michael_j._kravit1

Recently I became interested in a Hassy H1. I have been doing a bit

of research and read that although the H1 lenses seem to be sharp,

they do not have the classic Hassy/Zeiss smooth look. In fact, some

reviewers are reporting them to be edgy and harsh.

Is this a reason to pass on the H1?

Also, I have read of problems with the body locking up and failing.

Anyone with an H1 care to give me your thoughts. H1 users only

please, I would like actual user experiences only.

Thanks

I owned both the M7 w/ 43 and the SWC. I sold the M7 and kept the SWC for an few reasons. First, the SWC will focus to 12". Second the 43mm lens although a tad sharper than my SWC my photo's shot with the 43 looked edgy and harsh compared to the SWC. Third, there is something about the SWC that says "this ie right".

Try both, them make up your mind.

I sent my 6MF in for repair 2 weeks ago for a bad meter and they replaced the winding mechanism. It seemed to work ok, but they said it showed wear. They replaced it with a new one saying that I should now have years of reliable use.

Mike

"I believe there is a VERY BIG PROBLEM with a weak film winding mechanism.

There are NO parts available for repairs."

Not true, at least not yet. I sent mine in for repair 2 weeks ago and they replaced the winding mechanism. It seemed to work ok, but they said it showed wear. They replaced it with a new one saying that I should now have years of reliable use.

Mike

Since you asked, the repair was $247.00

It included;

New winding mechanism

Meter repair

New rear pressure plate

CLA

And something else I could not read.

The camera is now like brand new. I was surprised that they replaced the winding mechanism, seemed to work ok but since these are becoming rare I did not object.

Getting my camera back in 36 hours was welcome as I needed it for a shoot. The $30 was minimal and very reasonable IMO.

Yikes, I ask a simple question, one that I thought has merit as we all loose close vision as our eyes age. Got some good responses and some pretty inane ones as well.

Sorry for asking a question that has stoked the flames of passion.

I tried out a G2 this afternoon as well as a M7. Both nice cameras, both appear to be fun to use. Both have viewfinders that suck compared to my 4x5 ground glass ;-). Guess one gets spoiled eh?

The G2 feels nice and solid as does the M7. Too bad Leica does not have an M7AF. Might be a very cool camera.

Decisions, decisions.

Thanks again.

Can some of the more seasoned "senior" Leica afficionados please

tell me how hard a Leica (M7) is to focus. Not that I am "old" but I

have fallen prey to the common affliction better know as Presbyopia.

A close friend told me to buy a Contax G2 with Auto Focus. I was

contempalting purchase of a Leica M7 to replace one of my MF cameras

to be used for travel.

Thoughts?

I second Precision Camera in Boca Raton. Eric is a very helpful person and his prices are excellent. Very close to the NY crowd, and you get personalized service as well.

They are located at the intersection of Powerline Rd. and Palmetto Road in the Garden Shoppes about 3 miles west of I-95.

Give them a visit.

Actually I do use movements in some of my work. With that in mind, I have decided to keep my 4x5 Ebony and of course the 12"x20" Korona (Only because it is so cool). It is my Rollei 6008 system that I am considering selling. I hate lugging it around and it rarely gets used.

I also have a Hasselblad 903SWC and a Felxbody in 6x6. Great cameras and a lot of fun. I use the Flexbody for still life studio shots and landscape photography.

Digital is not an option for me. Been there done that and the galleries that represent my work are silver/alternative only. They will not sell digital works.

I process all my own work and do my own printing. I shoot only black and white. I am looking to the Leica as a replacement for the Rollei and MF cameras for travel and people shooting.

Yes, shooting fine grained slow film is fine for landscape work, but in all honesty when shooting street/people handheld EI25 or even EI100 just does not cut it in low light situations. Especially with the f/4 lenses typical of the MF cameras.

Mike

Clay is right. Can you imagine what a 12x20 Tri-X negative looks like when contacted onto a sheet of print paper? I can tell you and my back aches just thinking about it. The key is how fast a 12x20 can be set up and the picture made. Hmm, 10 minutes? Guess any of you dudes with a Leica can beat that by at least a couple minutes eh? ;-)

I remember lugging the 12x20 and 3 film holders around in the Big Cypress Swamp in 92F temeratures.

