marios pittas

I am sure this may appear as a dump question, but I got "stuck" and would hate to loose my camera for nothing.. so

here it goes:

Q: Is it possible to use the hasseblad for pinhole photography?

If yes (and I pressume it is yes, since I have seen plenty of references in the forum discussing shutters on top of

front body cups etc).. can someone remind me of what the limitation was about the Hasselblad (V system of course)

and lens and the lens cocking? Or in otrher words, is it possible to fire the hasselblad with no lens attached?

Once again apologies for what appears a silly situation / question..

.[. Z: <i>Digital does not change too much in the picture-taking, but it offers fat more flexibility to change and create in the picture making -- from edits to corrections to output to significant alterations.</i>

<P>

True. The tool has changed, and it has also become more easily available. But to make art you still need the skill (as well as the need to train the skill - in different degrees) and the neccessity to put the effort and time in order to produce a piece of art from that capture. That has not changed digital or film!

<P>

The question remains: <b>How many people will pursue the art of photography beyond the snap?</b>

<P>

-- Marios (marios_pittas@photo-orama.com)

<P><i>I really don't get this. Does it mean that they withdraw the 645 only from some markets? In Germany they didn't list the camera on the

kyocera.de-homepage, and Zeiss is pointing to the US/UK-Sites. That's bad marketing.</i><P>

<P>Does Kyocera actualy think that after all the francas they will ever get our $$ again? What a joke!<P>

<P><i>It was foolish of Zeiss to have trusted a stupid company like Kyocera to take care of a legendary camera.</i><P>

Indeed

<P>The question is not "To be or not to be?".. it is "If not Zeiss then what"? And the answer can't be H1, that's for sure!

Eric

Personally I would shy away from the 65mm. Sometime back, I stacked 2 sets of extension tubes with the black 150mm. I received excellent results even though exposures runned into several minutes (AGFA 25, and lens well stopped down) - was having lunch during exposures :)

I would imagine your 127 being a good performer for almost all applications. I had that lens but never used it, prefered the 150mm for no apparent reason actually, especially since the 127mm P should be a latter lens and better coated.

-- Marios

Jeff

A number of years ago I used to own a SQ-AM.. I traded it for an SQ-A for exactly the reason you stated! It is unbelievable, even my wife still remembers it! It needs to be experienced though to be believed, but remember the SQ-AM is a very old camera and thus not just the technology is old, but the mechanisms is also old. I did query about servicing it in the hope that oiling etc. would help reduce the noise, but the shop politely declined stating lack of parts etc etc.

I never owned the SQ-Ai motor drive, but did owned the speed grip :) If only other manufacturers would copy its design :)

Sorry..

-- Marios

LOL.. at a time when we all wish for someone to continue with our favourite camera.. Zeiss pls..... ;)

Willem: No such camera of course exists..

Many thanks to those who have provided me with information. I bought the 17~40mm f/4 L locally for S$930 = USD$570. I did realise that I had to explain why I need to buy an EF lens rather than some other brand before I can ask for comperative opinions on EF lenses.

Happy shooting

-- Marios

Steven and John: The constraints that I described were set as part of the projects' constraints-parameters. Every project (whether in photography or engineering, or medical, etc etc) has a number of constraints-parameters (e.g. budgetary, time wise, effort wise, quality wise etc etc).. Some constraints you can push to their limits, some you can get away with breaking them, and some others you have to maintain and respect at all costs..

Hope that helps.

Mike: Was any of the photos in your web site taken with the 20mm?

Yakim: "Search" :) I am doing it.. I am doing it.. its just there is so much :)

Yakim and Giampiero: 16-35 vs 17-35: The answer is in the price difference which from what I read so far has not convinced me that it translates to performance -- appart from the extra f-stop (from Luminous Landscape that Yakim referred me to): "The new 17-40mm f/4L is a welcome surprise though. At nearly half the price of the faster and slightly wider 16-35mm f/2.8L it provides excellent image quality, surpassing that of the more expensive lens in several areas."

-- Marios

I understand the suggestion to use the Y/C -> EOS adaptor. I do not plan to sell my Zeiss lenses :) However, "for a specific project that I am doing, I need to use Canon EOS EF camera & lenses..", thus the issue..

Many thanks for the links (they are being read) and the correction with regards to the 20mm. The need to use manual focusing is because most of the time the main subject is not in the center of the photo thus until I get use to changing the AF point I find it easier to manualy re-focus the lens. I guess I am probably emulating using my Contax AX.

