clive_bubley

I doubt that you, or any picture editor, will

see any difference between them, on a pair

of transparencies under a 10x loupe on a

light box!

If the SWC is clean, the lens unmarked and

the price 'good', then run a film through it

to put your mind at rest.

Then buy it and enjoy using it!

David,

Try giving Maurice Brody at Axco

Instruments a call. His number is 0181

346 8302. Their address is 228 Regents

Park Road, N3 3HP.

Black card masks made by Presentation Mounts of London. They are available in all sizes inc 6x4.5; 6x6; 6x7; 6x8 and 6x9.

Also available in panoramic sizes 6x12 and 6x17.

Tel: 44 (0)181 455 8208; Fax: 44 (0)181 458 7329

e-mail: presmounts@bubley.com

I have to disagree with Gene on his argument. MF stands for Medium Format. Medium Format refers to the film (or glass plate) size. It is this image size which we choose to use in our pursuit, hobby or profession as photographers.

 

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The equipment we use in order to achieve this image should be a side issue. However, many people on this list seem to think that the camera is the all important reason for this list to exist. They just regard the equipment as something to possess and talk about. Never actually use.

 

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And I thought we were a bunch of photographers who liked and used this format to produce our photographs.

 

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How sad.

 

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Clive Bubley

I too use my Arca Swiss monorail almost exclusively for 120 rollfilm these days, using either Graflex 6x8 or 6x9 film holders. I regard it as an extremely versatile MF camera, having all the movements I need to achieve the results that I (and my clients) require.

 

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The mere fact that I am using a front standard designed to accommodate the lenses more usually associated with 5x4 or even 10x8 film backs is totally irrelevant to the issue. I could just as easily use a 6x9 front standard, but this would preclude the use of my lenses of choice, as the 6x9 lens panels are too small - especially for wide angle lenses which need a dished (concave) panel.

 

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With all due respect to Andrew, as moderator of this list, but I doubt that he has ever used such a combination, and is probably unaware of the problems that working photographers (many of whom are members of this list) need to overcome in order to get their MF pictures.

 

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If Gordon, other photographers, and myself use the Arca Swiss monorail as a Medium Format camera, then I think mention of its use in this forum should be deemed acceptable.

 

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Clive Bubley

I've had one for years with absolutely no trouble at all. Its built like a tank!

Does your friend have a Pentax 67: has he even held one?

It seems as though all the people who knock them are those who have never actually used them.

If you've decided to get one after a year of research then go for it!!!

(After all, its you who will be using it - not your friend).

 

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Clive

Rene wrote:

 

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"6X7cm is too big a leap for someone new to medium format, I feel. You may find that 6X4.5cm is all that you'll ever need, without my sounding condescending in any way. But rent the big 6X7's anyway to get a feel for them."

 

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It is condescending, and its clap trap! Most photographers that I know actually started their photographic hobbies and careers with 6x9 box cameras and folders. We later "progressed" to 6x6 and then 35mm cameras.

 

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Now the newer generation of point and shoot photographers (I use the term loosely)- and point and shoot includes Nikon F5s and Canon EOSs these days - think that they will try the "new" MF cameras.

 

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The concept of MF is not new: the cameras have just been brought up to date with new technology. The techniques for using MF though, are the same as they were 30, 50 or 70 years ago.

 

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The size of the negative or transparency does not really matter. What does matter is the operator's knowledge of photography and lighting. If a camera does not have a built in meter these days, many of the so called photographers among us are lost. Totally lost. They haven't a clue what to do. The same with built in or clipped on auto flash guns.

 

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Most of them have never even tried to sit a subject near to a window and used a piece of white card (or even a newspaper) as a fill in reflector. They just point a camera at someone with the inbuilt flash just inches from the lens, and wonder why prints of the subject have "red eye".

 

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Sorry to go whinging on like this. All Himanshu wanted to know was which MF system to build.

 

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Everyone of us on the list who gives "advice" will favour his own, or wish-list camera. It will be subjective and not at all objective!

