j michael sullivan

<p>I have owned both cameras, currently very happy with the K-3ii. The two are basically VERY similar cameras with identical IQ. The K3ii "appears" to have a slight edge with ever-so-slightly better AF but that is purely anecdotal (and perhaps entirely in my mind). For still life/studio work the pixel shift is a huge win providing similar IQ as my Nikon D800. As for lenses, I tend to use only long lenses and macro on my Pentax, leaving my wide to normal lenses for my Nikon D800. In particular, I'm enamored of the DA* 60-250mm f/4 -- a stellar lens that has no equivalent. However, there is nothing like those 49mm "Limited" lenses -- they are adorable (Note: they have a unique old-school quality to them and while sharp stopped down, they get "dreamy" when opened up). All in all, one of the best values in todays camera systems.<br>

Michael<br>

<a href="http://www.jmichaelsullivan.com">www.jmichaelsullivan.com</a></p>

<p>and don't forget you will be using the sweeter part of the lens too.</p>

<p>there is also the Summicron 50mm f/2 DR (dual range) lens, somewhat rare and expensive, but lightweight and maintains the "M look" compared to the Visoflex system. It has an accessory viewfinder that mounts to the lens and fits in front of the built-in viewfinder. To mount this accessory viewfinder requires rotating the focus ring to its minimum focus then clicking a button, which then puts the lens in "macro mode" (and also requires the accessory to be mounted in order to continue focus in macro mode). Reverse the procedure to use your 50mm lens for "normal" focus to infinity.</p>

<p> </p>

<p>It still seems to me that Sony had thrown down the gauntlet: a $1300 "mid level" camera that has many of the characteristics and features of "pro level" gear. At some point, "mid level" will adopt pro-level features as the market matures. For their current line-up, the D7000 is clearly not "pro level" (which is perhaps why the complaints against it are not valid) but will have to improve in the next iteration (i.e. D7100) lest it fall by the wayside with regard to its competition.<br>

Must be a tough place to be a small specialty manufacturer going up against mega-corporations like Canon and Sony!</p>

<p>so what is happening then is that the buffer is "filling up" slowly while at the same time it is "emptying out" to the card simultaneously. That makes sense. It also explains the Continuous High behavior I am seeing in that the camera is able to shoot faster than its buffer can accept new images and write them out. Well, I think the complaints are valid for professionals who would not stand for this behavior. It also seems to me that Nikon will have no choice and address this in the replacement for the D300 (especially given the new Sony A77 blistering speed). In fact, it wouldn't surprise me that next year we will see both a D9000 (higher price point than Sony A77) and an updated D7100 (lower price point than Sony A77)</p>

<p>yes I can confirm that at Continuous High you only get about 6 shots in a burst before the buffer slows down. Seems to have a pattern after that of two "fast" shots followed by a lull, then a single shot, then a lull, then two more "fast" shots, etc.<br>

However all that is mitigated by the AF system -- if it starts to hunt, then your burst speed goes to hell, no matter what the settings.</p>

<p>I just purchased a D7000 + Sandisk Extreme Pro 32Gb card. One of the first things I wanted to do was determine how many RAWs I could shoot before the buffer caused a slowdown.<br>

<strong>D7000 Settings:</strong></p>

<ul>

<li>Auto ISO</li>

<li>NR off</li>

<li>12-bit lossless compressed RAW</li>

<li>AF-A</li>

<li>Continuous low</li>

<li>24-120mm f/4 VR</li>

</ul>

<p>Shooting directly at my kitchen cabinet lit by warm fluorescent lighting (auto ISO = 1800, 1/30th f/4) I was able to consistently get 19-20 images before I could hear the frame rate slow down indicating that the buffer had filled. I tried this several times and was consistently rewarded with 19-20 images before slowdown.<br>

However, what I did notice was that if the autofocus system (remember, it was set to AF-A) started hunting for whatever reason (e.g. due to subtle camera movement and/or ambiguous, low-contrast subject matter), the effect on speed was IMMEDIATE and IDENTICAL to the buffer "slowing down" -- even though the buffer was totally empty!<br>

As such, this leads me to believe that some of the complaints of "slow buffer" might in fact be the AF system slowing things down and not necessarily the buffer being slow or even filled up.<br>

I'll be testing more over the next week and if I have any more data points I'll add them to this thread.<br>

But I must say, I am very happy with getting 19-20 images in a row -- that will be sufficient for 99.9% of my shooting.<br>

Michael</p>

The very best digital scan backs can just capture 11 stops of real data. These include the 4x5 BetterLight back using the Super 6-k2 Kodak tri-linear array.<br/>

<br/>

The next tier down are the pro-level, single-shot, digital backs using Bayer arrays. These can typically capture 9-10 stops.<br/>

