sergio_ortega6

Mosadek,

 

Most of the issues you've mentioned have been discussed extensively on this site over the years. Just about everyone seems to agree that the DLC is a great little field camera, as are the others you've mentioned. I don't think you could go wrong buying any of these field cameras.

 

After using my DLC for several years now, with a wide range of lenses (58mm to 450mm), in all types of field conditions and for every subject possible I would highly recommend it to anyone looking for a well-designed, sturdy, precise, lightweight, reasonably-priced general purpose field camera. I like mine more and more the longer I use it, and if I were to replace it, for whatever reason, I would buy another DLC without any hesitation. I don't think you can give any piece of equipment higher praise than that.

 

The DLC has its weak points, and a couple of minor things I would change, but nothing you cannot get used to, and certainly nothing that would prevent you from easily making excellent images. I think you would be well satisfied with the DLC if you just keep in mind that the only perfect field camera is the one you have not used yet.

Amy,

 

All good advice, but this kind of advice is difficult to give. It depends so much on your own drive, ambition, talent, initiative, connections and your willingness to sacrifice. You've heard the old saying: it's usually "90% perspiration and 10% inspiration".

 

As for which degree, a grizzled art professor I had in grad school once told me: "if you have real talent and drive, a degree does not matter...and it you have no real talent and little drive, then all the degrees in the world will make no difference". In a perfect world I suppose that the best situation would be to have lots of talent and the right degree. Most often, students begin with a promise of talent and a drive to improve themselves, and are given the opportunity to achieve their goals in an place that guides and encourages them. But there are no sure things when it comes to making a living at art/photography.

 

And, of course, it would depend greatly upon the institution granting the degree. A BFA or MFA from a place like RIT or Brooks would definitely be worth the time, trouble and cost; a similar degree from one of the many State colleges/universities (with a few notable exceptions) would likely be less attractive to a prospective employer.

 

The best schools have faculty that are working photographers/artists who do not depend upon their teaching jobs for a living, and are usually located in the centers of art/photography. The lesser degree-granting institutions of higher learning are generally nothing more than diploma mills, staffed by well-intentioned folks with BFA/MFA degrees themselves, who could not make it out in the real world if their lives depended on it.

 

What strikes me whenever I speak to working, professional photographers is that a vast majority of them have degrees in disciplines totally unrelated to art/photography. Many of them have degrees in business, psychology, the sciences, law and so forth.

 

Good luck.

It's really amazing the stuff you can learn on this Leica site. I should have known someone out there would already have thought of this, modified their M6 and then posted the results on a website. Thanks everyone.

I was explaining the purpose of the little white dot situated on the

inside of the M6's cocked shutter curtain to a friend. From what I

understand about the M6, the light passing through the lens and onto

this white dot is reflected and measured by the meter.

 

My friend asked a rather simple theoretical question, one for which I

had no answer: If one were to reduce the size of this white dot,

would the central area metering pattern be changed?...perhaps to a

spot metering pattern?

I imagine one could carry quite a lot of film into the field, especially if they're Quickloads. I think the more accurate question would be how many images can one person reasonably expect to make in one day's shooting with the usual LF equipment. Even on my most ambitious days in the field I was never able to muster up the energy to make more than ten or fifteen exposures, twenty at most if the last rays of light were incredibly wonderful.

Luigi,

 

Of course you should not have to apply a filter factor if you're using TTL AE. Maybe I thought you were exposing the old fashioned way, with a handheld meter. Or maybe I've been hanging around the LF site too long.

Yes...very, very dull.

Come on, people...I know this is a new forum, and everyone is one their best behavior...but surely someone could have come up with something snappy, like: "Simon, just try Ilford's new Digital B&W Infrared film".

Luigi,

 

You write that your images (negatives/transparencies) look bad...how so? Are you applying the proper filter factor (exposure increase) when using the CP? (You can do this via the ASA dial, add about two stops exposure from your film's normal rating). Is the filter visibly damaged somehow? Are Kenko CPs really of such poor quality? Many times CPs used with WA lenses give poor results; a bright blue sky can get really dark and inky toward the edges of the image area.

I agree...I've owned Nikon, Leitz, B+W, Hoya, Heliopan, and Tiffen CPs, and still have this really cheap Spiratone CP I bought 30 years ago. I may sound like an ignoramus, but I've never been able to tell the difference in image quality. When used properly they all seem about equal to me.

 

The new warming polarizers cost significantly more, and might be of use to you. The higher priced wide angle/thin mount CPs are a very good idea for wide angle lenses, but often a simple step-up ring with a larger diameter filter will eliminate vignetting. And the more expensive multi-coated CPs might help in certain lighting situations.

 

Just be aware that some really cheap ones have very poor build quality: the rotating rings don't spin very smoothly on some, and the clips/rings holding the glass in place seem to come loose on others.

Franco,

 

For what it's worth...if I remember correctly, the MD12/11 grip's AA batteries will power the FM/FE series cameras, the camera body's battery does not have to be inserted when the grip is attached.

Richard,

 

Sounds more like you would be creating a graduated center diffuser along with a graduated center neutral density filter.