If one was to constrain the question:

1. 20mm vs 17-40mm vs 20-35mm: Now that I know that they are all 3 USM, I don't mind forgoing the extra 3mm, but how do they fare in terms of contrast and sharpness wide open?

2. Are there any other (including older) Canon lenses that I should consider?

Many thanks

-- Marios

Hi there

I have been shooting for almost 20 years now, however, I am pretty

new to the EOS system. Until recently, my main 35mm lenses were

Contax Zeiss 18mm f/4 (used extensively), 28mm f/2.8 (almost never

used), 50mm f/1.4 (used frequently), and 100 f/2 (used extensively

for potraits), however for a specific project that I am doing, I

need to use Canon EOS EF camera & lenses..

So I bought a EOS-1N and a 100mm f/2 USM (decent optical performance

I thought so far). For wide angles I am lost though as there are so

many and they come with so many flavours).. I prefer primes, but

have heard bad comments about the 20mm, sometimes about the 24mm..

I would prefer USM lenses as often I do my own focusing

adjustments.. so which one for a good sharp, contrasty lens (most of

the time I would not enlarge beyond 12"x16")?

- 20mm (least prefered as no USM)

- 24mm (least prefered as no USM)

- 17~40mm USM

- 20~35mm USM

If my list is missing important lenses pls add them in your

recomendation.

Your thoughts are much appreciated

-- Marios (marios_pittas@yahoo.com)

Hi Darcy

I am also building my own home brew 4x5 camera with the intention to have a 4x5 camera that can complement my MF system during field shoots and that is as light as possible.

I have actually taken the path that John describes, by buying front and back of the Toyo G series (around the $100 mark). The front and back have only two screws that keeps them on the rail clamps, which you can easily remove as they weight a ton without damaging them, so if you fail (God forbid :) ) you can still put them back together and sell them off recovering most of your $$.

Another advantage is that you can get to use the Toyo bellows (wide, standard of Long) so light tigntness is guaranteed, 4x5 totating back, as well as access to available graflok backs, should you decide to complement your set-up..

Of course putting everything back together on a Toyo monorail would not be such a difficult task.. so you can still shoot at home with the "thing"..

Hugh

The Polaroid version would only take the 75mm and 127mm. Both of those lenses are modern and thus multi-coated and available on the Mamiya Press mount as well. By buying a Mamiya rather than the Polaroid you also get access to the other "good" lenses of the Press family (like the 50mm, 100mm and the 150mm - the black versions of latter 2), which the Polaroid cannot mount.

If you desire a Polaroid back with the Press system then one should opt for the Mamiya Universal.

I am yet to try the NiMH batteries (since the grip decided to be funny during that night's shoot), but I have been using alkaline batteries and 2CR2 (?) with considerable success. I get possibly something like 10 rolls (rough estimate) but I do not use the AF much, unless I am using the waist level finder from far (only for composition) and even then, I still keep the camera on manual focus and auto-focus the lens using the focus button at the back (which is why I like this camera - is like an Rolleiflex with AF :) ).

My guess is that the high consumption of the batteries is due to the "size" and weight of those Zeiss lenses :) which is why I am using Contax in the first place :)

Hi Tony and MW

I'll give it a go and see what happens during this evening shoot :) Many thanks for the responses. I guess I will keep a C2R2 extra battery in the main compartment :)

Can one use the Contax 645 with NiMH batteries?

The camera manual refers to use of alkaline and NiCd batteries

only.. Are there current differences (since voltage seems to be the

same: 1.2 V) that prohibit their use?

The Lee filter system with the wide angle 95mm adaptor will not cause vingetting on the 35mm contax 645 lens.. ASSUMING: (1) You do not have any other filters attached to the lens when attaching the adaptor (not even the Contax UV filter). (2) You leave the holder with AT MOST 2 filtet slots (3) You make sure that you have aligned the holder "properly".

The 35mm lens is my main lens (not quite sure why I bought the 45mm) for any type of photography (including potraits!) and can get away with the above set up using filters for B&W as well as infra-red photography. It is sad that one has to remove the UV filter when you need to use the Lee holder as dust can find its way on the lens.

For Ken's set up I doubt that the lens can take more than 1 screw-in filter. Most painless way to test is of course using the Polaroid back of course..

