 80-200 f/2.8D is a professionally-made quality lens.

 

When the 18-200 first came out I was very excited to hear about it. At first glance it would appear that one lens could do 80% of the work. But I must say that I was disappointed when I handled the lens at my local dealer. When set at 200mm the lens extends quite a bit forward. With it's less than professional construction, I can imagine the lens breaking easily if bumped - especially when set at the longer focal lengths. Second when comparing the 18-200 with the 80-200 f/2.8 you would see a remarkable difference in your photos if you were to shoot with both lenses at maximum aperture. Thirdly, the optical design on these two lenses is quite different. At any given aperture one would expect to yield superior image results with the 80-200. If you're not earning income right now, and money is tight, you might get along with the 18-200. But I bet that once you start earning money from photography, you will purchase the 80-200 f/2.8D. By the way, I took a close look at the 70-200 VR lens and didn't like it much. The price is rather high (almost 2X that of the 80-200 f/2.8). And your images might not be as sharp due to the len's design (VR movement of the elements). The 80-200 might not be a silent wave zoom, but it does focus fast and accurate, and for me, I'm not willing to give up image quality to gain a stop or two with the VR lens.

 

Steve

This depends upon the mood of the photographer. I worked with a photographer who complained when the videographer was shooting his pose. I asked him why be objected, but frankly I don't remember what he said. He just didn't like the idea of another "pro" shooting his pose. I think that he felt that he was fairly good at posing and why should he make the videographer look good.

 

I don't necessarily agree. If the photographer is posing, I see nothing wrong with the videographer shooting besides him - essentially capturing the same pose. As long as the videographer doesn't get in the way of the photographer (works both ways, by the way).

 

Regarding guests, in my opinion, the professional should not complain about guests taking photos. Today just about each and every guest at a wedding has one kind of camera or another. If a guest is obnoxious and/or physically getting in the way of the photographer and preventing the photographer from being effective, then the photographer could "nicely" ask the guests to either shoot first, or to wait until pro finishes his/her shot.

 

There are other instances, for example at the bride's house when portraits are being taken, sometimes the photographer may use an optical slave (instead of a radio slave) on the main studio light. And in this case, other family member's flash cameras will set off the studio light - which can sometimes interfear with the shot. But remember, these are the family and best friends of the bride! We are hired workers that day. And we have to be respectful of the bride's family and friends.

 

A good pro won't get flustered by the videographer or guests. I think that only a rather inexperienced or knuckleheaded person would heavily object to others taking their shot.

Dear Al, I don't necessarily think that film "slows one down" and therefore makes them a better photographer. If that were the case, then Nikon film camera users would on average be better photographers than Nikon digital camera users. For that matter, can we say that photographes using 2.25" film cameras are better than 35mm film camera users? Certainly Hasselblad, Bronica and other roll film camera users operate at a somewhat slower pace than 35mm film camera users. And then what about photographers using view cameras? Are they even better than photographers using roll film cameras? Certainly view camera users are the slowest of the lot. Obviously the answer is no. The speed of the camera does not determine the aptitude of the photographer. You know what makes one a better photographer? The will to be better. Taking a keen interest in your craft. Using your equipment frequently. Reading books on the subject. Attending classes on lighting, composition, etc. These will all make you a better photographer.

 

That being said, I love film. I refuse to part with my Hasselblad system, my Nikon 35mm camera system, and my several other medium format and 35mm cameras. But I have to say that I'm enjoyng the heck out of my D70S, and can't wait for the D200 to be available (seems to be sold out almost everywhere - which is another story and irritating at that).

 

Some say that shooting digital makes you a better photographer because you can immediately see your results and learn from mistakes quicker compared with shooting film. Others say that digital shooters just blast away hoping to get a few good "keepers" out of many. Whereas film camera users think, contemplate and reflect more before pushing the shutter button. In my opinion, this is nonsense. Before digital, I shot fast when I had to shoot fast, and I shot slow - for example when creating landscapes. When I shoot digital, I still shoot fast when I have to, but slow down when I create a portrait or landscape. What does the chip vs. the film have to do with anything? Film doesn't force you to do anything, and neither does digital. The only thing that digital forces you to do is to learn something new.

In the Long Island wedding photograpy market, "cheap" studios will pay as little as $75 for a young assistant (high school or college aged). But that is on the low side for a good 10 hrs worth of work. On the high side, I've heard of $200. Hope this helps. Steve

Max, for film photographers doing wedding work, an assistant might take care of the following tasks to name a just a few examples:

1. Help carry equipment from vehicle to wedding location and back.

2. Keep film magazines filled with fresh film.

3. Carry light mounted on a monopod and to light the dance floor during the reception.

4. Look out for "blinks" or other expressions that might have been missed if the photographer is using an SLR such as Hasselblad or Bronica.

5. Hold reflector to bounce light onto the subject during portrait session.

A good assistant is a second pair of hands and a second set of eyes.

 

For photographers using digital, obviously we can eliminate the changing of film magazines and maybe a few other things too. But there is still a need for an assistant.

 

Just walk into any of your local studios. Tell them that you have interest in assisting, and see what they say. Depending on the city you live in, and the level of experience, expect to get paid anywhere from $75 and up for a full day's shoot (such as with a 10 hr day covering a wedding). Experienced assistants can easily grab $150 to $200 for a full day's work. And in many cases, that's in cash.

 

Over the years, I've noticed the bride/groom (or parents) handing out "tips" at the end of the night to the band/DJ, person delivering flowers, waitors at catering hall, limo driver. But for some unexplaned reason, the photographer and assistant almost never get tipped. Not never, but almost never. And these are the people that usually spend the most amoung of time with the bride and groom on their special day. If anyone has a comment about tipping wedding photographers and their assitants, I would be interested in hearing from you. Steve / Long Island

For Hasselblads, when shooting at slow speeds (on a tripod of course) it is recommendable to pre-release the shutter (mirror lock-up). If you are not in a rush, i.e. shooting landscapes, I would also recommend a tripod and again pre-releasing the shutter. Why not get the very best out of your Zeiss lenses.

Regards,

Steve

When I moved up from 35mm to Hasselblad I wanted an eye-level prism with a meter, as I was already very accustomed to working with Nikon 35mm with a built-in meter. I purchased a PME-90 second hand in mint condition for about $750. Two things: First I found it very difficult to use this meter. Maybe it's me, but just couldn't get the hang of it, and therefore could never fully trust the information it gave to me. Second, the meter is not coupled to the aperture or shutter as with a 35mm camera. I felt this to be a disadvantage to its design. I finally sold the PME-90 for more than I paid for it, and picked up a PM-90 (also in mint condition) for $200. I will now buy a good used Sekonic L-508 and put some money back into the bank. This is just my opinion, and I hope that you are very happy with your PME-45. Regards - Steve

I was reading this thread and found that the Sunpak 120J uses 4AA batteries whereas the D-Flash 40 uses 6AA. That would make the Sunpak a 6V unit compared to a 9V unit for the Hasselblad. So my question is how can both units share the same external battery pack when the voltage is different?

 

Thanks,

Steve

I just purchased a CB 160mm lens, brand new with USA warranty card. I have yet to use it, and anxious to do so. Quick question, what does "CB" stand for?

 

Thanks - Steve