As far as camera technique and printing skills go, not a problem as I am fully aware of what can and can't be done. It is absolutely correct that this is a given regardless of film size.

Anyway, thanks again all, you have been very hekpful.

Mike

Clay Harman,

Give me a call when you get a change, we can chat.

The office is 561-289-2715.

Mike

A great plethora of opinions and suggestions. I really want to thank everyone for their well thought out responses.

Actually, to hit the nail on the head, I am ready for a new vision. I will most definitely keep my LF 4x5 (Ebony) as I love that camera and it has a soul all it's own. It is my Rollei 6008AF system that I am tired of lugging around. I also have a small Hassy 905 SWC that is great for some things, but I want something that allows different focal length lenses.

I think going to 35mm for spontenaity will be most appropriate. I don't want an SLR and the bulk. I want a new way opf working to develop a new vision.

Thanks all

Mike

This weekend I dicovered that my Mamiya 6MF meter died, the ISO and

the exposure compensation and ISO dials no loger functioned. What a

bummer as I am getting ready to leave on a trip.

The next day I sent the camera to Mamiya for service. For $30 they

expedited the repair, performed a CLA and I received my camera back

by FedEx 24 hours later working perfectly.

I can not possible say enough good things about Mamiya service. The

woman I spoke with was friendly, cordial and professional. She was

genuinely concerned and wanted to help.

As a result of my experience, my camera is ready to make great

images and I am happy to publicly praise Mamiya.

I have been a Medium and Large Format photographer for many years. I

am getting seriously tired of lugging around tons of gear. Most of

my work is B/W. I am represented by a few galleries and print to

roughlt 16x20 maximum.

My question is;

Will a Leica 35mm allow me to obtain a similar tonal range as a

large negative and allow for 16x20 prints without the image breaking

down too badly. I am asking because I have heard many good things

about the Leica glass.

I guess many photographers switch from 35mm to larger formats. As we

get older, I have a theory that we regress to smaller lighter

formats.

Thoughts and observations please?

Mike

Anthony,

I passed through West Palm beach, Atlanta, and Greensboro, NC, then through Dallas, and Albuquerque. Then back to West Palm Beach.

Upon returning from a recent trip I feel compelled to write this

list regarding my experience with the TSA folks. Hand checking film

was requested and performed couteously and with high regard for my

personal items. Cameras bags were opened and CAREFULLY checked.

In the past, others on this list report varying experiences. Some

good some bad. I think that each encounter with airport security

also depends on the attitude of the traveller. Expecting a

confrontation will certainly result in a sour experience. My

experience was positive as these guys and gals were nothing but

professional and extremely helpful.

My suggestion when travelling with photo gear or just in general is

rather than cop an attitude, understand that these people are doing

a job to keep us all safe and secure. Give them a break, put a smile

on your face and be overly acommodating. A little good will goes a

long way.

Travel with our large format geat can be a real pain, however, on my

trip the TSA helped to make it easier.

Butch,

A close friend and great educator once gave me a book he wrote entitled "Quotes by Artists for Artists". From time to time when I am in need of inspiration I take it out a read it.

One of my favorite quotes is by Paul Cezzane. It is as appropriate to photography as it is to painting.....

"Let is begin to paint as if we held things in our hands, not as if we are looking at them".

Photograph what you feel, not what you see.

Warmest regards,

Mike

I am in the process of printing a new show that I have been shooting on 400TX. I debated processing in D-DX or some other developer. I ultimatley decided on Rodinal 1:50 to give me the look I wanted.

The show is being printed at 16"x16". I can tell you with no uncertainty that the new 400TX has grain that is finer than previous variants. In fact, at 16"x16" the prints are sharp and the grain is barely discernable without being 12" away.

I have been shooting Tri-X since 1968 and find 400TX to be the best yet.

Making 16x16 prints from 120 400TX is absolutley no problem with respect to grain or sharpness.

