r_scott_steube

I own 37mm, 50mm non-UDL, 65mm L-A and have rented the 50mm UDL. The 50mm UDL is a vast improvement over the older 50mm non-UDL. The 65mm L-A has a floating element system which requires a two step focusing technique, but the results are outstanding. In any case the 50mm lenses are true extra-wide angle and depending on subject or composition style 50mm is less versitle than the 65mm, but when you need a 50mm, you NEED a 50mm. I shoot mostly outdoors on a tripod and the f/4 of the 65mm vs the f/4.5 of the 50mm sometimes does make a difference. Also, using a bubble level with either lens is helpful to avoid unintended distortions. Hope this helps.

I have both bought from, and sold to KEH; outstanding retailer to do business with..! Their BGN/EX/EX+ etc. rating system are fair and often conservative (favoring the buyer). That said, the lower grades may exhibit more subjectivity or variability. Chances are that KEHs EX rated gear, especially lenses, are prettier and cleaner than those of most working pro-photographers out there. Pros those are quite happy with their gear. EX+ lenses often look new except for friction/mounting surfacesﾅ

 

As for Mamiya's C vs. KL series, the safe answer is to go with KL; even at a 20-100% premium for RB lenses. Just do a photo.net search specifically for C vs KL for further advice.

 

Good Luck!

Jeff, Jeff� Jeff Didn�t anyone tell you that 98.5% of all active camera �collectors� do so before (or between) marriages.?!

 

Anyways, if you already feel satisfied with the C220 shooting style/rhythm, and that temptation vs marital bliss is a primary point; then by all mean stick with the C system and over time acquire a collection of C lenses. I own a C330, plus 55mm, 65mm, 80mm, 135mm lenses, and for all this I have spent less than $1,000 over 2-3 years. I�m very happy with this setup�

 

However, I also shoot with Mamiya�s RZ system (generation after RB), and truth be told, I shoot 20-30 rolls of film in a RZ for every 1 roll in my C330..! My RZ is almost always atop a tripod; it can be handheld OK with say a 110mm lens or shorter, but handheld is the exception, tripod is the rule. So with longer RZ (RB) lenses, say a 500mm APO; well just the tripod/gimbel-head/arca-clamp rig needed to support that camera/lens behemoth costs more than my entire C330 �collection��

 

So while the RB gear may be had for just pennies on the dollar, a �collection� will still run you $5,000 to $25,000; no joke� If you are a Pro-Photographer the RB system is the steal of the 21st century, but if you a married non-Pro "collector", proceed at your own peril..!

I�ll second Fork�s positive comment on the 90mm lens. As it turns out, the wider field of view and greater depth of focus is more conducive to most of my compositions; at the same time blurring out the background when desired. The largest prints I have ever made are in the 48x56 inch neighborhood; negatives scanned using Nikon 9000 w/SilverFast driver, PhotoShop post-processing, some grain correction and some selective sharpening. At ridiculously close inspection distance of a few inches, there are very few visible *flaws* that I can find on a 48x56 enlargement. Sure if you go after it with an 8x loupe there�ll be artifacts, but truly, these prints are on par with 13x19 prints I�ve made from Canon 1D MkII RAW files.

 

I can�t quite visualize your 6 � 30 meter long prints, but between a realistic viewing distances and perhaps limitations of the print texture/coating of your *paper* medium, the surface you are printing on might actually be the weak-link, not the Mamiya lens.

 

Anyways, I hope this helps..!

Jim Zuckerman at http://corporatefineart.com/-/corporatefineart/ is a Mamiya RZ 67 Master...

I�ll second Paul�s comments on the Mamiya C330; an excellent waist level finder 6x6 system! The C330 body is heaviest/biggest ever made. Not a problem for me (I am a big boy), but for anyone used to Rollei TLRs, the C330 probably feels like a boat-anchor. I shoot about 50/50, handheld/tripod, but I get a lot more keeper�s shots with the C330 on a tripod! I use mostly the 65mm/80mm/135mm lenses. All offer very good resolution/contrast (watchout for flare conditions), with the 65mm and 80mm more conducive for handholding; the 135mm really demands a tripod unless there�s a lot of light.

