derek_stanton2

I believe the way it works is that the EV value can be then set on the lens. A shutter

speed will then be 'linked' to a corresponding aperture. If the lens is 'locked' rotating

the aperture dial will then simultaneously rotate the shutter speed dial. So, in short,

an EV value is a shutter speed AND the appropriate/corresponding aperture for that

area that is being metered. I've probably made it seem more complex than it is. Sorry.

I've only recently been using a Hasselblad, and i got the 203FE so i wouldn't have to

deal with EVs unless i want to for a particular situation....

Sorry. I should have looked for this before finishing my last post, but.... Here's the

interview with Gibson, wherein he discusses scanning Wet prints and such:

http://bermangraphics.com/press/ralphgibson.htm

[starts just beneath the image of the hand/pocketwatch]

Wasn't that Ralph Gibson comment about scanning WET prints? I thought he did that

with B+W prints so that he would get deeper blacks or somesuch.... Either way, you

should be able to make pretty decent scans from 35mm negs on an Epson if you use

the transparancy adapter units. I wouldn't advise simply placing them on the flatbed

without the backlight unit. Prints, as well, scan very nicely, but you may need to

experiment with the surface finish of the print. Prolly don't want any texture. Keep the

glass clean, and maybe add some weight to the scanner lid (i usually put a book on

top). And, definitely learn scanner settings. Part of the battle is in getting the software

to get the most out of the hardware.

Well, despite claims by some of you, my M7 DOES flare. Certainly, i can usually make

the flare go away by repositioning my eye, but by then it's too late. I don't shoot

trees, park benches, and mountain ranges. It's usually People, who may not be

standing still waiting for me. And, fuggedaboudit when reframing between horizontal

and vertical.... Those of you who don't experience this must have the fortune of bone

structure perfectly conducive to proper eye-positioning.... Still, though, how is it

possible that the validity of the flare issue is still in dispute? Simply, it happens. Users

have experienced it, and the manufacturer claims to have improved/eliminated it in

their most recent product(s).

But, whatever. It's just such a stunning contradiction for this forum, with so many

people consistently crowing about The Decisive Moment.... I would gladly trade ten

milliseconds of shutter lag for a viewfinder that didn't white out as i try to focus. Yes,

i've missed shots because of it. Probably not 'good' shots, but the shots i WANTED at

that moment. THAT's what's important to me.

Whatever again. I'd just like to know conclusively whether or not my M7 (bought

November) is 'fixable.' My dealer says, having spoken with Leica USA, the whole

notion of installing an MP viewfinder is a myth. The board claims it can be done for

$250 (Solms?) or $750. Which is it? Has anyone actually done it yet?

And, no i don't really care that a jillion award-winning photos have been made with

flaring Leicas. Still no reason not to accept progress.

Hi.

I didn't buy Leica from them, but i did buy a wide angle (50mm) lens for a Mamiya

6mf rangefinder from them earlier this year. The Mamiya 6 is a medium format

system that has been discontinued for years, so the lens was, of course, used. The

transaction was by phone, and went smoothly. The lens arrived quickly, and was in

better condition than was described on the website. I was happy.

But, when i made some test shots and had the film developed, i found some

'distortion' in the images and called the salesperson about it. I sent the lens back, and

they immediately sent me a replacement, in the same condition.

Even i experienced initial disappointment with the results from the first lens, i was

quite pleased with the expediency and responsiveness which led to my ultimate

satisfaction.

I have also emailed them a few times subsequently regarding availability of certain

other items, and the responses have always been prompt. I would certainly do

business with them again.

People, people, people! I know, i know! I'm NOT buying one of these. I actually posted

the information for your amusement/ridicule.... It's an outrageous price, i agree. I

may have been interested, if it were offered at the under-a-grand mark, but i

certainly don't NEED this lens.

