ken_rexach

I fish a lot too and have used many types of rods over the past 20 years and i believe there are graphite rods (or blanks) (even had one with boron) but havent used a carmon fiber rod ever.

 

IMHO places like adorama and b&h dont sell the higher end hakuba cf, CF Mg and alum. prof tripods because it will certainly undercut on $500 Gitzo CF tripod sales, a lot.

 

I use the expensive gitzo CF 1348 tripod every week. yes it was expensive, yes it looks sexy, yes it dampens vibrations and its stiff supportive and light. But i have had 2 leg locks get stuck and fail so its not a perfect tripod by any menas but its excellent. And of course its extremely easy to get rido of on ebay i mean auctions go nutz on Gitzo CF tripods! people end up paying about $30 less than what i paid new for a tripod that someone used a good deal!

I just got one and shot some shows at the New York Fashion week using my fuji S2pro digi slr. It work impresively well in tough conditions (with lights shining infront of it!) Here are some examples: 6megapixel jpg mode (fine) auto wb.

 

http://www.s2pro.com/forums/showthread.php?s=&threadid=1454

It would be cool if photo.net had a UBB Forum instead of email based (which is rather arcaic).

on a side note, I hate it when some folks here talk a lot of smack, rate a lot of photos poorly then you click on their name and either they dont have ANY photos uploaded or they really have some poor pics. (im excluding people who dont have uploads but are really good photographers, since some post links to their websites instead of pics)

I recently repaired a M3 SS camera that I had received from my

family. It had been lying around with a broken shutter for many

years (i recieved the camera broken and with most of the vulcanite

missing). It had a 135mm Hektor on it. Of course, I found out its

really a worthless lens in the used market but recently I have found

it to be an extremely nice lens vastly superior to what the $50-$70

used value would lead one to believe.

I had the camera repaired by sherry krauter at golden touch (total

was about $400, excellent job, i found out about her through a

search in this site)

The camera is lovely, really a camera to take around all the time

and use not to put it away in hopes to sell it later, I really feel

sorry for the people who do the latter.

 

At any rate, I want to buy a 50mm f2 summicron but dont know whats

the best alternative, regarding collapsible or rigid, late or early

models (which serial #'s???) and of course prices. thanks in advance.

Antonio, a few months ago, after 12 years shooting 35mm, I decided to buy a MF camera. I choose the pentax 67. I got @ ebay a mint,didnt have a scratch on it, 1998 pentax 67 with prism, wl finder, a 90mm lens and a close up lens attachment all for $650 shipped. The camera is VERY easy to use. I only consulted a friend of mine that uses one regularly so he could show me how to load it, learned quickly since its easy, and he also told me to be gentle with the winding mecanism. Thats it. No fuzzy procedures or anything. No instructions required either. I inmediately started using it and was amazed with the quality of a larger negative. The images look differet. Specially the shallow DOF posible w/ wide angles (sinc a 55mm lens is considered a WA in 6x7). A month after that I got a 55mm lens for $300 and a 165mm for $250. Both lenses in excellent shape. So far the camera has been extremely reliable and fun to use. You will have to use a tripod more often and its a big camera but its portable.

The Pentax is a great all around camera BUT it doesnt have advanced flash and meter capabilities (sync is @ 1/30 using a pc cord) and doesnt have interchangable backs. So if you dont need those features the camera will serve you well.

Unlike 35mm SLR cameras, MF cameras come in a LOT more configurations and therefore are more soecialized. There is a MF camera for everything so Choosing is a LOT harder. Evene in that context the Pentax is a good alternative if you consider its limitations. But for the price its a great choice. It also sells very well on ebay so if you buy it at a good price chances are that after a few months if you dont like it you could sell it at a price similar to what you paid.

I have produced gorgeous 20"x30" prints from EPSON 3200 scans of Supra 400 35mm negs. The first week I sold 3 prints @ $200 each. SO the scanner paid for itself right away. I have worked with a few 6x7 images and the quality is insane. For personal use and light commercial use (not high volumes) theres no need for more. AFter you make some money and decide you like scanning yourself and want to spend some money get a minolta multi or better yet an Imacon. But its amazing how good the Epson is, at any price.