<br/>

Next in line are the prosumer digital cameras. These can typically capture about 7-8 stops<br/>

<br/>

And finally we have those darling digicams. The higher the resolution (e.g. 7.2 mp) the lower the number of effective stops. So expect 5-6 stops of data out of these babies (i.e. your clouds will invariably be blown out).<br/>

<br/>

Note that as has been mentioned before, that ALL the above devices can deliver 0-255 (or 0-100%) tonality. But only *WITHIN* the max number of stops the chip is capable of.<br/>

<br/>

Note also that adding 16bit RAW doesn't change a thing (at least in regards to dynamic range)<br/>

<br/>

J Michael Sullivan<br/>

Editor/Publisher, MAGNAchrom<br/>

<a href="http://www.magnachrom.com">www.magnachrom.com</a>

The Linhof Standard was an entry-level camera with full shift/rise/tile in a lightweight package. Trouble is it did not "fold up" to a compact size. Also, the bellows is not replaceable as it is glued to the front and back plates. I was seriously considering modifying one to allow a snap-on bellows attachment and the ability to rotate the front and rear standards 90 deg so that it could essentially fold up flat. <br/>

<br/>

But I gave up on that concept once I saw how complicated (and expensive) it would be.<br/>

<br/>

These cameras can be had fairly cheap. I would suggest that you pay no more than $200-$400 depending upon accessories and condition. Also, be sure to keep an eye out on the bellows -- they are *notorious* for light leaks as they were cheap bellows to begin with.<br/>

<br/>

J Michael Sullivan<br/>

Editor/Publisher, MAGNAchrom<br/>

<a href="http://www.magnachrom.com">www.magnachrom.com</a><br/>

I second the suggestion for Portra 160NC -- a fabulous all-around film with tight grain and amazing dynamic range. It is ideal for 16-bit scanning as it is so "flat" (compared to chrome films).<br/>

<br/>

J Michael Sullivan<br/>

Editor/Publisher, MAGNAchrom<br/>

<a href="http://www.magnachrom.com">www.magnachrom.com</a><br/>

also don't forget the DaYi Gaoersi 6x12, 6x17, 1nd 6x24 cameras. You can find more information here:

 

http://www.focus-dayi.com

 

I bought a Gaoersi 4x5 to be used with a Horseman 6x12 back.

I will be doing a review in the near future.

 

J Michael Sullivan

MAGANchrom...

The following table is a good rule of thumb.</br>

 

Keep in mind that certain pictures lend themselves to even greater englargements (think macros of flowers where most of the data is out-of-focus). While other images only look "good" at very high resolutions (and thus smaller print sizes) -- think architecture, interiors, and clothing.

 

<table border="1">

<tr>

<th>megapixels</th>

<th>"normal" resolution for sharp images</th>

<th>"stretched" resolution for soft images</th>

</tr>

<tr>

<td>4 MP</td>

<td>4"x5"</td>

<td>8"x10"</td>

</tr>

<tr>

<td>8 MP</td>

<td>8"x10"</td>

<td>16"x20"</td>

</tr>

<tr>

<td>12 MP</td>

<td>12"x15"</td>

<td>23"x30"</td>

</tr>

<tr>

<td>16 MP</td>

<td>16"x20"</td>

<td>32"x40"</td>

</tr>

</table>

All my Italian images were shot with a 65mm lens. First time I ever used a Mamiya 7 too,

Not a bad choice if you want to keep the weight down!

<BR><BR>

<A href="http://www.haywood-sullivan.com/photography/Gallery2/

index.html">Northern Italy Gallery</A>

<BR><BR>

Cheers,

Michael

How do you get the Mamiya 7 lens to stay open in order to focus?

I've never been able to do this...

 

Michael

I already have a complete Linhof system -- unfortunately, I fond out first hand that it is

too much weight to haul around together with the Betterlight system, together with a

laptop together with my Mamiya system (unless of course, I brought an assistant!).

 

Instead, I'm trying to travel light (as much as I can with the Betterlight). The key to this

would be to utilize my Mamiya lenses (the heaviest thing all told) for both film as well as

digital panoramas. Adding view camera lenses to the mix doesn't solve this.

 

Cheers,

Michael

Well, at least one pair of the electrical contact is surely to inform the internal computer

as to the lens' set f-stop. Perhaps focal length is captured as well. I don't know, nor do I

care for now. It is likely that many of the contacts are simply null.