Many thanks Douglas for the wake up call :)

I have come out of the Mamiya, (Mamiya 645 - Super -> Pro -> Pro TL, RZ -> RZ Pro, Press Super 23 and Universal), Bronica (SQAm -> SQ) and have decided to stay in the Zeiss camp - call it good branding if you like :)

Based on the data on my films, I use the 140mm, 80mm and 35mm mostly, rarely the 1.4x or the 45mm.. some (read the wife) even told me to sold the rest!! Thus, based on your message I may still have a chance for a reasonable priced 6x6 cam (with a 50mm 80mm and a 140mm thereabouts)!

Are the pre-PQ lenses good enough for 20x2? B&W enlargments in your experience?

Marios

Is there a comprehensive web site where I can get more information on the SLX's and their lenses? Although I love my Contax 645, sometimes I do think twice before taking it out for a shoot especially for travelling at locations for the first time, and I did miss the 6x6 format! Rather than resorting to the 35mm it would be good to choose a 6x6 cheap alternative!! :)

Any help would be appreciated - either on this discussion thread on at marios_pittas@yahoo.com

Many thanks

Paul

Alternatively you could just buy a used Contax 1.4x coverter which you could use with a 140mm and that would cover you the 210mm - a "bit" below the Pentacon 300mm, but probably of better quality? I got my 1.4x for $500 odd (on e-bay, clearing away stock, never used, boxed etc..)..

That way, you still have a good resale value, low weight (especially if you are not going to shoot at 210mm too often then it is more probable that you will carry the light 1.4x more times than the heavy 300mm), and the possibility that one day you will use it also on the 210mm to get 300mm :)

Hope that helps

Marios

p.s. Bernd: There is one "Hasselblad Variogon 140-280mm" on e-bay right now, although I am not sure of the versioning going for $1,495 ONLY!!! :)

When on travel, I usually take many dozens of TMax 400.. I use it most of the time for potraits and street shooting with the 140mm as well as the 80mm and the 35mm..

More importantly, I may sometimes load 2 film backs with it, one set at normal 400, the other set at 1600, which saves me from bringing any 3200 Delta..

"Are you guys serious? To get the equivalent of a 16 mm shift by moving the camera up (or sideways) would require a lot more than 100mm. Something like 10 meters! And besides, that would make the perspective totally different and thus would not make it easy to stitch the panoramics together."

Yes.. I happen to be serious.. :) Shift converter project is nearing its end, last couple of pieces are on their way already.. However, not for stitching panorama, but for architecture etc..

Since you also live in Singapore (is that correct?), e-mail me and maybe we can meet for a "show and tell" session..

Marios

Some claim that sharpness of the 220 is better than 120 (which "I" have never experienced first hand).. see:

http://medfmt.8k.com/bronflat.html

However, if you are using a camera that requires a different back or insert for 220 and for 120, then consider you choices carefully so that you don't end having to carry 120 AND 220 film backs or inserts (e.g. Mamiya RZ, Mamiya 645 etc [which require different hardware for 120 vs 220] vs Contax 645, Mamiya Press etc [which require different film back settings depending on the film format used])..

Appart fom what others have said about the reduced variety of different films in 220 format (vs 120 format) you may also consider that in some places when travelling you may find it impossible to find 220. It is often hard enough to find 120 let alone 220 :( .. from first hand experience: Cyprus, Greece, Singapore, Malaysia, Australia...

Ron

I am grateful.. The lens (shutter as I should have said earlier) came out gently gently, with no force whatsoever.. Should you need any help with items in Singapore just drop me an e-mail..

> The earlier version use the ICA type (ICA preceded Zeiss-Ikon).

Mine was an earlier one although still branded under Zeiss Ikon..

I am now looking for old Zeiss lenses that cover 6x7 and above (preferably 6x9) and are below 100mm.. on any shutter..

Any ideas? :)

Once again, many thanks for the help, and for enrinching photo.net with wisdom

Marios

I am working on a Zeiss Ikon Ideal 250/7 which is in very good

condition (appart from the back which has a small crack on the side,

the bellows, front ate. are in like mint condition). I have

successfully harvested a Novar - Anastigmat 105mm f/6.3 with shutter)

from an Zeiss Ikonta..

The problem: How to remove the shutter from the bellows without

damaging the bellows, or the shift and rise mechanism (which are so

nicely smooth)..

Has anyone done this? Is it a question of first removing the 4 screws

behind the that hold the bellows and the lens, and that one can see

when one looks through the camera from the back?

Many thanks all the help..

Marios