Yes, for weddings film continues to be the simples solution. You shoot a bunch of 120 rolls, take it to the local pro lab. The next day you have contact sheets. The client selects the pics and the album then you print only the chosen pics. You can have the 120 film scanned right after its developed and before its cut, its cheaper that way, about $6-$7 a roll (20mb files)

Lex brought in some good points.

Digital workflow is time consuming. BUT gets more and more efficient the more you work on it and get some procedures down.

 

1st, you need to get organized and have a system for directory and file naming.

 

2nd choose a image editing and an photo organizing program and stick with it. Latter not required at first, Photoshop is the standard for image processing and has an action to produce contact sheets from digital images very quickly. Clients can choose the pics from those sheets. You can use photo paper and a good printer like an EPSON 1280.

 

regarding equipment:

 

U absolutely ned the fastest PC you can afford (single processor, doubles are good but then things get really expensive) and dont skimp on a graphics card and lots of RAM (I use 1.5 gigs of RAM) it will save you a LOT of time. Also, dont skimp on storage either, ideally a RAID drive array is reccomended for storing large quantities of images reliably but you can get by a few internal hard drives. Just DONT use the same hard drive to store programs and files, keep Windows and other programs on its own hard drive. And back up stuff on CD-R's

 

Cameras and Equip:

Well, that depends on Budget. Minimum would be a Digi SLR based on 35mm cameras like the Fuji S2 pro (I have one and have used it with strobes, works great)and QUantum T2 flashes and battery packs, diffusers and a couple of umbrellas.

 

Printers:

EPSON 1280 or 2200, good for contact sheets and proofs. Final prints can be made by a pro lab from digital files. I have gotten great results with a lab that uses a laser system that prints on photographic paper (silver halide).

I have gotten really good results by mounting Nikon SB28's on lightstands with Photek PHSMA Shoe Mount Umbrella Adapters (screw to the top of the stands) and Umbrellas (Lastolite LAU32S

Umbrella - Silver, 32") I trigger the flash using a PC cord but plan on getting slave triggers in the near future. With ASA 100 film I only get f 4.0-5.6+ depending on where I place the lights. Its a really economical setup ($350+- for each flash setup with stand, umbrella and adapter) I use a sekonic L-308 meter to measure exposure.

 

I just saw online these battery operated monolights from adorama, JTL Mobilight 300 AC & Battery Operated Monolight Strobe With Battery Pack. Interesting and economical (300 watt/sec and less than $350 with battery pack)might be worth a look. Also I have seen a lot of pros use Quantum T2's on location.

 

Next up would be Dyna-Lites jackrabbit setup ($1200+) and Elinchrons Ranger monolights/battery packs (over $2,000), Hensel also has some AC/DC strobes.

 

I am asuming you want a portable setup that doesnt depend on power.

 

If you dont mind being dependent on ac power there are dozens of monolights available. Cheapest would be the white lighting monolights but every brand has several models. I would go with at least a 200-300 w/s sec unit.

 

Another setup, that requires more parts but its modular so you can replace, add and remove stuff as needed, is the AC power pack and strobe head setup. Again there are many models in each brand. Most studios use these and regularly have a 4 light portrait setup with 2 main lights (with umbrellas and or softboxes), 1 hair light and a small background light.

 

I have used hotlights and I DONT reccomend them for still photography. I have 2 tota lights and they work great for my digital video camera. I have used them for still photography but only to light interiors for certain shots but not as main lights. I have seen pro photgraphers use HMI (VERY expensive daylight balanced hot lights lights and electronic balasts) in some locations with awesome results but they are for very very high budgets and require a crew (lots of big stands, screens, flags, etc)

Na, both times I have gone has been during the summer. So no cold fronts, the sea was flat. I used the Gitzo 1228 mainly for some interior shots in central havana and in the national cementery in vedado. check my cuba pics in my gallery for some examples.