<BR><BR>

As for the coverage, I don't need a full 4x5 coverage (even though I *DO* need a 4x5

back). All I need it to cover is 6x7 or 6x9 or so. My "real" need is to use the Mamiya lenses

together with a Betterlight digital back together with their PanoWide adapter to do large-

format digital panoramas. I already have used the Betterlight back on my Linhof TK45s and

am quite satisfied with the results. You can see some of my digital work here: <A

href="http://www.haywood-sullivan.com/photography/IR-land/">www.haywood-

sullivan.com/photography/IR-land</A>. I plan to go back to Ireland this summer to finish

up my "IR-land" series. This time focusing on panoramas only. (I'll be bringing my Mamiya

7 body too -- that's why I want to use the Mamiya lenses!)

<BR><BR>

For more information on the digital panoramas capable with this back check out: <A

href="http://www.betterlight.com/panoWideView.asp">www.betterlight.com/

panoWideView.asp</A>.

ok I now have the complete answer:

 

It is a combination of electrical + mechanical

 

There is a "winder" at the bottom of the lens that is triggered when you wind the camera

for advancing the film. Afterward, applying the 6vDC to the pins for whatever duration

causes the shutter to open.

 

Hope this is helpful to someone -- it certainly was for me!

 

Michael

ok, I found out 1/2 of my solution.

 

If you look at the REAR of a Mamiya 7 lens with the pins on the left side of the barrel they

align as diagrammed below. If you apply power as shown, the shutter stays open for as

long as there is power -- exactly like bulb (just what I want). However, after the power is

killed, the internal motor needs to be somehow "reset". Otherwise, it won't open again no

matter what I do. The only way I've been able to reset the lens motor is to attach it to the

Mamiya and fire off a shot. <BR>

<BR>

*<BR>

* -6vDC<BR>

* +6vDC<BR>

*<BR>

*<BR>

*<BR>

*<BR>

*<BR>

<BR>

So my question again is: anyone out there have any ideas?

 

Michael

Dear List,

 

I have a special application that requires marrying a 4x5 back together with my Mamiya 7

lenses. There is very little problem MOUNTING the lenses on a lensboard, the only issue is

how do I get the shutter to stay open on BULB?? (it would appear that it is operated

elecrically suggesting there is a small motor in each lens).

 

Note: I do *NOT* need any shutter speed other than bulb (i.e. I want the lens wide open for

the duration of the exposure)

 

Any suggestions? All told, there are 8 electrical pins for each lens. Presumably they are

6vDC. Is there an electrical diagram for this camera or its lenses available

anywhere?

 

Thanx!

Michael

my Kodak Portra 160NC 6x7 negs scanned at 4000spi on m Polaroid SprintScan are

pretty much indistinguishable from my 4x5 negs/chromes scanned on an Epson 2450

when printed at 12"x18" at 360ppi/1440dpi. (even though in theory, the 4x5s should

have a slight edge) The Epson flatbed scanners are WAAAY soft compared to a

dedicated film scanner such as the Polaroid (I have tested this thoroughly). I attribute

this to the use of plastic lenses in these cheap (but still useful) scanners.

 

The other thing I notice is that even when I get a drum scan on my 4x5s, my Mamiya

7 6x7 images are just as sharp when enlarged to the same dimensions. The Mamiya 7

lenses combined with the new Portra films results in images so sharp I have no

problem printing highly-detailed 36"x45" prints on my Epson 9600 from my medium

format. BTW, my 4x5s are all shot with modern Scheider/Rodenstock lenses on a

Technikardan. It is my humble opinion that most 4x5 lenses are not nearly as sharp

as modern medium format lenses.

 

You might want to wait until Q1 2004 -- Microtek is coming out with a high-end

flatbed (3200f?) for around $1200 or so that will give your 4x5s the "drum scan"

treatment. I saw this machine at PhotoPlus in NYC last month and it is on my list of

purchases for next year.

 

J MIchael Sullivan

BTW. The Linhof kardan Color bellows/lensboard dimensions are 161mm x 161mm

-- what are the dimensions of the Cambo? Are they the same? (I think the recesses

are different though)

Used Linhof Kardan BI bag bellows are hard to find and when they are available, they

are inevitably expensive, bordering on the ridiculous. I've noticed that the Cambo 4x5

lensboards are remarkably close in size and shape to the Linhof Kardan Color -- is

anyone aware of a way to "convert" a Cambo bellows/lensboard to the old-style

Linhof Kardan Color bellows/lensboard size? Should I simply take one apart and glue

it to a pair of old Linhof Kardan Color lensboards? Any other ideas? Or should I simply

pay the required ransom?

 

Thanx

J Michael Sullivan

47 yrs old. Was a studio photographer back in the late 70's and early 80's --

shot everything back then: 8x10, 5x7, 4x5, 120, 35mm. Gave it up to go back

to school and found myself on the "other side" i.e. graphic design/art direction.

Finally broke down and bought myself a Linhof Technikardan outfit in 1996.

Last year bought a Mamiya 7 outfit. Love them both. Lately I've been thinking

about the Cambo wide...

 

J Michael Sullivan