 

Watch eBay for an aftermarket focusing screen such as Intenscreen or Brightscreen. REALLY helpful on the C330. I�d definitely buy a Brightscreen before spending the money on a second or third lens!

 

I scan all my 6x6 negatives/slides using a Nikon CoolScan 9000 (pricy), but Epson�s very latest flatbed scanners ought to be worth consideration. I print 13x19 inch all the time and sometimes 20x30 inches (obviously I am cropping the square format).

 

That said, if you ever have an excuse give a slide presentation to a roomful of friends, a 6x6 slide presentation using an old-school projector totally knocks-the-socks-off any 35mm slide, and even more so with a digital projection. I am not joking; the 6x6 projection is awesome!

The best solution is shoot with a Mamiya RZ67 with rotating film back, but I am guessing that you are using a Pentax :-(

 

If so, check into Custom Bracket MF Rotating Camera/Flash Bracket System for 6x4.5 and 6x7 Cameras. Click: http://www.adorama.com/CBQRS.html?searchinfo=rotating&item_no=15 . You will also want a leveling base between your tripod and the Rotating Bracket. Total price starts adding up fast, perhaps $350 before you are done, but the result ought to be a fast/accurate/rock solid system to switch between landscape and portriat. Good Luck...

I am afraid I don't own 210mm APO either, but I am also looking for a good deal on one; yet I will attest that the Mamiya 350mm APO is increadible!!! I paid about $1350 two years ago for a Mint- 350mm APO, and truly, if I had it to do it over again I would spend $3000. Yes, it is THAT GOOD. I also own 360mm non/APO and it is not even close; my APO is awesome. 210mm APOs are much less common on the used market, perhaps that might warrent paying more because of rareity, I do not know. There is always hard choices on that next big ticket item, but if I ran across a 210mm APO in EX+, per KEHs scale, I would consider $1200 - $1500 a well spent tax refund. Good Luck!

Many fine suggestions so far and I will strongly second Len Haniels nomination for Bogen/Manfrotto 695 Magfiber Carbon Fiber 5-Section Monopod, espcially if lightweight/compact trumps ALL OTHER concerns.

 

But just in case you also value great stability in addition, let me suggest Bogen/Manfrotto 682B Professional Monopod with 3229 Swivel/Tilt Head w/Detachable Legs also at BandH. The 682B weights 1.7 lbs more and 12 inches longer, HOWEVER its extra stability is amazing.

 

Here's why. For maximum monopod stability the leg should be at angle, NOT plumb/vertical. Think as your own two legs shoulder width apart and the angled monopod leg forming the third leg of a tripod. The Swivel/Tilt Head adjustment make this angled monopod leg possible. This is especially helpful if you are fighting gusty winds etc. This is more common than you might automatically be aware of; pretend you are shooting a Greek seaside village from the cliffs. I shoot with M7 with 43/50/65/80mm lenses, a very lightweight system. I don't need a monopod to hold it up or fight fatigue. Barring an earthquake, rocking boat or a killer hangover I can usually handhold to 1/60th no problem unless it is gusty... With the Bogen/Manfrotto 682B 1/60th is NUKE PROOF and I'd hazard to say down to 1/15th is practical, with practice... Good Luck!

Hello Sjoerd,

 

I use both Leica M6 with various lenses (circa 59-94) and Mamiya 7II with 43/50/65/80mm lenses. They are both a joy to use, but each having a different feel and rhythm. While the 6x7cm format only yields 10 exposures per roll, I can rarely shoot more than 8 or 10 rolls in a busy day. Much much less than I would shoot with my Leica under the same circumstances or subject matter. Mamiya�s slow me down; and that can be a good thing..!