 

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Basically Himanshu, all three brands that you have mentioned will do each of the jobs well. I personally use a Pentax 6x7 for many of the fields that you mention (plus larger formats - or smaller- where needed). I would think that a 135 macro plus extension tubes, together with a 45 or 55 wide angle would initially handle many of the jobs that you envision. Plus a sturdy tripod!

 

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I would suggest that you try to find a co-operative dealer or professional photographer who will let you handle each of the cameras: a lot depends on which one you actually feel comfortable with.

 

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Good luck, and happy MF shooting.

 

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Clive

For heaven�s sake Justin! Do you actually take pictures with your equipment? Or do you just like to talk about shiny new lenses?

All this rubbish about �greater resolution� and �contrast�: I don�t think you�d recognise greater resolution or contrast if they jumped up and bit you!

 

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You�ll get much better results if you spend a few dollars on a new roll of film... :-)

 

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Get out and take pictures!

 

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(And yes- I do use a Pentax 6x7. It, and its �old� and �new� lenses earn their keep - and I guarantee you couldn�t tell the ages of the lenses by looking at the pictures I produce! And, frankly, my customers couldn�t care less.)

 

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Clive Bubley

You have a Zeiss Ikonta B which was made between 1954-1956. It came with either the Novar in the Prontor shutter or the Opton Tessar in a Synchro-Compur. According to McKeown's it is a fairly uncommon camera, and in good condition could be worth between about $150 - $200!

I used to use a small coin...

 

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Clive

Ray,

 

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Your Kalart was manufactured between 1948 and 1953. I would guess its

value today would be in the region of $150 to $250 depending on its

condition and the accessories with it.

 

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Cliv

Michael,

 

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Many professional photographers, processing labs and picture libraries use our precision die cut black card 'Presentation Mounts' for storing and presentation to clients. Each card folds to a size of 5x4inches and has an aperture just a fraction smaller than the slide's dimensions. They are available for transprencies in all sizes from 35mm to 6x9cm, and there is room on each card for a descriptive caption label.

 

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Transparencies, still in their protective sleeves, are simply cut with a sharp pair of scissors, positioned over the aperture and then held in place with a couple of strips of double sided adhesive tape. (Best done on a light box!).

 

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They are available mail order from: Presentation Mounts, 59 The Vale, Golders Green, London NW11 8SE, United Kingdom. Tel: 44 (0)181 455 8208 Fax: 44 (0)181 458 7329 email: presmounts@bubley.com

Price 13.35 UK Pounds per 100 mounts + 6 UK pounds airmail postage (4/5 days) or 2.75 UK Pounds surface mail (6/8 weeks!).

 

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Clive

I have to disagree with Frank: dupes made correctly by an expert lab will NOT look awful. They are barely indistinguishable from the originals.

 

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Most stock picture libraries automatically dupe their MF trans on 70mm before syndication. Their customers, ad agencies, publishers et al, would not print from these dupes if the quality was poor.

 

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Clive

Most labs dupe 120 transparencies on to 70mm duping film.

I don't know whether this will help you personally if you haven't got a back capable of accepting it though!

 

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Clive

I have been using SWCs for over twenty years, and in all that time have only experienced one problem, an occasion when I had a sticking shutter � and that was probably due to a grain of sand after using the camera on a crowded beach! Other than that, they have been absolutely wonderful. With regard to the 38mm Biogon, I have never used any other MF wide angle lens that is as wide, so superbly corrected for linearity, or as sharp.

 

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It is a small comfortable camera to hold and operate, with an extremely accurate shoe mounted optical viewfinder. On the SWC and SWC/M this also incorporates a built in prism which is positioned over a spirit level mounted on the top of the camera body.

