zuck_kovak1

I have the same concern. I have a Vivitar 285HV for back up and don't know if it's safe with CFE lenses. I already used it a couple of times because I wasn't aware of this threat and so far had no problems however if this danger exist I sure won't push my luck and will stop using it. How can I find out whether the 285HV is safe or not?

I couldn't agree with you more Kevin that trying them would be the best way to decide but I have no chance to try out these classic lenses. I need to buy one to try it. Just wanted to hear from the people that have first hand experience about the differences between these lenses. I haven't decided which way to go yet and shared experiences would help me to make those always difficult decisions.

I am still trying to decide between 8x10 and 11x14. Thanks for all

the replies to my previous thread.

 

The decision also involves lenses of course. I am not familiar with

lenses for ULF especially the classic designs however I hear great

things about them.

 

There are plenty fine modern lenses available with plenty coverage

and very sharp results (from 210 through 300, 480, 600 from fuji,

schneider, nikkor & rodenstock). They are of course expensive but

usually very sharp. The classic lenses are cheaper however some more

famous ones like the Goerz Golden Dagor, Red dot Artar etc. are

quite expensive almost as expensive as modern ones.

 

I would like to contact print on Azo and heard that for this

application the classic lenses offer just as good quality. Some even

say they are better since they are a little softer and gives the

print a "glow" or at least a certain character that the modern

lenses don't. Because there is no enlargement factor the not so

sharp properties of the classic lenses is in fact not a hindrance

rather an advantage.

 

Is this correct or at least close? Or modern lenses are better

performers with better overall sharpness, contrast and more coverage

with higher prices to pay.

 

Please share some thoughts with me on the performance of classic vs

modern lenses for 8x10 or 11x14 contact printing on Azo.

 

Thanks a lot,

 

Zuck

I have been using medium format and a 4x5 wooden field camera for

some years. Mostly black & white portraits and landscape. I have

always wanted to go larger and I think I am ready to make the move

soon. I am trying to decide between 8x10 vs 11x14. Tough decision as

always. Too many issues to ask seperately so I guess I would like to

hear from users' overall feelings. Is 11X14 worth the many hassles

over 8x10? (more expensive, larger weight, smaller selection of

lenses, more expensive and harder to get accessories, more difficult

film handling and so on.) Of course the reward is clear: a larger

negative just like from 35mm to MF, from MF to 4x5. But the greatest

advantage for me would be to be able to contact print. I would do

straight prints as well as platinum/palladium prints and some other

alt. contact printing. I find 8x10 for print size slightly too small

many times although simetimes perfectly applicable. The big question

for me is whether 11x14 would be too overwhelming in terms of size

and weight in the field. The higher price I may just be able to bear

once in a lifetime.

 

I guess I am asking the opinions of those who have made the move to

11x14 from 8x10. How much more difficult is it to work with it? In

the field? In the darkroom processing the film? Just generally

experiences and opinions about how much more difficult and how much

more rewarding is it to work in 11x14 in general. Was it worth the

extra hassle or you often go back to 8x10?

 

I know the only way to find out would be to try it myself but this

ain't a small decision for me and I have no opportunity to try these

formats out. I would be greatly helped out by comments from fellow

photographers who have gone through this experience before.

 

Thanks a lot.

off the original subject a bit but can't resist to respond to the last comment.

 

Rudi was the best at MSU. Never ever met a nicer photographer.

Inspirational teacher with the most incredible amount of knowledge about anything even remotely relating to photography. He taught me for a couple of years and inspired me that will last a lifetime. No question about it. If there were more people/photographers like him this world would be a much nicer place.

 

My hat goes down for a fine photographer and a real gentlemen.

I am looking for a soft focus/portrait lens for my 4X5 camera but I

would also like to be able to use it with my Hassy. I am thinking to

mount the lens on the close up bellows attachment of the Hassy.

 

I heard the new Cooke is a great lens but it's beyond my budget

although if I can't find any good alternative I may consider it. I

also heard that the imagon is nice as well as some older lenses like

the Wollensak, Dagor etc. I am absolutely not familiar with these

older lenses although they may be perfect for my application. Can

you guys help me by recommanding lenses that produce nice "old

school" portraits with soft bokeh. My only restriction would be that

this lens could also be mounted on the Hassy with the close up

bellows extension so that I can use it on both the 4x5 and the

Hassy. I am sure not all lenses could be mounted due to the size but

some might work. Please check this link for an idea that is similar

to what I am looking for.

