dave_schneider

The SQ is an in-lens shutter system. Any other lens you connect would have to have a shutter. You probably would not be able to fire the shutter from the camera controls but would have to use the shutter itself.

 

I have never seen any commercially made adapters for the Bronica SQ. I have made one myslef to allow use of the SQ on a bellows with a large format lens with shutter to be used. The SQ just works like a viewfinder and a film back. I haven't used it for a while, the 4x5 camera works better for the applications than my attempt at a more portable medium format solution. The adapter was made from the lens mounting flange from a standard SQ lens. Reasonably simple.

I don't know why you would need a storage scope. If you synch your scope to the the flash synch pulse you should be fine with a conventional scope. You can usually set a pretrigger time on the scope so you will see the full shutter open time which will start before the flash synch. If you can't set a pretrigger time on your scope just trigger off the leading edge of your sensor. What are you using for a light sensor?

How many F3s have a flash shoe right on top of the prism?

Assuming that you can identify the problem and that you are not killed by the charge remaining in the good capacitors, you will have a hard time finding the necessary repair parts. Most likely one or more capacitor failed and took some current limiting components with it. If you are not familiar with basic strobe circuits leave the covers on and take it to the shop.

I made my own. Get a lens mount disc for an enlarger and on older extension ring like the K-1 or whatever they were called. Take the lens mount off the fron of the extension tube and mount the enlarger lens mount disc on the front. It will require drilling some holes in the disc to match the threaded screw holes in the tube. It works very well.

So does the F6 mirror stay up between shots? That would define a real mirror lock-up in my opinion. Could I use a lens that protrudes into the the body like a 12mm Voightlander?

The A body had 8 seconds as the longest shutter speed and no bulb mode, you had to use the T setting on the lens. The Ai goes to 16 seconds and added bulb. The two bodies use a different battery and different winding crank. The Ai body can be used with the motor drive and A cannot. Those items are in addition to the TTL mentioned above.

 

The PS lenses have a better coating and some of the focal lengths changed in other significant ways like filter size, etc.

Roisin, The only thing that changes perspective is the position of the camera. The different focal length lenses only change how much of the scene you capture. Let me repeat, the only thing that changes perspective is position of the camera. Just choose a lens that captures the amount of the scene you want. It doesn't matter if it's digital or film.

It does seem like the solution might be to find a professional processing lab. The drug store and insty labs were never that good and they have become worse. Don't expect that having digital prints made will eliminate the problem of "the dunce" not listening to instructions. If you plan to make prints yourself on an inkjet you just have a different dunce to deal with.

If your outdoor shots are OK then it couldn't be the film, right? The Bronica SQ will synch at any speed since it uses leaf shutter lenses. That doesn't rule out a synch problem if the shutter is sticking a little or something which causes it not to be open fully when the synch contact is made. Odd that it would happen with two bodies and several lenses. Is the problem happening with both Metz flash guns? Odd that they would both fail at the same time. Of course you can use your flash meter with this setup. That will confirm that the subject receives enough light at for proper exposure at F11. The flahs meter won't help you find any synch problems. I suspect that if you go through the multiple bodies, flashes and lenses again with a more methodical test you will find something.

The D1602 has got to be a pretty old power pack. The D1604 is the current model and I would guess that has been around for more than 10 years. Any older pack may have capacitors that have lost capacity and may be near the point of failure. When a capacitor fails it can be a spectacular event and will require an expensive repair. If the pack has been stored and not used for many years it almost certainly needs new caps. The M11 heads are a good and versatile head. Even if they are in working condition now you would want to consider the tubes may need replacement in the very near future. The MW3R heads have a very low watt modeling lamp, fixed reflector, I don't use them at all. The Tri-Level control is a handy accessory for the Brownline system. The rest of the stuff may or not be of any value depending on condition. I don't think I would pay more than $400 unless I knew more about the condition and history of the equipment. I have several Brownline packs and heads and think they are a great value for a non-professional like me. I have bought all used equipment but buy carefully and have the ability to make many small repairs myself.