I have personally used the Gitzo 1228 with a small ballhead to support a Pentax 67 while i was in Cuba. It worked perfectly. The first time I saw the tripod I though it looked too flimsy but the more I used it the more I trusted it. Its also VERY lightweight which was a +++ when walking the streets of havana in hot weather.

If you can just afford ONE lens right now get the 80mm. Its by far a lot more versatile than a 150mm+ lens on a Hassy. Are you considering buying a mamiya RB/RZ 67 also? thats a monster of a camera. There is one in the studio i do some work for and the thing is permanently attached to a tripod.I wouldnt consider it using it handheld ever and wouldnt want lugging it around outside the studio either. Its a LOT bigger and clunkier than a hassy and even my P67 is a LOT handier.

I have used the 90mm lens in my 6x7 pentax. It focuses pretty close for some tight shots but the reduced subject to camera distance doesnt flatter a lot of subjects. I prefer the 165mm for most portrait work unless I want to include some context or change perspective, the I use the 90.

Hi shawn, I do work (fine art, + some public relations and commercial shootings) for a pro photographer that shoots mainly weddings. Not my cup of tea but he has been doing that for 20 years. He uses Bronica ETR cameras (645 format) with prims and speed grips and 3 lenses (mainly a 50mm,75mm and a 150mm. For some shots he uses a soft filter.

 

In the field he uses a sunpak 544 handle mount flash in auto mode and some white lighting monolights. For the studio he has a speedotron brownline powerpack with 4 heads, one mounted on a boom overhead that serves as the hair light, another one on a small stand that lights the backdrop and two bigger heads on stands with umbrellas.

 

He told me he always has a backup body, about 3 or 4 inserts, an additional back and handle mount flash just in case.

 

Most wedding deals include some pre wedding shots of the bride and groom in the studio + some during the wedding day in the hous of the bride (bride with family) and of course the ones in the ceremony and reception. The final prints are almost always no bigger than 8x10 and total about 10-20 prints presented in a fancy album.

 

I believe that weddings can be shot using high quality digital cameras. I see no need for film special in the studio where the light is very controlled. I was discussing it with him the other day and he agreed. I even did some tests using a 2 mp Kodak DCS 520 (1998 camera based on a Canon EOS 1, ancient by todays standars) and the results were very good.

 

With a Canon 1Ds I believe exceptional results are possible and allows one to take a lot more shots (which increses the ammount of good shots) and be a LOT faster. Many customers dont like the delay of taking formal shots and inevitably working with film slows things down.

What do you want the camera for? The advantage that the Contax, Mamiya and Hassy 645's have over the Pentax is that they have removable backs and viewfinders (the Mamiyas viewfinder isnt removable) and accept several digital backs. I have personally seen the Contax and the quality is superb. If you dont need the interchangable back and viewfinder capability get the Pentax 645, its by FAR the best value.

I have hauled my Pentax 67 all over the world. Its really the simplest MF camera out there. No darkslides to loose, no inserts, no accesory grips required for comfort, just a no no-nonsense 35mm like body. Most 645's are nice and can be taken out and about but they are really a smaller version of your RB, with the same ammount of parts. I have used a Contax 645af and its an amazing camera (i imagine the pentax 645n and mamiya 645af are similar) but its hella expensive. ANd of course, the Pentax 67 will give you the same negative size and quality as your mamiya rb67.

My travel kit for Urban destinations includes the following inside a mini trekker:

 

Pentax 67 body w/ WL and prism finders, 90mm and 55mm SMC lenses, a Nikon FM2n body w/ a 20mm f2.8 and a 50mm f1.8 , I can carry that all day in hot weather. If needed i take a gitzo 1228 w/. a small ball head.

