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fred_leif3

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Posts posted by fred_leif3

    Hasselblad 500C/M films blank..

    in Medium Format

    Posted

    Mike

     

    If you use the M setting, the flash will fire, just that it won't go off when the shutter is open -- it is designed for synching with flash bulbs that took a certain amount of time for the 'flash' to peak. That means no exposure except if you had a diaphragm/shutter speed setting that was allowing for some ambient light exposure.

     

    For electronic flash you must use the X setting so that the flash will fire when the diaphragm is open.

    Tungsten Lighting

    in Large Format

    Posted

    I'm not sure what your question is.

     

    If you google photography, lighting, tungston you'll find a lot of information and references. Likewise book stores may offer several basic lighting volumes. Basic techniques do transfer between lighting types - electronic flash, tungston, halogen, although each has its advantages and disadvantages.

     

    If you're looking for technical information about the film under various lighting conditions, Kodak has info on line, for example: http://www.kodak.com/global/en/professional/support/techPubs/e4040/e4040.pdf

     

    The format of the camera may not have much to do with your choice ... however ... using large format does tend to require the use of smaller apertures to achieve the desired depth of field ... which translates into longer exposure times. You'll note that using Portra 160 with tungston lighting requires a color correction filter which will reduce the film speed significantly. If your subject matter is sensitive to heat, then you'll have to think about that, tungston lights are hot. To achieve the desired intensity of light the bulbs may be pretty close to your subject. If you're doing portraits of people or animals another thing that will happen is that the pupils of the eyes will constrict.

     

    Kodak used to have good introductory publications on large format, portraits, and photo illustration.

    Which Extension Tube (or closeup filter) is Best for Closeups W/ 80mm Planar on a manual Hasselblad?

    in Medium Format

    Posted

    Since your objective is to take pleasing head shots ... perhaps the solution lies not in just getting closer, but in achieving the desired perspective ... you already indicated that a portrait lens is out of the question ... you might consider the following:

     

    1. Shoot with a fine grain film and then plan to enlarge and crop your head & shoulders negative up to the level needed for your head shot. True, you lose some of the advantage of the medium format negative ... but with good technique a nice quality head shot can be rendered. Of course, it does depend on the size of the print you are making ... but I've seen quite nice 8 x 10s done this way.

     

    2. An alternative to another prime lens might be to consider one of the 1.4x or 2x tele extenders that are on the market. Hasselblad produces them, but they're pretty expensive, even used ... but the aftermarket ones by Kenko and others might be satisfactory for the purpose (I've seen them for $100 to 150 used). There is a cost in maximum aperature with the extender in place (a stop or two) ... and it won't be as critically sharp as a prime Hasselblad lens ... but for your purpose of head shots ... a little softness might not be a bad thing. But the main thing is the optical focal length for your 80 would be 160 with a 2x and about 120 with the 1.4x. These fall in the range of traditional portrait lenses for medium format, and you wouldn't need to crop so much to achieve the print size you want, and have nice perspective.

     

    Neither of these is the optimal solution for highest quality ... but, in a pinch ??

     

    (PS Oh, and do follow the usual mounting and dismounting advice for extension tubes ... add the extender to the body, then add the 80 mm lens. To remove them, take the lens off first, then the extender. Never take the extender/lens combination off as a unit.)

    Line Down My Film - Yashica Mat 124G

    in Medium Format

    Posted

    I'd suggest you double check your loading instructions.

     

    According to the manual I have, the film is NOT slid under EITHER roller.

     

    Bring the film up from the unexposed roll in the bottom chamber (with the black side of the paper facing the lens) and insert the tongue into the take up spool in the upper chamber.

     

    Unfold the crank and advance the film until the double arrows on the paper backing match up with the green arrow on the lower left side of the camera body. (Double check the green arrow's position, it may be hard to find with the film paper backing in loading position.

     

    Close the back and advance film until it stops.

    microscope lens?

    in Large Format

    Posted

    Usually a large format camera uses a simple tube (with no glass components in it) to attach to the microscope's eye piece, and uses the microscope's eyepiece and objectives (lenses) to project an image on to the ground glass. The major issues are stability of the microscope/camera assembly (VIBRATION!) and the lighting system employed.