 

7IIs lenses contrasty..? Perhaps, but lighting conditions and subject attributes seem to matter more than Leica or Mamiya glass, for the same film type. But for me this is moot due to invariably I scan all film or slides, subsequent post processing in Photoshop. Scanning 6x7 film yields fantastic images to manipulate and print (24x28 inches or larger)! I do love my Leicas (M3 and M6), but most of my prints hanging on someone�s wall, especially color photographs, are now captured by my 7II when I am shooting film.

 

I am not completely sure what you mean by docu-portret, but when I shoot environmental portraits the 7II is a winner. By this I mean cultural or visually complicated compositions where the human subject is only one aspect of the overall image effect. For classic street photography the Leica is still compelling due to its unobtrusive presence, but the 7II is rather quiet or stealthy too. Shooting something such as a fishmonger or a vegetable vender in an open market would be a natural subject for the 7II. Two cautions though about the 7II lenses: First, Leica close focuses A LOT closer than Mamiya lenses, especially the 7IIs 80mm and above; Second, the 7IIs 150mm lens, while arguable the sharpest MF lens ever made, is also rather difficult to focus accurately (you can Google this issue for more info).

 

Like most folks today, I shoot digital (Canons) far more than anything else. Often returning home with 300-400 image files by the end of a busy day. But if I know ahead of time that I want to capture a subject or event, to be printed 24x28 inches or larger, AND I am confident that I can capture that vision with less than 50 (or tops 100) exposures, then my 7II has never let me down.

 

Hope this Helps� And Good Luck..!

 

R S Steube

I often shoot 6x7cm using Mamiya�s RZ67 Pro or 7II and also 6x9cm using the older Mamiya Press series camera. Digital stitching these medium format exposures into one massive image is straightforward with the usual caveats:

 

1) Extremely accurate leveling of the lens� plane of sweep will save you a ton post processing work. So will investing in a panorama indexing tripod head accessory that allows you to increment, in exact degrees, the amount of sweep for each exposure.

 

2) Changing light conditions or motion/moving subject(s) between individual exposures can either make post-processing difficult or ultimately an unacceptable final image.

 

3) When shooting film, my Nikon CoolScan 9000 is maxed-out at 6x9cm, but perhaps there are now other quality options for home scanning. I haven�t kept track of what else is out there, but perhaps you might want to investigate the very latest Epson flatbed scanners with transmission light capability.

 

4) Sorry but Medium Format digital backs are also beyond my experience (or budget)!!!

 

5) HOWEVER, the biggest issue is snowballing digital file size when stitching MF exposures; I�ve been running into files as large as 1.5 GB; both my hardware and software really start choking to death above 350-500 MB file sizes. I�m using Windows XP, 2 GB DRAM, two (2) 250 GB Firewire 400 external drives and Photoshop CS. I�m hoping, even praying, that Apple and Adobe will radically up the new specification their products as they adopt Intel CPUs in the near future. My best guess is that if Adobe�s next release of Photoshop could address 8+ GB of DRAM and if Apple�s pending desktops will accommodate 12-16 GB of DRAM; all will be Milk & Honey! We shall see�

If you consider that the proper viewing distance increases as enlargement dimensions does, Iﾒd say thereﾒs no perception of quality problems at 30x35 inch. Sure if you scrutinized this size under a 4X loupe you might tell youﾒre pushing the limits, but not as a print hanging on the wall. These comments are for old school, wet darkroom prints made from print film such as Kodakﾒs Portra 140NC.

 

However, when you take the same Portra 140NC and scan on a Nikon 9000 (or better such as drum) device, then tweak in PhotoShop using plug-ins for grain smoothing, noise reduction, saturation/contrast adjustments and then stair/fractal interpolation; Iﾒve had 48x56inch prints made that just totally knock-your-socks-off..! At any viewing distance!

 

Mamiya's RZ or 7II; you just gotta LUV them!