 

Since all you really would be doing is depositing a layer of soot on the central portion of the UV filter, not only would you have less light transmission but likely also a degraded image in the central area of your negative. Then again, maybe the soot particles would be so fine as to not degrade the image.

Carsten,

 

I had the 3.5cm f/3.5 Summaron LTM. It was just OK, nothing special. It is not even in the same ballpark as the 35mm Summicron-M pre-asph. From everything I've read, the Ultron probably has the old Summaron beat by a mile.

 

The best thing about the old Leitz Summaron LTM was build quality...it really is a solid little chunk of chrome metal and glass, like all the old Leitz stuff. But, I'll take speed and image quality over nostalgia any day.

Shinji,

 

From your description, it sounds like the camera's front lens panel (the front section of the camera where the two lenses are mounted, that telescopes in and out as you focus) is damaged in some way. Are you detecting any sort of binding, or sticking, in the lens panel's in and out movement as you turn the focussing knob?

 

If one side or a corner of the lens panel is sticking while the other side is moving freely it very well could be that the lens panel has been damaged from a fall or a bump to the front of the camera. This condition is very common to used Rolleis, and one of the first things that should be checked out when buying. This can likely be repaired or it could just need lubrication and adjustment. In extreme cases, where the binding or sticking panel does not free up, it can cause poor focus alignment between the viewing lens and the taking lens, or poor focus across the negative area.

 

"Back plane flatness" is another issue, having more to do with the flatness of the film itself as it comes into contact with the pressure plate as it is advanced. Poor film flatness can be caused by the film taking a set after being left in the camera too long. Or it can be caused by some mechanical problems in the back/film pressure plate.

 

It sounds like you should have it inspected by a Rollei TLR repairperson.

Call Hasselblad. They're always able to answer my questions. By the way...who the hell can afford a 205 body?

Several top quality Nikkor AF-D lenses well under $1000: 20mm f/2.8, 24mm f/2.8, 28mm f/2.8, 35mm f/2.0, 50mm f/1.4, 60mm f/2.8 Micro, 85mm f/1.8, 105mm f/2.8 Micro, 180mm f/2.8, and so on.

I went back and bought the book. Had a chance to read it last night.

 

I agree with those who observed that the book is more a personal view of one landscape photographer's working methods and philosophy, as opposed to a pedantic, how-to guide on LF in general. I find the approach inspiring, and it makes me want to go back out to Utah/Arizona and do some photography.

 

Some of the tips are very useful, especially the bicycle-tire-tube-on-the-Gitzo-tripod-leg thing. I'm going to try that. His packing tips are also quite good. And I hope that his positive remarks on the G-Claron lenses, and accompanying photos, will put to rest some of the controversy on the usefulness of these lenses.

 

I wonder, not knowing anything about the book publishing business, how many copies of a book like this would have to be sold to make a profit?

John,

 

Calumet makes a very handy 4x5 padded filmholder pouch, with two padded side flaps with a main velcro closing flap and a heavy-duty loop/strap on the back. I have several of them and they hold up to eight Fidelity/Lisco holders each. These are convenient for keeping different types of films separate, and for carrying just as few holders at a time with you into the field. They have been through hell and they still look great, and they're cheap.

 

For larger quantities of 4x5 filmholders, I use an old Zone VI camera system case...the big, white, padded, zippered, naugahyde-like thing with several padded interior compartments. I can fit about forty+ 4x5 holders, extra film and a folded darkbag across the top in the thing. Since it's white, and non-photographic looking, it keeps things cool and does not attract any attention...it looks more like a diaper bag than a camera case.

John,

 

I've used the various E-6 processes to save money processing 4x5 and 8x10 films. It's not difficult, as you say, but it does have its drawbacks.

 

I've found that precisely maintaining the high temperatures called for is the trickiest part. I use one of the large Photo-Therm tanks, with thermostatically controlled heating elements and re-circulating water pumps, as a precise temperature regulated water bath tank, into which I place all my smaller processing containers. It takes over an hour to bring everything to a consistent and stable temperature from room temperature. I've tried other, less sophisticated methods and the results have not been very consistent.

 

I also work with the open tanks and metal frame film holders for sheet films, so I have to work in total darkness, which can be challenging at times. And it's easier to precisely control times with the dip/dunk tank methods; daylight tanks are less precise since you have to contend with drain/fill times. For roll films the Jobo processors would be ideal, but these are rather expensive.

 

It is labor intensive, so you have to determine how much time you want to devote to it. It's not as quick and easy as developing B&W. And it's boring as hell, not a very creative use of your time.

 

The E-6 chemicals are expensive and once mixed don't have much shelf life. If you're planning to do a lot of film developing on a regular basis it could be cost-effective to do it yourself. But if you only plan to do a few rolls/sheets every week, I think you'll be better off having it done commercially.

 

There's only one way to know if it's for you...try it out yourself.