I purchased the Epson 3200 scanner a few weeks ago. My experience is that I waited too long to get it! I have used it for 35mm and MF (Pentax 6x7) color neg/slides. The results are outstanding. The prints have much better color gradations and overall quality than a "real"4x6"print from the local pro lab! (I used an Epson Photo 1280 printer and epson photo paper) Its insane. I have even made 20"x30" enlargements from 35mm Kodak supra 400 color negs.! again, great results. Certainly the same quality or better than "real" photo prints from pro labs. The only thing that digital doesnt do better than "silver halide optical printing is in B&W. Nothing to do with the scanning though.

 

The Epson 3200 has even made me money! yes, since I have gotten it I have digitized and printed images that were confined to my archives and sold them. Its incredible how some image manipulation can turn a neg or slide into a GREAT print even though the photo looks ok in the 4x6 you got from the lab. I had amassed hundreds of pics, Since I dont know how to or can afford to produce prints myself (optically and chemically) from color negs or slides. Also, individual slide scanning at photo labs is expensive and time consuming and certainly not as good as doing it yourself, tweaking until one gets the desired results.

Its insane, a LOT of people cant really afford a MF dedicated scanner. BUT, if you Think you want one and need it. Get the Epson, then after a while if you still feel the need for a dedicated unit get it, if you cant afford it you wont get it anyway (and waste a LOT of pictures that have potential!) but even if you can, the quality of the Epson will make de desition a tough one.

 

Oh, those looking for examples, here is a shot taken with a Pentax 67, 55mmf4 lens (on a Gitzo 1228 tripod with a small bogen ball head) using Portra 400NC film. The first picture was digitized by scanning the 4.5"x6" print from the local pro lab. The second picture was made by scanning the same Neg using the Epson 3200 and silverfast software (at 3200 dpi)

1st: http://www.photo.net/photo/1492151

 

2nd: http://www.photo.net/photo/1542304

 

 

this third pic is a low res (1000dpi) scan (epson 3200, silverfast) of a kodak 100s slide (Nikon FM2n and 50mm f1.8 AI)

 

http://www.photo.net/photo/1541719

I just got the Epson 3200 scanner and the results are impressive with 35mm and medium format. I have just one MF example, the first pic was made by scanning a 4.75"x6"print i had made, http://www.photo.net/photo/1492151 , the second pic was made by scanning the 6x7 neg using the epson 3200 /silverfast software, http://www.photo.net/photo/1542304

I just got an EPSON 3200. I just made 28x18" enlargements from 35mm negs (Kodak Supra 400 color neg film, pics were taken using a Nikon FM2 camera with a 50mm f1.8 nikon AI lens for some shots and a 20mm AF-D nikon for others). The results were impresive. I also got PLENTY of shadow detail. its an awesome scanner. I was very careful to keep the glass clean and dust free.

I have a similar dilema. I need to scan dozens of images in both 35mm and MF. Some are for web use, others for prints up to 11x14 (digital on my Epson photo 1280 printer) and some for 22x28" (digi R prints at a service bureau). I cant afford a $500-$5000 scanner or $35+ e/a for a decent scan (since i will scan about 100 or more) so I got the best I could afford. An Epson 3200 flatbed. It should be in next week so lets see how it goes. I have TONS of great pics in 35mm slides, negs just waiting to be scanned and printed properly.

I have a similar dilema. I need to scan dozens of images in both 35mm and MF. Some are for web use, others for prints up to 11x14 (digital on my Epson photo 1280 printer) and some for 22x28" (digi R prints at a service bureau). I cant afford a $500-$5000 scanner or $35+ e/a for a decent scan (since i will scan about 100 or more) so I got the best I could afford. An Epson 3200 flatbed. It should be in next week so lets see how it goes. I have TONS of great pics in 35mm slides, negs just waiting to be scanned and printed properly.

Kodak Supra 400 color neg film. I recently shot about 15 rolls of it on my trip to cuba. Awesome film. (I also took some Portra 400 NC with my P67)

I just ordered the Epson 3200, should be in either friday or monday. I have plenty of 6x7 and 35mm negs and slides waiting to be scanned so I will post results asap.

When I stayed in Paris for a month there was a really good professional place behind the montparnasse cementery. Close to rue froidevaux, Metro Denfert-Rocherau.