john_rogers8

I cant find any critiques or reviews on this company, they are a

extended warranty co called repairtech inc from new jersey. any

input is most appreciated, i want to buy an s2 on ebay with this

extended warranty on it, but i am scared becasuse i dont know if

this warranty co is worth the ink they wrrite their warranties with. i

checked with BBB of nj and they say they have one unsettled

complaint and that is it, so i am in the dark. nothing on the

internet that i could dredge up anywhere except consumer

companies selling their warrnaties. not feeling good about

repairtech's reputation. thanks, john

Anyone recommend best place to overhaul my 3 leaf shutter

lenses? They are the newer versions and i was shooting the

other day and i got blank frames. body shutter was at 1/8th and

leaf at one point was at 1/30th. Mamiya said it should have

worked fine, they said that perhaps my slower speeds in the

lens shutter are not working properly. i had almost half of my

shots blank, cant afford that to happen, time to rebuild all my Ls

lenses so i can have peace of mind and not get sued. thanks,

john

thanks, thats it. I had the focal plane shutter set at 1/60 at the

slowest, and had that problem half the time. Hope i dont get my

ass sued over this, my camera manual does not address this at

all! Thanks alot, will try a practice roll at 1/8 sec. No wonder my

flash did not go off when the lens was set at "F", it could not sync

at all with focal plane shutter due to that setting.

I just shot today with a newly purchsaed used 645 pro, not TL. I

have the #2 winder with cable to cock shutter on leaf shutter

lenses which i will refer to as LS. I put body shutter speed at

slow shutter speed, dialed in the shutter on lens to either 1/500

or 1/250, camera shutter on 1/125 or 1/60. I got a lot of half

frames- half of the image recorded on the film and half was cut

off. any idea why? what can i do to make it work? I wish i could

test for sync by taking off the back and looking thru the back of

the camera body. I set the camera body shutter release onto the

white dot, i dont think that was a problem. Is there something i

need to set or do to make the camera shutter open first and not

get in the way of my image? this is super frustrating. On the lens,

theere is that green "F" to the right of the shutter sppeeds. what

is that used for? I thought i could put it there when using the #2

winder, i had heard that at that point you just need to set speed

on camera body and it tells the lens shutter to shoot at that

speed?? My manual does not say how to do it. I had about half of

my shots ok and the rest with that half blocked image. Help!!!

how is it properly done? thanks, john

thanks guys. I found out the voltage of the 120J is around 14 V by

putting my voltmetter into the place where the household prongs

plug into the body of the flash. is that accurate way to meassure

voltage of the flash?? I had heard on this site someone said the

f100 can handle around 25 V. But i dont know. I have been using

the wein safe sync but one day i pulled out the pc and it pulled

out the whole metal guts of the wein, and that days job i had no

flash and did not know it, even though it pulled out after i was

fiished shooting. that is a handy piece of hardware. i used it also

to have convenient location to plug in pc caable. go figure....john

Is it safe to use a sunpak 120J amd nikon F100 off of hotshoe or

pc port ? is the voltage safe or will it fry the camera circuitry? I

had a safe sync but it actually broke and wont transmit the signal

to trigger the flash and i have jobs coming up soon and cant wait

for the mail to get a new safe sync. is it safe? thanks. pls email

me at vidsolve@hawaii.rr.com i dont seem to get responses

automatically. thanks!!! john

are film backs for mamiya 645 super the same as for the pro

and pro TL? I just bought a pro and need to know if i can buy a

used super filmback on ebay and use it on my pro. thanks!

i own the f4 version, it is a phenomenal lens, every bit as good

as the f2.8, but just one stop slower. i think the 2.8 is worth the

price if you need the speed. my f4 looks awesome at f4, i cannot

say enough good things about that lens. i love macro lenses and

flat field lenses in general.