Thanks for the alternatives advice, though. Yes, i already have a Rollei 2.8F Planar,

and a Contax 85mm 1.4N, and a Hassy 80mm 2.8 Planar.... I'm covered, as far as

Planars are concerned. And, if i do decide to get something for the rangefinder at that

range, it'll either be a CV 75 or 90, or one of the various Leitz 90s....

So, really, thank you all, for the concern and advice, but i was never in such desperate

need.

Check this out:

http://holgacentral.com/weblog.php

http://jsurp.tripod.com/holgasurgery.htm

http://users.rcn.com/jtc.enteract/holga/

There are many more. Just google "Holga" and you'll have enough material for a few

evenings.

Fellas, please. I didn't say i'm NOW planning to buy one of these. In fact, i'm

surprised, shocked, and apalled at the cost of this lens. I was hoping/thinking they'd

market these lenses in the same range as the Konicas sell/sold for.... At under a

grand, i'd consider it. But, yah, i'm with the rest of you - i'd rather have a faster

75mm 1.4 Summilux, for less dough.

And, yes, this email did come from Rollei.

When the Rollei 35rf was announced, the list of (eventual) lenses included an 80mm

2.8 Planar, based on the optical formulation of the Rollei TLR's lens. I was very

interested, as i haven't yet got a tele lens for the M7. But, here's the email i just

received about availability:

"Hello. The 80mm f2.8 lens in black for the 35RF (or Leica cameras) is now

available in limited quantities for $2000 plus shipping and handling.

If you are interested in buying the lens you can buy it directly from

Rollei USA. We accept VISA and MC. Please email us your name, address,

phone number, credit card number with expiration date.

Thank you"

The price of the 40mm seemed exhorbitant, and now this. Perhaps the glass is first-

rate (i do love Zeiss), but they are matching it with a body based on a Bessa. Sort of

incongruous, no?

I think the new Sony V1 may be better than either of your preliminary choices. But,

you should visit the digital sites for more info/reviews:

www.dpreview.com

www.steves-digicams.com

www.imaging-resource.com

I like them, although i haven't used any other similar service for comparison. The

prints i've had made have been 4x6 and 5x7. They are quite similar to the usual lab

prints from film. My only issue is that they do not offer a matte print finish.

But they are pretty quick to return prints, and relatively inexpensive. Not much risk to

try them for a few quick 'test' prints.

Your budget will determine your direction, but in order of preference:

1. Profoto

2. Bron

3. Elinchrom/ Dynalite

4. Speedotron / Balcar

5. Norman

6. Everything else.

Best advice, though, is not to buy a 'kit.' Get one good quality head (pack or

monoblock), and learn lighting with a single source (and reflectors/flags, if

necessary). You may want a boom arm on the light stand, for more versatility/ease in

positioning. But, make sure you get one sturdy enough for your head AND whatever

modifiers you'll use (light bank, dish, etc.). You may have to counterweight it,

depending on the construction of the stand and the amount of extension used.

If you're just doing 'simple' portraiture (head+shoulders, head-to-waist), you

probably don't need to spend lots to get a decent unit. But, if you'll want to add to the

system later, i always advocate buying into a system you can grow with, rather than

changing altogether. You'd lose money on the unit, as well as the accessories specific

to that brand.

And, you'll not need a lot of power either. 600ws should do, even for full-length

work. I have old Profoto Pro-5 packs, and find that i have to dial them down to the

lowest possible output to use the apertures i want. Even with an Octabank or medium

Plume softbox. I would suggest a head rated at at least 400ws. And, get the highest

wattage modeling lamp you can install in that particular head. When you have a head

going through diffusion materials, or bouncing or whatever, it can get quite dim. A lot

of AF sensors might struggle for focus. For example, in my primary Profoto head, i

have a 500w bulb installed. Most budget monoblocks give you only 100-150w, and

don't allow more. That's one of the 'hidden' benefits of paying a bit more for strobes

made by the more 'professional' manufacturers.

Please, go to digital sites and read-up on your prospective purchases. dpreview.com,

steves-digicams.com, and imaging-resource. com all have very deep, insightful,

comprehensive reviews. Regarding the G3, i'd probably go with the G5. But, the new

Sony V1 supposedly tests better than either of the Canons. You owe it to yourself to

investigate that one.