Am I the only one insane enough to use a Sinar P in the field? I have a Shen-Hao field camera but it is less precise to set up and less stable. I also have a Sinar F2. The additional weight of the P makes it worthwhile for me. The geared movements are such a pleasure to use.

Well then, answer the question. Would a video photo album be something you are interested in offering your client? Many film based wedding photographers I have spoken with are not offering reprints and albums. They simply don't want the hassle on what has become low margin work.

I know wedding photographers are not often involved in providing

prints and albums anymore. I am investigating an expansion of our

video services to include video photo albums of weddings. We have

been in business for 20 years providing video photo shows set to

music for anniversaries, graduations, etc. We have never pursued

weddings. Since people don't buy the big bound wedding albums anymore

is there a market here? I'm thinking first anniversary may be the

ideal target since money may be available and with a year past they

may want to see a presentation of the wedding (assuming the couple is

still together). Do you wedding photographers provide any such

service? Would you be willing to share client lists with me for a

small referral fee? Appreciate your comments.

I've been using two SQ-Ai bodies for several years and never had any levers break. I have had a small screw come loose on one back which was easily fixed. Never had any light leaks either.

Joshua, I haven't done any experimenting because it seemed quite futile. The diameter of the mounting rings is different on the 3 series. The in lens shutter requires both electronic and mechanical linkage for complete operability. Coming up with the adapter to do this and maintain infinity focus is way beyond practical. The lenses are selling cheap since the discontinuation of the line.

You're right, it is subjective. My idea of quiet would be that you couldn't have any medium format SLR. The mirror slap alone is a significant noise, the motors only add to the duration. I have the SQ-Ai motor, it is loud.

Troy, stop spreading misinformation. The shorter lens will give you no greater depth of field than a longer lens at the same magnification ratio. The shorter lens only makes your working distance smaller and reduces your bellows extension. Diffraction is often treated like one of the seven deadly sins. The effect of diffraction will be minimal. Stop down to F64 if you need to get the DOF, the marginal loss from diffraction will be minimal.

Can one of you who are suggesting that a wide angle lens will help please explain this? According to my calculations a 90mm lens at 1:1 magnification will produce exactly the same depth of field as a 240mm lens at 1:1 magnification. If you have a different calculation please explain.

The solution is simple. You should never print photos, either with conventional processes or digital, never scan images and never view with a projector. That way the resolution of your lens will never be degraded. That piece of film or those bits of information will always have the perfect resolution that you say they have.

I have been asked to scan some disk films from the old Kodak system

disk camera. Is there any commercial lab that will take this off my

hands and at what price? If I have to do it myself are there any

suggestions? I have an Epson flatbed with transparency adapter and a

nikon Coolscan V available. My one thought was cut out the center hub

so the film would lay flat in the flatbed. Scan the full disk with

this to make a proof print. If better quality is desired from

selected images I would have to cut them apart and scan them with the

Coolscan using a glass mount. Anyone have any other suggestions or

experiences?

I would recommend Precision Camera Works in the Chicago area. Bob Walker is a good person to deal with. He's currently got my Sinar P on the bench for clean, lube, alignment, minor repairs. Web site is http://precisioncameraworks.com/

 

By the way, $200 is a reasonable estimate, especially before they even see the camera.

In neither of these photos is there a clear item of interest. There's a row of fritters partially in focus but that's not a strong point of interest for the shot. If you want the whole tray of fritters or the whole salad in focus you may need to use a view camera. If you want a specific item to be the point of interest try and arrange the food differently.

I have always found it much easier to use the magnification ratio. If a 55mm subject fills the viewfinder thats a 1:1 shot and it's 2 stops.

Hmmm, I've got two SQ-Ai bodies with motors or speed grips on them so the winding cranks just lay in the drawer. Should I part with them? What would they be worth?