I use a CT straw 1/4 gel over my flash for indoors at reception in

conjuntion with a one stop ND gel so i can shoot at f4 and use

power settings on my flash based on f5.6. the reason i shoot at

f4 is so the background is not as dark. I always have a 1/2 stop

diffusion over the flash. Im getting brighter backgrounds,

especially when i use asa800 film (npz), but my subjects dont

look so hot. i shoot at 1/40 or 1/50 second. just wondering if

maybe the slow shutter is giving me not so sharp shots? it is

frustrating. i am trying hard to improve my shots, but sometimes

the background is so incredibly dark that it doesnt really improve

the look to go to all this trouble. Is the warming filter a problem? I

am trying to warm things up a tad, but it seems that maybe it is

negatively effecting my images. any suggestions? that warming

filter is a must for sunset shots, the warm background needs a

warm flash. even with the 1/4 CT straw gel, i want more warmth

than that. would 2 layers of 1/4 ct straw give me more warmth, or

do i need a 1/2 gel? just trying to improve things, ready to go

back to doing nothing! I get to a reception with 800 film and i get

a pitch black mood lighting. sometimes you cant win! comments

pls, i know others contemplate these things. thanks!

try using a monopod, use fuji npz asa 800 film,shoot at f4 or if

you dont like the way your lenses perform at f4, shoot at 5.6 and

1/8 second more or less. I do like to use flash at about 1 stop

under ambient if i can to splash a little "daylight" on the skin so

they dont look pasty. i think no flash is pasty looking skin tones,

sorry! The best results i get are with my nikon 80-200mm shot at

f2.8 and 1/30 sec on my monopod with NPZ film, beccause that

lens looks very good at f2.8, very good. it looks better at f4, but

surprisingly good at f2.8. no depth of field though, so there are

no perfect answers to this situation IMHO. The best is a slight

pop with the flash, great optics and slow shutter to burn in the

bkgd. skin tones suck with incandescent lighting and daylight

film. with black and white film, underexposure is not a problem, i

would think one could push an asa400 ilford delta and get a

good print out of the effort. I have gotten great prints from this film

underexposed by abuot 3 stops outdoors, maybe 2 stops under

would work inside and give decent detail?

I own a tamron 28-105mm f2.8. It is quite good at 28-70mm at

f5.6-f11., and progressively worsens after 70mm, and if shot

outside of f5.6- f11. Is this tamron 28-75 f2.8 better than my lens

now? Mine weighs 2 lbs, how much does this one weight in

comparsion? thanks for the input, john

I must have a lemon, i have a AI'd 85mm f1.8 MF, and it is not so

consistently sharp, it flares fairly easily, and it just is no where

near as sharp as my other fixed nikkors. It performs ok in

excellent light. Maybe i just have a bad lens. I do love my macro

105mm f4. It is every bit as good as the f2.8 version except it has

a max f4 aperture. perhaps that is a reasonable lens to

purchase instead of the f2.8. i could not be happier with it. I

would not want to shoot a macro at f2.8, there is absolutely no

depth of field there....I think 135mm is a perfect focal length for

portraits, but 105mm is workable. 135mm is much better for

tight head shots, no question about that.

just called badger graphics, man are they an awesome outfit!