Julian,

 

I have an old Toyo G 4x5. It's a very solid, heavy, precise and well-featured studio 4x5 monorail camera, and the GX is even better. I would say it's better suited as a studio camera, and not as a camera you would have to take down, pack and then set up quickly for location photography. However, if you're willing to pack it and carry it to your location it will do everything you need.

Ed,

 

I have the Nikkor 75/4.5 SW, which I bought after I damaged my Schneider 75 SA 5.6. I also have Rodenstock and Fuji lenses in other focal lengths. Comparing negatives/transparencies from these 75mm lenses I find little difference in sharpness across the entire image area. Whichever one you choose you will probably be very satisfied.

 

As for the many test reports, I have a hunch one would likely find more differences between individual lenses than from brand to brand. I suspect if one were to test ten lenses of the same brand and focal length one would probably find one or two lesser-performing examples in the bunch.

 

I also have the Schneider SA 90/8, and find I use it somewhat more often than the 75. I think the 75mm is very useful for landscape shots where you want to convey the near-far relationship, with a distinct emphasis on the nearer elements. It's also very useful for interior architectural views in cramped locations.

If you're using a homemade darkcloth, make sure it's light proof. One layer of black cloth with allow extraneous light to penetrate. Try several layers or a very tightly woven fabric for best results. Also make sure the cloth fits snugly around the camera back...some stretchy tape or velcro will help keep it in place. And let your eyes adjust to the dim light under the cloth before trying to compose/focus.

Azhar,

 

Everyone's correct. All things being equal, If carefully focussed, on a tripod with MLU, perfectly exposed and at optimum apertures I'd say results from the Hasselblad lenses you mention would be superior to most current lenses for 4x5...IF you're just comparing negatives/transparencies on a light table. Enlarged to any size over 8x10, the 4x5 format is clearly superior in all respects.

 

Clearly if all things were equal everyone would be using only LF, not MF or 35mm. But when are all things ever equal?

If you can, try to find a good SB 26.

Rose,

 

The Nikon FM2n is a superb beginner's camera, and one that you will never outgrow. I have one, and have also suggested them to several friends as starter SLRs. It's small, light and extremely durable. You will also have an extensive and excellent selection of new or used Nikkor AI/S manual focus or auto focus lenses and a variety of other Nikon add-ons to choose from.

 

I've seen a lot of used original FM, FM2 and FM2n bodies. Prices usually are determined by condition, naturally the most recent versions are more expensive. Remember that you can buy a brand new grey market body for less than $400 from B&H, so don't let someone tell you that $350 for a well-used one is a "good deal". I've seen prices ranging from about $200 for a well-worn but nice FM to about $300 for some nice FM2n versions. Black ones usually sell for more than chrome bodies. And get a good return policy.

 

Things to look for:

 

Avoid any dented bodies, especially around the prism area or top plate. Look through the viewfinder to see if it's clear and clean; the focussing screen can be removed easily for cleaning, but you should have someone familiar with removal show you how to do it the first time out. Check the eyepiece diopter to make sure it's not scratched or missing.

 

Inspect the shutter curtains carefully, look for any scratches or small dents, dings or wrinkling on the shutter blades themselves. Observe the shutter blades open and close at all shutter speeds, especially the slower ones; they should open fully and close smartly with absolutely no hesitation or hanging up. If they do, return it.

 

Look at the mirror carefully. Inspect it for scratches or other imperfections. Also observe it at all shutter speeds, it should also flip up smartly and return promptly, with no hesitation at all. It should return to the fully lowered position every time. Return it if any problems here.

 

The interior of the mirror box should be nice and clean and the black paint should be clean and smooth, not dirty or grungy. The mirror cushioning foam should be intact and fresh-looking, not gummy or disintegrating; it's very easy to replace but if unrepaired the loose foam particles can foul up the works.

 

The film back should release cleanly when you raise the rewind knob, avoid any you have to pry open with your fingernail...a clear sign it's been twisted or damaged. The back should close with a firm click, seat cleanly and not have too much play. The film pressure plate should be perfectly clean and the support springs should not be loose or sagging. The seals in the film back grooves should also be intact, not crumbling, gummy and disintegrating.

 

The advance lever should advance smoothly, ones with funny grinding noises or sticking travel should be avoided. The rewind knob should raise and lower with no trouble, and stay put either up or down. The rewind lever atop the knob should not be bent or twisted, andit should open and close cleanly.

 

The meter should turn on when the advance lever is partly withdrawn. Check the function of the little multiple exposure lever. Check the meter diodes in the viewfinder, the +/-/0 should light up as appropriate indicating proper esposure. The ASA dial on the shutter speed dial should work smoothly and be easily visible.

 

The shutter speed dial settings should firmly click in place, and the dial should turn smoothly and precisely, with no slop or play. The different speeds should be obvious to your ear. The shutter release button should be smooth and release cleanly with no hangup.

 

When set, the self timer lever should activate with the shutter release and not hang up during its 10 second travel. The stop down lever should depress smoothly and fully...these are a weak point, they are made of plastic, and I've seen some broken stop down preview levers on FM2n bodies.

 

Take your time and find a good one. You'll be very satisfied.

 

Good luck, Sergio.