     

    A basic article about the concepts is at http://www.funsci.com/fun3_en/upic/upic.htm

     

    For more information search on photomicrograph as one of your search terms.

     

    This isn't the same thing as macrophotography at all ...

    Attaching Mamiya C330 AND Metz

    in Medium Format

    Posted

    Most 'L' brackets that connect flash units to TLRs are created with the idea that the camera will be hand held. What the rig needs is a separate and substantial socket for it to be attached to the tripod (1/4 or 3/8 thread). I used to use a graphlex L bracket for that ... drilled and tapped a tripod hole myself.

     

    I've seen some that try to include a 1/4x20 socket in the base of the screw that attaches the bracket to the camera ... I've seen these combinations break sending everything crashing to the floor. If something feels flimsy ... it probably is. Remember too, a TLR, flash and bracket is a pretty heavy load ... use a substantial tripod.

    Yosemite Now? & North Coast?

    in Large Format

    Posted

    The rhododendrons north of the Russian River (Timber Cove and The Sea Ranch are very good right now. I haven't been north of there to comment. Kruse Rhododendron Reserve is as good as I've ever seen it ... went through there on Tuesday. (That's on the road from Highway 1 up to Plantation.

    Sorry for asking alot of stupid questions

    in Medium Format

    Posted

    The 250 is nice for portraits.

     

    But it depends on how much room you have in your studio. The working distance between you and your model with the 250 would need to be substantial compared to what you'd need for a similar framing with a 150.

     

    You might find the information on this site to be helpful:

     

    http://www.hasselbladusa.com/media/b257f2b0-cd24-497b-b21f-47dcf6ee295a-Closeup.pdf

     

    Hasselblad also uses Zeiss lenses ... the comparison for lenses of different focal lengths and approximate extension tube lengths ... might help you select the one that will get you what you are looking for in a 'close-up portrait'.

    Help: My first 5X4 Camera...Decisions,decisions

    in Large Format

    Posted

    Perhaps a couple different points to consider:

     

    I'd opt to consider the lens focal length first. For table tops (and even many landscapes) I often gravitate towards a 210 +/- focal length. Sometimes even longer. Take a look at some of the books that introduce and explain large format photography (Steve Simmons' book is a good place to start, see what's in the library. Browse the local bookstore. Look at example pictures from the standpoint of whether those are the general sort you like to (want to) take, and see what lenses were used. What perspective you wish to capture. I started with a 210 and it served me well initially, then went wider and longer as my needs expanded. There are many perfectly reasonable older lenses available in that general length - Ektars, Symmars (convertible), Caltars, etc. and they're not overly expensive. (Just starting out what you need is a functioning kit, not necessarily an expensive, brand new one.) There's lots of advice on this forum, and others, about selecting a used lens/shutter.

     

    With the lens in mind, you can move on to consider the type of camera you'll mount it on. Generations of photographers learned on Calumet cc-400's and similar (Orbit, B&J, Kodak, etc). A 16" bellows may be a little limiting for close ups with a longer lens (16" is a 'double extension' for an 8" lens so it'll focus to about 1:1), but the longer bellows 22" models are out there. It is unlikely you'd run out of movements with either of these (the 22" bellows is a tough one to use for wide angles (a lot of bellows to compress to get it to focus to infinity), Calumet also made one with a bag-bellows for that use. And recessed lens boards are an option). Used, frequently in the $200 and under class. They don't have to be 'shiny new' to work perfectly well.

     

    Don't forget that you'll be needing other accessories - a robust tripod, film holders, adapter rings/filters, dark cloth, exposure meter, etc, etc. These should be part of the budget process.

     

    Another note about press camera types, one of their advantages is rangefinder focusing, which you probably wouldn't use for table tops anyway. They also are handy for hand held work. Yes, they can be put to good effect, but, if the camera is going on a tripod and you're using the ground glass to focus and compose your table top anyway, then consider a monorail design camera.

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