 

http://www.cosmonet.org/camera/imagon_e.htm

 

Please also recommend me reputable photo equipment stores where I

could buy this lens. Please don't recommend ebay. I don't mind

paying a little extra and I rather buy from a dealer.

 

Thanks!

Hi Mark,

 

Taking a 4x5 camera to such a trip I think is a great idea when you are going !!!!ALONE!!!! However taking such excessive gear (4x5 + Hassy) when you are travelling with someone for the first time definately runs a high risk that both of you but at least one of you will have a bad time.

 

I definately would try the 4x5 thing when travelling alone especially if this is the first time you do such a Run-and-Gun 4x5 shooting.

 

If I were you I would try something else on this trip. Something that you are familiar with and can rely on but at the same time try something a little different as well. You say you usually take the 80mm and the 40mm on your trips for the Hassy. I would take one of these lenses as you are familiar with it but switch the other one for something else. For example: take the 40mm but instead of the 80mm take the 110mm or 120mm or 150mm for tighter close portraits. Or the other way around take the 80mm and take the 50mm or 60mm instead of the 40mm.

 

The point is that you can do the stuff you know inside out but you can also experiment with something little different and see how you like it. You would have a great time with something new. You will like some things that the new focal length provides that the usual didn't and you will also appreciate more the stuff that the usual does that the new one doesn't do well. It's always nice to see things a little different for a change.

 

I really like 4x5 and would recommend taking it with you but not for this sort of trip. To much to worry about. Lot of gear, New woman, Different format, Time restraints etc.

 

To sum it up short: I would take the Hassy for this one and take the 4x5 on your next trip ALONE! The point of the trip is to ENJOYING IT!

 

Have a great one!

I know this is a subjective question and may be no definate answer

but still let me ask you guys out there with experience on this

subject.

 

I have a Hassy and I plan on shooting more portrait/fine art type

shots in the future. Many of the images will have extensive out of

focus areas. I am trying to decide which lens would be ideal for

such pictures that have very nice bokeh.

 

Many people rate the 180mm lens as one of the best in the line

regarding sharpness but what about the bokeh? I have stumbled upon

opinions that this lens has horrible bokeh because it has five

aperture blades. Here is a quote from someone on this forum:

 

"Michael's review is most comprehensive. Fuji makes excellent glass

( as does Zeiss....I'm a Hassy user) Bokeh....my 180 Sonnar has

horrible bokeh (five aperture blades). I wish it had more so OOF

highlights blend together. But, it is a spectacular lens in regard

to sharpness!

 

This is surprising to me since Zeiss glass is supposed to have nice

bokeh generally and most have five aperture blades anyways. Does the

number of aperture blades determine the quality of the bokeh? Is the

bokeh of the 180mm really not very nice? I tend to agree with people

that generally Mamiya and Japanese lenses can be sharper then Zeiss

however Zeiss glass has a more natural rendering an nicer bokeh.

 

I don't want to start a Mamiya vs Zeiss debate. I have a Hassy and

will stick to it. I rather would like to hear from people with

experience about the quality of the bokeh within the Zeiss glass

line for the Hassy. Between the 120mm 150mm 180mm 250mm or even the

FE110 with f/2 and it's close focus ability which lens has the

nicest natural rendering of the out of focus areas.

 

I am looking for very shallow DOF and really nice soft creamy bokeh.

Probably will need to shoot with an extension tube or proxar for the

tight ones.

 

One more question while I am at it. Some say for close portraits the

180mm is almost too sharp. What's the solution? I don't like soft

filters. Heavy makeup? Not so sharp lens? Diffusion during

enlargement?

 

Any comments and advise very welcomed from anyone with experience.

How frustrating!

 

I called Denver Pro Photo and they sold all of them just before I called.

 

Thanks Larry anyway.

 

Any other ideas anyone? Still hoping to find a place that has it on stock.

feli, which EFKE do you recommend as a similar film? EFKE 100? Also where can I get it?