A quick glance to one side of the viewfinder checks that you are holding the camera level. (There is a modified viewfinder supplied with the later cameras which includes its own level indicator.) This is a great help when photographing tall buldings, as you really must keep the camera perfectly vertical to avoid any distortion. If you are really fussy you can stick it on a tripod, remove the back, and slap on an adaptor with a viewfinder screen and focus like a LF studio camera.

 

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The lens has amazing depth of field: in bright sunny weather you can set it at 125th at f11 using 100 ASA/ISO film, and with the focus mark set on about 10 feet, everything will be in focus from about four feet to next week.

 

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Couple the above with the convenience of interchangeable film backs, and you have the ideal MF camera for hand-held wide angle location work. And you know, without worrying, that you'll bring home the goodies.

 

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Someone once remarked whilst watching me use it on a shoot - "That's an interesting looking box camera you got there, son".

 

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I choked silently.

 

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Yes, I thought, a box camera with attitude.

 

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Regards,

 

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Clive

As has been stated the FP setting is for focal plane flash bulbs... but try buying any!

However, be careful to only use the 'X' setting if you are using electronic flash. The best way to avoid an unwelcome mistake is to tape over the FP socket with a piece of black gaffer tape!

Good luck with your purchase - I feel sure you will enjoy using it.

 

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Clive

Henry,

 

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I hand-hold mine when I need to, with no problems. Its heavier than many cameras, but I think that actually helps you to keep it steady.

Just think of those early photographers who used to hand-hold their 8x10 "field " cameras! :-)

 

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Clive

You might like to subscribe to Mitch Leben's listserver on Epson Ink Jet Color printers,

<owner-epson-inkjet-digest@leben.com>(Epson-Inkjet-Digest)

There is bound to be someone there who could answer some of your questions.

 

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Clive

Have you tried the "Autoknips"? It is a fairly robust German clockwork device with a variable time delay that depresses the plunger on a cable release. I think they are still available from many camera stores.

 

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Clive

Presentation Mounts, 59 The Vale, Golders Green, London NW11 8SE, England

Tel: +44 181 455 8208 Fax: +44 181 458 7329

make black card mounts for 645 (and all other MF sizes) with an outer dimension

of 4x5 inches - so plenty of room for captions etc.

 

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If you e-mail me with your address I'll send you a sample. Prices are 13.35 uk pounds

per hundred, plus postage. (100 x 645 mounts/packing weigh app. 750 grams).

 

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Clive Bubley

Simon,

 

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Try Fuji's Astia - it is less contrasty than Velvia or Provia, and is much better at holding detail in the shadow areas.

 

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Clive Bubley

I often carry an old Ensign Autorange 6x9 folder when I travel. It has a coupled rangefinder and an excellent Ross Xpres 3.8 lens in an Epsilon shutter.

As I mentioned in another posting, two other fine old classic RF 6x9 folders which will turn in beautifully sharp transparencies are the Voigtlander Bessa II with either a Color Skopar or Color Heliar lens, and the Super Ikonta type 531/2 with a Tessar lens.

The above 3 cameras are all small and slim when folded, and weigh very little.

 

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They dont have built in meters, but hey! a Weston doesn't take up much space in your bag.

 

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These complement my Pentax 67 and SWCM

for field trips.

 

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Clive

If you just wish to try MF without spending a fortune, why not consider one of the old classic RF folders like the Voigtlander Bessa II with a Color Skopar or Color Heliar lens, or a Super Ikonta with a Tessar. The quality will surprise you - even with these old lenses!

As an added bonus, the cameras weigh very little and are small enough to fit into a large coat pocket.

 

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Clive

Thanks for the info, Joe. Much appreciated.

 

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Clive

I would suggest a call to Hasselblad (UK) Ltd.,York House, Empire Way, Wembley, HA9 0QQ. Tel 0181 903 3435 Fax 0181 902 2565 as a first try.

 

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If they can't fix it, perhaps Maurice Brody at Axco Instruments Ltd, may be able to help. His address is 228 Regents Park Road, London N3 3HP. Tel: 0181 346 8302.

 

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Good luck!

 

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Clive