Hello Again and here are some follow-up ideas�

 

Even though I shoot with Canon�s instead of Weatherby�s I figured I check Cabelas.com and found:

http://cabelas.com/cabelas/en/templates/product/standard-item.jsp?id=0034792227686a&navCount=7&podId=0034792&parentId=cat20799&navAction=jump&cmCat=search&catalogCode=XF&rid=&parentType=index&indexId=cat20799&hasJS=true

and

http://cabelas.com/cabelas/en/templates/product/standard-item.jsp?id=0005569210423a&navCount=7&podId=0005569&parentId=cat20799&navAction=jump&cmCat=search&catalogCode=IG&rid=&parentType=index&indexId=cat20799

 

These items address two opposite techniques, but perhaps effective approaches to inhibit fungus growth: 1) Desiccant in an air-exchange resistant box/case or 2) Heating unit in a free flowing air-exchange box/cabinet. The former is easier on-the-road and no electric power needed (except for re-charging desiccant unit). The latter perhaps more leave-it and forget-it solution at home.

 

I did some asking around with bio-medical and research labs colleagues where cost is no object, e.g. $20,000 Dry Cabinets, and their consensus is that 40%-50% RH range is the goal. Cheap humidity gauges that you can buy at Wal-Mart etc. are notoriously inaccurate, but they will correctly tell you the trend over time in RH. The interior is getting dryer or damper�

 

Staying away from camera bags etc, than retain moisture, i.e. leather or cotton is a big deal.

When I travel to humid climes, sometimes I can have A LOT of gear; so far pelican cases and 10-20 pelican desiccant units have kept me out of trouble. But whenever there is the opportunity to dry out everything out in an air conditioned room, time must be made.

Try this link for a handfull of ideas/info: http://www.chem.helsinki.fi/~toomas/photo/fungus/. UV light will work at inhibiting fungus only if powerful/consentrated enough. I've often shot in extended damp but cold climates and have had condensation problems but no fungus. So if failing to keep your lenses dry, at least try to keep them cold. Good Luck!

Sandy Try reading the The Rangefinder and 150mm Lens section of webarticle http://www.luminous-landscape.com/reviews/cameras/m7_hands-on.htm . I don't own the 150mm lens, but it does have both the reputation as being the sharpest MF lens ever tested by Photodo, but truly a pain to dail into focus on the Mamiya 7II. Whose said photography ought to be easy? I'm sure other folks with hands on experience will have more direct and detailed tips. Good Luck!

Yes, I've sometimes used my RZ67 for street, but mostly I use a Mamiya 7II range finder for that sort of film/MF stuff. But I have gotten some stunning street images with that RZ that would be difficult with the 7II. The RZ focuses so much closer of course and the 110mm f/2.8 is a lot faster for availible light. Mamiya makes a Mamiya L-Grip Holder RZ for the RZ67, retails about $225 which is crazy. If you are patient man, set up an eBay search for that grip and in one or six months you'll likely be able to score one for under $50. Maybe it is my eyes but in overhead bright light conditions I sometimes get frustrated with glare on the WLF. I use an AE Prisim Finder almost all the time, but not for any street shoting, strictly tripod work. Camera shake or mirror slap really seems to be a problem below 1/125 or 1/60 second when handheld, at least for me. A bigger problem than with 35mm or 7II, but you can tradeoff for a faster ISO film. If you plan on scanning your 6x7cm later, the newest Portras (Fuji too) are designed to scan better than was posible just a year ago. Good Luck and Good Hunting..!

I've used my 7II for three years and several 100s of rolls later it would still rate an honest 8+/9. Some very minor scruffs; never broke anything. But I AM rather selective about 7IIs shooting environments; usually street photography or when I want a really light weight travel/landscape shooter (I use Canon 1-series cameras when I need to beat off Rhinos or shoot during Monsoons). That said, my 7II always lives in a Lowepro Stealth Reporter D200 AW; an awesome shoulderbag for body and 43/50/65/80 lenses. I often wear a loose waist belt in addtion to the shoulder strap which reduces bouncing and really deters thiefs from trying to snatch my gear.