For smaller cameras, which really is all you'd need for this type of project, look into

the Canon S50, Canon S400, and Konica KD-510z. The Konica, however, is due to be

released shortly, and has not yet been tested. But, if you look at the images from its

predecessor, the KD-500, you'll see remarkably clean picture samples (on steves-

digicams.com), which appear to me cleaner than any of the ultracompact cameras.

Do you really need accessories? Meaning, auxiliary lenses? Or do you mean simply the

memory cards? All cameras will come with a battery and charger. You should read the

reviews to see how the particular battery life is rated. But, for a project on your own

property, you won't need an additional battery. Most cameras will come with a

memory card, but it will be a tiny one, and it's rare that anyone will actually use it. I

advise you buy a 256Mb card for these compacts - but you have to get one that fits

the particular camera. Sony uses its proprietary Memory Stick. The Konica uses either

SD/MMC or Memory stick, and Canon uses the more 'standard' Compact Flash.

If you'd like more specific info/recommendations, please feel free to write me offline

(today, as i'm traveling on the 15th)....

I just bought a 203FE, in 'like new' condition from KEH, after looking into the Rollei

system. I would have bought a 503cw, but found a great price. I really appreciate the

aperture priority mode of working, especially when shooting out of the 'studio.' I

highly recommend the 203, as it provides many different modes of operation. You

can use the leaf-shuttered lenses, or the focal-plane in the body. You can shoot

manually, or use aperture priority, or use the built-in meter to show differentials. It's

reasonably comfortable for hand-held work. Probably not as ergonomic as the P67II i

used to have - it's just 'different.'

I haven't used a Polaroid back on it, though. Can't imagine it would be any different

than on a Mamiya RZ. The backs are quite simple in use, although loading them is not

as simple as with a P67 or RZ (or Mamiya 645).

I'd recommend sticking with more 'established' names for meters, even though they

may be more expensive than the camera you'd currently use it with. You'll, likely,

keep the meter for quite a while, and use it with the koni now, and any other cameras

you'll have in the future. It's one of those things that just stays with you, even as you

upgrade everything else around you....

Minolta and Sekonic are the brands most often used by the 'pros.' Perhaps Gossen,

next. I don't know if that's because of reliability, construction, or accuracy, but no one

ever has a bad word about these things. I'd never even heard of JTL until i recently

saw a monolight by them.... Not saying it's not a quality product, but if you ask for a

'recommendation' i have to agree with your assessment that a Sekonic or Minolta is a

"safer choice from an investment and growth perspective."

Hi, Robert.

If you have an 'assistant,' makeup artist, friend (anyone?) standing by, have him/her

use a piece of foamcore to fan the model's hair. It's a two-dollar solution, but it's

quite effective, as you can really direct the airflow and you don't freeze your sitter.

You just have to get the timing down, and make sure the foamcore doesn't intrude

into the frame.

(example: http://www.photo.net/photodb/image-

display?photo_id=919590&size=md)

Paul,

I'm trying NOT to be a "Leicaphile." Since i'm so (overly) aesthetically concerned, i was

careful not to use "hunks" of tape to cover the red dot. A properly sized, small square

of black gaffers' tape is actually quite discrete. In fact, from a few feet, it looks a bit

like another rangefinder/metering/framelines window....

Anyone know where i could buy a black dot? That would be the answer, no? No more

tape, and i could stop offending those who need everyone to declare and

demonstrate allegiances.

There are all sorts of factors that lead to "standing out in a crowd." Camera choice

may actually be one of the least of those factors. I, unfortunately, am not, in most

situations, a "blend-in kinda guy." That, and some other personal insecurities, makes

it daunting for me to even consider practicing "street photography...." Anything i can

do to minimize my 'profile' is something i welcome. Sorry if those things are

disturbing to some. In the end, though, i really am not interested in being a "Leica

Photographer." I just want to be a better photographer.