Just so happened they got in a 110xl, and i picked it up for only

$800. plus shipping! turns out they could have saved me $3-400

on my 72xl, jeff said that lens with center filter would go for about

$900 used, but he did say they rarely get those in. well, thanks

for everyones advice, cant wait to shoot with the new lens. jeff

said i dont need center filter as coverage is very large on that

lens, so i will see firsthand what this lens is all about. thanks

again, i think this focal range of 90-125mm deserves a lot of

discussion IMHO. john

If i need movement for architectural work, and dont care about

the weight, but am concerned about flare issues and overall

good performance and image quality, would the 120mm f5.6

Super symmar HM be a good lens? or fuji 125mm 5.6 CM-W, or

kodak ecktar 100mm f6.3? what would be the best for the money

considering these needs, and considering any make and model

of lens? there seem to be a lot of choices. i am considering

springing for the 110 xl, does that have excellent coverage for 4x5

in architectural work? I like the focal length, 100mm - 110mm

would be best, but 120mm would probably work. I need to shoot

hotel lobies and the like, my 72 xl is too wide at times, the

foreground shows too big, and that is not to my liking with this

wide of a focal length, and i dont have a lot of movement with that

72 xl, not enouogh normally, but depending on the situation it

can work well. every situation is totally different. it seems that

100-110mm would be a wonderful focal range. maybe a 90mm

would work well and offer less distoriton as far as foreground

issues, any comments on that? help! tthanks, john

wow, thanks for the immediate and immense responses! I own

the 72mm XL, 150 SA, and the 210 apo at present time, just to

add more info. with the 72, i thought the 110 would be perfect,

but 121mm or around there might be workable?? The 121mm

mentioned sounds good, but i would like to focus with a 5.6 in

general, but have heard that some f9 lenses for some reason

are super easy to focus. I live in hawaii, and it is bright out, so it

is hard for me to focus my friends SA 90 f8. would the 121mm be

ok to focus, do i need a center filter for it to work with 4x5? thanks

again for the advice. BTW, that 11o xl went on ebay for $1250

approx, i bid to $1150 or so. ebay is a pain, i would rather buy

from someone on photo.net directly instead of ebay, i have had

pretty good experiences so far. john

I really want a schneider 110mm xl, but used is about $1400.

and that is too much to spend! I need something between

110mm and 135mm, prefer wider part of this spectrum. I have

been hearing good things about the Schneider 135mm f/3.5

Xenotar, and the price is right. any coments on this lens? also

see that the new schneider 120mm is really affordable, but it is

only available in environmental glass. any one have any

experience with that new lens? focal length would be a lot better

for me than the 135mm, but I definatley dont want to spend

$1400. too much for me at this point. your insights are most

appreciated. please address this in terms of coverage of the

various lenses. im open to any lens maker. thanks, john

thanks for the tip on where to buy the center filter, I can see i

need to get it because if the need arises due to lots of

movement, I cant sit there wishing i had it. I might consider the

80mm as I am zeroing in on a 110mm, and that center filter

works for both the 80 and 110. I appreciate the logic on the

90mm, so many people own one, it is an awesome piece, and

focal length. I do think the 72 is going to be the best, but am

considereing the 80, might do the trick most of the time. for those

really wide scenics, maybe i can overlap and stitch together?

client pays for the hi res scans, but one transparency would be

better. any thoughts on overlapping with the 90 and stitching in

photoshop??...john

outstanding replys, thanks! The center filter for the 72 xl is

severely expensive, and i have heard that for anything beyond

scenics, it is needed so the image at the edges is uniform in

light intensity. Will the 72 XL even fit on my toyo 45AX? i keep

hearing it is so close to hitting the rear element to the film plane,

what is the actual truth on that? I am willing to buy a rear

extension for the toyo, i like the camera alot for hiking, quick

setting up etc. I think the 80 XL might be workable focal length

(24mm in 35mm terms) but i think the 72 XL would be much

better....ouch, that blloody center filter!! $800? anyone know

where to get one for a little less? hard to find used i am sure. I

am sold on the 110 XL, I have heard only the best about that

lens, and same with 72. I think i like the coverage of the 72,

might try it on scenics wihtout center filter and see what gives.