I'll second Bueh's follow up remarks and I'd only wish to reinforce a couple of points. Alex, you had mentioned in your original query that already shoot with a Canon EOS 1Ds; an amazing machine in it own right. For some background on how the 1Ds compares to 645AFD with a digital back, checkout LuminousLandscapes review of an older Kodak digital back and Canon 1Ds. See http://www.luminous-landscape.com/reviews/cameras/kodak-dcs.shtml. Kodak's DCS Pro Back has been eclipsed by newer digital backs by Phase One or Leaf. Leaf often announces a product well before its actually ready for distribution, but their new Aptus 75 should be featured in various Leaf events or workshops. See: http://www.leafamerica.com/

 

My scanned film images off my 645 ProTL are clearly superior to RAW images off my Canon 1DMkII with it's 8.2MP sensor, BUT only if I'm printing beyond 16"x20" (or if I need to crop more than normal). Your 1Ds with its 11MP sensor will almost certainly holdup well to any scanned 645 film image, if not even better. But scanned 6x7cm film image will trounce anything your 1Ds can produce.

 

Both 645AFD and RZ67 have many good (and ever improving) digital back options, but issues a chromatic abberation due to the CCD/CMOS microlenses, will always favor the RZ67s greater image circle and lens sweetspot. Bottom line: scanning 6x7cm film will best your 1Ds images, future digital backs will always perform better on a RZ67 than a 645AFD, BUT this only matters if you require truly large files/prints and you can adjust to RZ67 slower shooting style. The 645AFD will overlap the 1Ds in both handling and image quality. The RZ67 will push your equipment capabilities well beyond your 1Ds so long as you actually need that greater capacity.

Hey Alex

 

First let me say that when I do use my RZ67 system I have never, ever regretted it!!! Like most folks today, the shear bulk of my images are digital (Canon), but I still shoot a significant percentage with film, using RZ67, 645 ProTL, Nikon F3 and Leicas. And I must say upfront that 99% of what I shoot is field or location work.

 

That said, my best prints are almost always thanks to my RZ67. Here several points:

 

1. RZ67 slows you down, way down, but usually for the better. I weigh over 250lbs., so hauling/handling RZ67 with a bigger lens atop a sturdy tripod isn�t itself hard, but there�s something about the RZ67 that compels me to be more methodical� I�m always double checking the settings, the clamp knobs, the composition, patiently waiting for that �best light� instead of just bracketing zillions of exposures. Plus I�m always protective of moisture, sand, snow or whatever. Shooting 10�20 rolls of 120 film is really a full day of hard work, in a kinda good way (we all know how many shots we might take with a D-SLR and a couple of 2 GB cards).

 

2. RZ67 lenses, accessories and stuff can be a true bargain if you�re patient and a shrewd shopper. On eBay, over period of 4years, I�ve purchased over half my RZ67 gear for about 20-40 cents-on-the-dollar. Yes, one or three �disappointments�, but the total value can not be denied!!!

 

3. Scanning 6x7cm film, especially using the newer �made for scanning� types such as latest generation of Kodak�s Portra 160NC yields �knock-your-socks-off� images. I use a Nikon CoolScan 9000 and SilverFast drivers; all I can say is WOW. But that brings up the real problem or bottleneck; file size. When I shot RAW digital then start working, working layer upon layers of that file in Photoshop (60MB or 80MB) my Dell with 2GB of DRAM really starts to labor� When I work scanned 6x7cm films, the file size can easily bloat over 200MB and I darn near have to do the �Heimlich maneuver� so I don�t �kill� my PC. Today�s desktops/workstations and application are not yet optimal for such huge files, but perhaps that day is not too far off. When the pending Apple/Intel pro-desktops are finally available and when Adobe Photoshop can truly use 8+GB of DRAM, all will be milk and honey again.

 

4. And I�m of the opinion that for the very patient, digital backs such as the bleeding edge Leaf Aptus 75 will be �affordable� in 5 or 10 years. When that day happens, my RZ67 will be ready.

 

5. Finally, if you need to present a slide-show of your work or travels; 6x7cm slides totally blow 35mm or LCD/DLP projectors to smithereens. I attend seminars by pros such as the likes of Steve McCurry or Bruce Dale, their skills and stories are inspirational, their images are iconic, but the quality of the projection of these world class images SUCK. Once you�ve tried projecting a 6x7cm slide, you�ll never be satisfied with anything else!