Last night I processed a few rolls of 400TX in Ilford D-DX for a friend. The grain is barely visible. A great combination if I say so myself. If you are worried about grain, use D-DX, which BTW I find has an EI of 320. SO you get extra speed and fine grain.

OK, thanks for all the thoughtfull suggestions.

First, let me say that I have no problem with TMX or any other film. The new 400TX seems to be a different animal. I tried sodium sulfite, 3 fixer baths (Rapid fix and TF-4), EDTA, PermaWash, etc. I even exposed it to 30 minutes of UV light under my Platinum exposure unit as I read that the dye is light sensitive and will fade. Nope, no such luck.

SOLUTION FOUND!

I found only one thing that works.........drum roll please.

Good old H2O.

After all the efforts, I placed a clip test in non-running water and soaked for 60 minutes. The magenta is gone and the polyester base is clear and bit gray as Kodak says it is.

Has anyone found an easy way to remove the magenta dye from 400tx?

I have tried fixing for extended periods in TF-4 and Heico PermaWash

as well as 30-60 minute washing times.

It seem that the film is left with a very subtle residual magenta

dye that just won't wash out.

Monday I finished the first shooting session for a new project. I

was a bit hesitent to begin it with the new 400tx, but did an

adequate amount of testing last week so figured I had a pretty good

handle on what the stuff would do.

At the last minute I decided to change my developer from Ilford D-DX

to Rodinal due to the subject matter and a personal desire for a

certain look.

With D-DX I tested and found my EI to be 320. WIth Rodinal my

personal EI dropped to a blazing 200. The first 20 rolls of 120

400tx came out looking as good as any film I have ever processed.

The proof however was in the prints. From 6x6 120 400TX I made

16"x16" enlargments on Ilford MG Warm FB Glossy paper. The prints

had that traditional Tri-X look but the grain is amazing. It is

lovely, tight, and very fine compared to the old Tri-X. I can only

imagine what it would look like in a fine grain developer at that

size.

Needless to say I am extremely pleased with this film/developer

combination. I processed the film using a Jobo rotary processor at

75F for 7 minutes with a dilution of 1:50.

Just thought it might be useful to others.

A close friend owns two. One with the 127 Yasarex lens and the other with a Schneider 150. He travels quite extensively and uses it on many of his trips. It is an amazing camera. It allows for lens tilt and handheld 4x5 photography with a coupled viewfinder. Focusing is fast and accurate.

The 127 Yasarex has a good amount of fall off and a very unique look. This is not a camera for digital pictorialists but is a camera for those fine art image makers who want to shoot spontaneously in 4x5 and create images with a unique feel.

Overpriced? Perhaps but there are few if any 4x5 handheld cameras other than the Littman 45S II that offer a tiltable front lens, a coupled focusing viewfinder and parallax correction.

Another tool in the arsenal that is fun to use, allows the photographer make spontaneous handheld images. All in all a very cool fun camera, which BTW as of this day I would love to own.

First,

Let me say that I appreciate Dennis responding to my problem albiet quite a bit late.

Second, I NEVER called FRED a DEADBEAT. Please re-read my post. I staed that "This list has often discussed dead beat retailers, I have read them and empathized with the victims"

Third, I was wronged. It took a post here to get a retailer to respond.

All I asked was to have Fred respond. Dennis has finally done so and I consider this issues closed and resolved.

End of story.

Jeez, just when I thought is was to go back into the water, another

retailer takes my money and does not produce a product!

This list has often discussed dead beat retailers, I have read them

and empathized with the victims. Who would figure that I would be a

casualty of this pandemic.

Well last year I paid for a subscription to the "Beyond the Zone

System" newsletter distributed by Fred Newman and the View Camera

Store. Fred took my money and send me a couple of 2 year old back

issues as a promotion. To this date I have never seen a single copy

of the newsletter.

I emailed Fred and inquired about the status of my subscription. Not

a peep in response.

Perhaps Fred will read this and correct a wrong. Otherwise, I

suppose that I am in good company.

Mike