 

Hilton when did you get some? I guess it's too bad for me that it's gone by now from B&H.

 

b&h, adorama and silverprint are all out unfortunately.

 

Any other ideas about possible Verichrome Pan film still out there?

Hi everyone,

 

I am desperate to get some Verichrome Pan 120 film since it was one

of my favorite old fashioned film. I know it's been discontinued and

said to be around a while till stocks last.

 

I have checked some places and they were all sold out and not

expecting any more.

 

Does anyone know of a place where they still have it on stock?

 

I know my chances are slim but hey maybe somewhere in the world they

still might have some still hanging around.

 

I would appreciate any help and contact info if possible.

I have been shooting mostly b&w for many years and have no experince

with slide film.

 

I have been asked to do a fashion like shoot for a magazine and have

a couple of questions for people out there that have used Fuji Astia

and Fuji Provia 400F films for similar fashion/Portrature shoots.

With negative film most manufacturer's recommended ISO are off. For

example T-max 100 is more like EI64, T-max 400 is about EI250, Fuji

NPH 400 is around EI250 etc. I know that slide films are more

accurate but how accurate are they? I really don't want to screw up

this shoot just because I didn't have the chance to test these films

and rate it wrong. This brings me to my questions.

 

1) What is the true EI for Fuji Astia and Provia 400F? Can they be

rated at their manufacturer's ISO assuming that my equipment is

accurate. (I have a Seconik 608 and it has performed well so far).

For example I have heard that Velvia is better rated at EI40 instead

of 50. How about Astia and Provia400F?

 

2) It's getting close to winter over here and most likely the weather

will be overcast. Is there a risk with for a bluish tint with these

films under such conditions? If yes what would be the better

solution? Fill flash or warming filter over lens?

 

3) Just in case it's sunny does backlight and fill reflector or flash

work well with these films? How is the latitude? Do I need a lot of

fill?

 

Any other suggestions or comments with these films to watch out for?

 

Thanks a lot

 

z

Roger,

 

When you go into a store to buy a new album what do you buy a CD or a Casette? I bet 95% of the time a CD. Why? Simply because it delivers better quality at not much higher price and more selection.

 

Digital is not delivering higher quality then film yet. But look at what progress it made the last five years. There may come a time (and not so far away) that digital will produce higher quality then film. Just think of what progress the computer industry produced the last ten years.

 

My only concern was that the 200 series and the SWC don't accept the modern digital backs and if the time ever comes (maybe never but I think it will in 5-10 years latest) that digital clearly produces better quality the people (me included) who have invested a lot of $ in their equipment will be in a difficult position.

 

I don't want to go digital. I will be using film until there will be enough selection available. I would just feel more secure if I knew that if the worst happens my equipment (my investment) won't be useless because I can't use it for digital. That's all.

Guys,

 

with all the respect, you may have missed my point.

 

I don't want to go digital ever. I hate it. I love film and the whole process with B&W etc.

 

I am just saying what if I (we all) have to go digital because there won't be enough choices of film left. If there will be any.

 

This is of course a worst case scenario and it may never happen but let's be honest we are moving in that direction. Some great films that we all loved are dicontinued and I expect more to be gone. And let's look at other product examples. Casettes, 8mm film, LP's etc. and so many other stuff. Where are they? Mostly gone.

 

As to the point that film is making money and paying for digital R&D: Yes it's probably true for now. But sooner or later it will turn around as more and more people switch. And I can't blame them. If they prefer to switch they should. I am just worried that so many people will switch (and the newcomers will get into digital and not film) that film won't make enough money any more for companies and they will dump film as soonas it happens.

 

So my question was in case (and let's hope it will never be the case) there won't be any more film out there. Will the 200 series and the SWC be "fucked" because they don't accept modern digital backs? Is it mechanically not possible to make digital backs for these cameras or it simply wasn't a priority yet. (I read somewhere that the shutter is blocking something for the modern digital backs and thus they are not usable with the 200 series but maybe I am not right. And also that the SWC's lack of databus won't allow the use of these backs.)

 

I am really not familier with the technicalities with digital backs and their compatibility problems with these cameras. I was just wondering if these problems are mechanically possible to overcome or not.