 

Like I said, I do almost exclusively field work so I relate to those who do too, and for the ZR67 the exemplar for me is Jim Zuckerman. See: http://corporatefineart.com/-/corporatefineart/default.asp

 

Anyways, so much for my ramblings� I hope this is of some help!

Keep that wonderful Mamiya 7 for travel and street photography, but pets it's a poor match, especially the 150mm lens which is optically fantastic but has issues with accurate focusing and dof...

 

If you dedicated to film and 6x6+ format, then try to arrange to borrow or rent a TLR, see http://www.photo.net/equipment/rollei/tlr . Experiment (a lot) before you buy, but used cameras are affordable, optics great and very quiet. HOWEVER, it takes skill to follow a moving subject in the viewfinder. I never tried it on agitated (freaked-out) cat..!

 

Good Luck!

Searching photo.net forums I found one thread, circa 2000, that it�s

not uncommon for many Mamiya lenses, both RF7 and RZ67 series to

make a rattle noise. Something about a ball bearing�

 

However, my RZ67 250mm APO rattles much more (almost a ca�clunk)

when compared to any other of a dozen Mamiya lenses in my stable.

Images are fine, no history of lens trauma, but given the value of

the lens I�m feeling a little paranoid and I live 500+ miles away

from any �walk-in� service center. Any folks out there with

recent �sound experience� on this topic..?

Have other Folks out there been having outrageous trouble with the

submission and receipt of their Canon Rebates..? I�ve sent

originals forms/UPCs via USPS Priority Mail w/delivery confirmation,

and then had to re-submit them. I�ve sent several emails, and

receive replies addressed to persons whose names are not mine. I�ve

been told that I�ve already sent in UPC for a canon product, that

I�ve never owned. I�ve been told that my rebates checks will arrive

in 7-10 business days, over a month ago. Canon owes me over $500 in

rebates and so far not one check� Someone please tell me that I not

alone and am cursed..! Someone please tell me how they overcome

this dilemma!

Thanks Folks for your comments so far!

Here's a little more background...

This 10D I purchased (B&H) in early June 2003, so perhaps it's one of Canon's first shipments of this model.

The light-arc occurs regardless of the mounted lens, so far this includes: 70-200mm f2.8L IS, 300mm f2.8L IS, 28-135mm IS and 85mm f1.8 lenses. I always use factory hoods, but usually no filter, unless specific need or effect, but this light-arc still there regardless, even with a polarizer on the lens.

The light-arc is always in the exact same centered location in the image frame.

The light-arc is less apparent when image is overexposed, but it is still there.

As I mentioned earlier, stereomicroscope examination showed no dirt, hair or anything physically "funky" with the sensor.

This 10D camera has never pointed at the sun (or other dumb tricks). All-in-all I'm very very careful with my gear...

Please keep the ideas coming..!

This light-arc artifact or fault abruptly appeared in all my 10D

images beginning last weekend. See below (full frame):

 

At first I thought it would be a lens problem, but this light-arc

fault persists, regardless which Canon EF lens is attached.

Camera/ambient temperatures are not a factor.

I�ve examined the 10D sensor via Zeiss stereomicroscope and saw

nothing suspicious.

 

I�ve searched Photo.net and the web, but can�t find anything out

there describing this particular problem.

Has anyone seen this problem with the 10D or offer any advise..?

The 10D is still under warranty, but I�d be very grateful for any

info before I go down that �Customer Service� road.

 

Many Thanks in advance!

Scott<div></div>

I often use a Kirk BH-3 atop of a Gitzo G1227, and I find that the RZII with up to a 180mm lens to usually be just fine, being careful... Sometimes I keep the Kirk ASC-3 snap collar in place if I need +/- only a few degrees tilt, as a safety. If/when you find yourself shooting with an APO lens, then plan on something like a Wimberley Head and a nuke-proof tripod.