thanks for the support and excellent advice. Its a lot of dough, but

I am glad i am not facing what people in CAlifornia are facing, my

prayers go out to them....john

I work in a market where commercially the tracks are well troden,

so what i do is find niches, and offer personal and creative

service, go the extra mile, offer to pick peple up at the airport or

whatever is needed, dont bitch about things to the client, and

make new clients based on my personality and attitude and work

after that. A lot of my work is wedding related, and I find that

digital is not the way to go for me, the time on the computer is a

lot, and i like the performance of film, convenience of dropping off

film, pick it up, deliver it. no tweaking in the computer. and i dont

get white blobs for wedding gowns with film, but do with digital. I

do like digital for backing up my formals as it is great for large

prints, and medium format is a pain to work with. so just in the

world of weddings, i have gone thru a lot of thinking and testing

and confirming, every aspect of photography is the same

process. digital has its virtues, but in many cases you dont need

it to succeed. I admit that i llike the look of large digital prints,

they have a sort of silkiness that is very nice, but i dont like it for

live events where the lighting is changing without notice by 2-3

stops like it does in hawaii. give me film for that anyday baby!! so

you need to talk to photogs in same field you like to hear what

they have gone thru. guaranteed its a lot if they are pro, and you

will get a different opinoion form each person, so shoot, think, be

honest- brutally honest about what matters to you, and to your

clients. I know photogs that i think are crazy how they do things,

but they are a success, and everyone has their thing. some guys

think im crazy shooting film, and i have thought and practiced

many many hrs and i think film for my wedding work is the way to

go. anyway, my $.02

I am considering to buy a schneider 72mm f5.6 SA XL and a

110mm f5.6 XL for the purpose of scenics, interiors landscapes.

I own a 210mm APO which is a fabulous lens. I dont like

focusing wiht f8 lenses, i shot with a schneider 90mm f8 which

gave outstanding results, but was a pain to focus in hawaii

where the outside light is so incrdibly bright that it reflects off the

ground and makes focusing painful with an f8 lens IMHO. I have

heard nothiong but great about both lenses, but am wondering

what ahnyone thinks about these focal lengths. I agonize over

getting a 90mm f5.6 as I constantly hear how perfected the

90mm schniders are, but i need wider for scenics no doubt, and

so if i get hte 72mm XL, would the 110mm be too tight of a focal

length to use for my work i listed above? should i also own a

90?? that is my delemma. also, how is the 75mm f5.6 compared

to the 72mm XL? I want to own the very best optics as it is

competitive here, and dont want subjects with colored edges, ie

chromatic abberations? and i hace heard the XL and apo series

is best at minimizing that kind of problem, which i do not want in

my images, i want the best optics, but dont want to pay for top

optics if they dont deliver what i want. i have heard some say for

example that the 75mm SA is as good as the 72mm XL in every

way, that the XL series is smoke and mirrors, but they were

selling the 75mm, so there opinion may have been tainted. any

help is appreciated. Aloha, john rogers Honolulu

I am researching a schneider wide angle for my toyo 45AX. I am getting excl feedback about

the 72mm XL, but am wondering if a late model 75mm SA non-XL is significantly worse in

terms of image quality results in the real world. I have heard the 75mm f8 lens is as good image

quality as the 75mm f5.6 but the f8 is a lot lighter and of course darker to focus with. I am torn,

someone pls help me to make sense of the info. I want to only shoot 4x5 fomat or maybe

6x12, and i would rather not buy a center filter if i dont need to, i have heard the 72mm XL could

use one to get better edge density, but i dont know if that is a neurotic babble or if it is really

true. does the 75mm need a center filter or not for 4x5 color transparancey work? thanks for

sharing your experinces. john, honolulu

thanks for your help, you guys are right. i called toyo today, and there are differences in design

as well as materials. I am going for the ax for sure, the heck with the extra 3lbs of weight. YOu

cannot believe how hot the ax is and the cf are right now on ebay the cf is almost at brand new

price! what is so cool about these cameras is that you can extend the back ($400 a pop) and

the binocular prism is really cool. you can view everything right side up and very clear and bright

from what i have heard. Does anyone know if that binloclular prism thing would fit on an older

horseman? toyo said it would fit on any graflock back, does horseman studio cameras from the

eighties use that back, is it that universal? that would be awesome. I have heard the schneider

72mm f5.6 XL is an awesome wide angle lens, I am getting one of those to start for scenic work

in hawaii, and build from there. A friend is selling me an older horseman with bag bellows, normal

bellows, compendium shade and accesories galore for $650. Definatley do not want to take it in

the field though! I will ask him about the prism fitting on the back, but if anyone knows, pls let me

know in advance. thanks! john

cant seem to find out how wide a lens this thing can take with optional recessed board. is it the

same in this regard as the 45ax? is bellows ext the same, just made of carbon and plastic vs

metal? the ax can take a 58mm lens, does anyone know how wide a lens the cf can take, and

what if any are the differences besides materials between the cf and the ax? thanks, john