 

If it is possible we are saved in the sense that we can go digital even if we don't want to but we are forced to (in case film is gone).

 

But if it's mechanically not possible to attach modern digital backs to these cameras then we are going to be in a bit more difficult situation aren't we in case our fears will become reality.

 

I am just probably a little bit more doubtful about the future of film then most of you. And that's because I don't trust Kodak and the rest a single bit. They don't care about the qualities of film and the people using it. They couldn't care less. They care about one thing. $.

 

Any comments?

I am a 200 series user and I am perfectly happy using film at the

moment. In fact I would like to use film forever.

 

However film manufacturers pull the plug on more and more films and

sooner or later most (if not all) films will be gone. Or some may

stay but at a price we don't want to know. And then the developing

costs will sky rockets etc. I hope film will stay and I hope for long

but things are not looking good. I have the feeling that films will

start to dissapear sooner then a lot of us hope.

 

Now my question: I am not up to date with digital backs since it's

difficult to learn about something you don't want to get into (even

tough you probably should). Anyways as far as I know the 200 series

Hassy's don't accept the better digital backs nor does the SWC. Will

these cameras become useless if film will dissapear? Is it

mechanically not possible to make a digital backs for these cameras

or Hassy is just a little slow and will come out with a digital back

or an adapter that make a digital backs useable?

 

I know film will stay for a while but who knows in 5 or 10 years from

now? Film companies don't give a damn. They'll discontinue film as

soon as it's not making good money for them.

 

Anyone knows more about the digital back possibilities for the 200

series and the SWC then me? Is it possible that Hassy will leave so

many owners out there in the cold?

 

About the H1 thing. It's probably nice and all but what happened to

the square format? Maybe the solution would be a new 200 series body

in between the 203 and the 205 that accepts all digital backs and the

CFE lenses?

 

How about the SWC?

 

Any comments?

Thanks for your comments.

 

Jay: You are right that the market is moving towards digital compatible camera systems but phasing out the V system would not do justice for the many fine photographers that invested so much in HASSELBLAD equipment. Also there are a lot of us out there who will stick to film no matter how much more convienient the digital world is. So I think Hasselblad should focus on the digital future but also should not forget about the people that prefer and always will prefer film. Some of them are some fine photographers that greatly added to their reputation. Half of the line is available in CFE so I really think they should complete the whole line. Of course if someone wants to shoot digital and probably more and more people will then the new H1 is perfect. But leaving the CFE line half hearted would let many of us down. I sure hope HASSELBLAD knows this and acts accordingly even tough clearly the future is moving towards digital. I trust Hassy and hope they will have their other excellent lenses available in CFE version.

 

Laurence: The reason I don't invest in the FE 50 and FE 110 is because I use the leaf shutter a lot with the mirror locked up and I also need the fast sync speed a lot of the times. Of course I could buy the FE lenses (they are nice) and the CFI lenses (they are also very nice) but the solution really would be to have the CFE available that has both features in one. I have another old 6x6 camera with a 55mm lens so i get by with that for the moment but I would really prefer to have a CFE that would do it all for me and I am sure for many of us out there.

 

Anyone else out there wishing for more CFE lenses or with some info on this issue?

Hi everyone,

 

I have the 205fcc and love it. I have the 80 CFE the 120 CFE and the

180 CFE. I like them all however I also need to go wider but not so

wide as the 40 CFE. So I am in trouble and I am sure there are many

of us out there with the same problem. There is no CFE available in

between 40mm and 80mm. I don't want to invest in the CFI versions

because it might get outdated as soon as the CFE version comes out.

But when will it be available. Will it ever be available now that

with the H1 Hasselblad might shift their priorities somewhere else.

(only time will tell how smart this move is). The reason I am

surprised is that these are some of their best lenses (60mm & 100mm)

and there are more and more people using the 200 series. Anyways does

anyone know or heard any rumors about other CFE lenses coming out?

Hope our friend Kornelius Fleischer from zeiss reads this but I would

appretiate anyone's comments on this issue.

I believe he used a blue filter to achive a very characteristic skin tone which worked great. Try it and let's hear what you think.