Taping the logomarks seems like the opposite of pretense.

I tape my M7's red dot for a few reasons. I often shoot in Brasil, in areas where crime

is a serious issue, and anything i can do to make the camera appear 'older' and/or

less valuable is an advantage. Secondly, i just don't like the look of red against black.

Purely an aesthetic decision. I much prefer the look of the new MP, chrome or black,

with its understated, vintage front plate. Looks like it couldn't possibly have been

manufactured in the last 30 years. Not too targetable for those not 'in the know.' And,

lastly, i favour anonymity(sp?) - i like to eliminate the possibility of other Leica

enthusiasts thinking we have some manner of kinship because i use the same brand

of equipment. "Leicaphiles," in this forum and in life have too often demonstrated a

despicable bent toward snobbery. I like to keep the camera on my shoulder, when not

in 'use,' tucked under my arm. Not like a 'badge' of status across my chest. How can it

be considered pretentious when it's hidden?

Interesting question, about the housefire.... How do you choose? Because of a

'personal history' with the camera? Or, do you just go for the most valuable ($) of the

lot? Maybe you just take the one that's loaded with the proper film so that you can

document the burning of the home?

You should maybe re-read the rationale for Rockwell's preference. Do those particular

factors have significance to you?

I had the 6mf, and never used the 7. I bought the 6 specifically because of its

compact form factor. If the 7 had a retractible lens mount, i would have prefered the

larger negative. Do you have a preference for the square format? Will you have to crop

to rectangles? If so, you're really only shooting a 6x4.5 neg size with the 6, which

means that the 7's lesser enlargement factor could be significant.

The 7 certainly has more versatility, just in the range of lenses available. The one

reason i sold the 6mf is that i didn't like the bokeh character of the 75mm lens. I

wanted to use the camera for 'travel portraiture,' but the out of focus rendition was

not to my liking, and i felt it detracted from the images i was trying to make.

However, there are a good number of people who are using this camera with fantastic

results. You should see the photo.net gallery of Benjamin Broad (http://

www.photo.net/shared/community-member?user_id=84205). His Tibet image of the

3 Serxu Monks is one of the best portraits i've ever seen.... But, Benjamin seems not

to rely on the shallow depth of field i prefer.... Anyway, also see the website of Adam

Jahiel (www.adamjahiel.com). Amazing stuff, but again, DOF isn't really an issue....

I haven't really seen any work with the 7 that demonstrates the bokeh issue to

significant effect. Of couse, this is all moot if you want to shoot landscapes....

Anyway, those are some factors you can weigh for yourself....

I had a Mamiya 645AF, and bought it instead of the Contax when they were both

fairly newly released. I chose the Mamiya because during my in-store demo, i thought

the AF was faster, and the lenses were less expensive. The viewfinders were quite

similar. Dim? I don't know how they compare to the 645 Pro, but they're certainly

smaller/dimmer than a Hasselblad. If i had to do it again, though, i'd get the Contax.

I've recently become a convert to Zeiss glass. Also, the Contax has the advantage of

two other factors: a.) optional vacuum plate film backs (for film flatness), and b.)

exchangeable prism/viewfinders. The only thing i don't like about the Contax is the

battery life issue, which seems to be quite ridiculous. You can get around that with

the use of the optional battery pack/grip, but it does make the package larger and

heavier. But, that may also make it more ergonomically sound, depending on your

hands.... Also, the Contax's 80mm lens is a bit faster, at f2, rather than 2.8. The

Contax may be a bit heavier (check the specs), but it also feels a bit more solid.

Others have noted that the Mamiya feels "plastick-y" and fragile, but i don't find that

to be true at all. I just like the feel of the Contax knobs and the few more metal

bits....

The Mamiya probably has the advantage in low-light AF, with its sensor. The lenses

are great, as well, but i just really love the signature of Zeiss (bokeh, warmth?).

Depending on what/how you shoot, these two things may not be of relevance,

though.