john_burnley3

<p>I've just got a Panasonic Lumix GH4 and am very pleased with the camera. One thing I'd like to do on occasion is add Nikon telephotos such as my 400/5.6 EDIF that works in the "shoot without lens" mode. What I have not yet discovered is how to magnify the viewfinder image prior to shooting for perfect focus. Is that doable? My old GH1 could do this very well indeed through the menu settings for huge magnification. I'd greatly appreciate any advice on this. THANKS!</p>

THANK YOU, everyone, for your very informative and helpful answers. It sounds like this lens is doing what is to be expected of it. Yes,

it would have been smarter to have had the body in hand first. Well, that's life - I just learned tonight that the Rebel XSi body is due to

arrive next Wednesday. It seems like this lens will be a great performer and I'm excited to put it to use.

I've just received a 70-210 f3.5-4.5 EF lens won on an ebay auction. It has, of course, a switch for setting either manual or auto focus.

When I click the switch to auto it does NOT lock the focus in place (unlike two other Canon lenses I have) but I am still able to freely

move the focusing ring and change the distance. I have no camera to test this on right now (have a Rebel XSi on order from Canada -

may take a week to arrive) and a limited time in which to return this lens to the seller.

 

For anyone owning this lens or similar lens - does yours operate this way with the manual/auto switch not locking focus but you still can

autofocus? Or is something wrong with my lens?

 

Any advice on this will be greatly appreciated!

I've chart tested the 55/4 (newer version) and the 165/2.8 and you

will lose a marginal amount of sharpness to diffraction at f11.

The 165mm sharpness peaked at f8 for me; the 55mm peaked

at f8 also and was very good at f11. It dropped off at f16. The

oddest of the bunch of lenses tested - in a good way - was the

45mm/4. My example held the same excellent sharpness from

f8 THROUGH f16 - no loss whatever at f16. Totally unexpected

result that I willl put to good use as needed. I did not test f22 on

any of these. I used USAF test charts and the chromes were

evaluated with a 20x magnifier.

You have received some very good answers here. I've used a

Deardorf 8x10 with 800mm Nikkor T ED lens successfully by

putting a second tripod (a lightweight cullmann has worked well)

under the front bed where I added a 1/4" threaded insert into the

wood. With this second support point I find this camera is very

usable even in rather strong wind and the lens sharpness is

outstanding. Takes extra time to set this up but is well worth it in

terms of ensuring great images.

There are many ways to set this up. Really you want a recepticle

for the camera base in question so the camera is not left on site.

That could be a "quick release clamp" attached to an on site

object or as simple as pieces of wood cut to conform to the

camera bottom to keep the camera in the same position each

time it is inserted for a shot. I've used solely wood for a four

season view of a fern glade with a wideangle lens (28mm). I

attached wooden blocks to trees to get the height I wanted.

Worked perfectly. Cinematographers - and others - have gone

to greater lengths to get magnificent four seasons views by

sometimes setting iron plates in rebar with concrete into the

ground at the specific spot and height they wanted. Keep in

mind that you will not achieve absolute image to image

registration by merely setting up a tripod and noting its leg

placement on the ground but need to have some sort of fixed

permanent attachment point.

I use it as well. In fact almost all the time with 4x5 and I DO

backpack it (well, it is not much heavier than my Pentax

spotmeter). I find it to be very accurate -- but watch out for stray

light entering on the side and altering the reading (use your dark

cloth with the meter).

I have used this and other Gowlands extensively for the past

fifteen years for natural landscape and wilderness photography

where their relatively very light weight and sturdy aluminum

construction are major benefits. Personally I love the modified

4x5 Gowland I own. I would, however, state that this camera is

hardly the best for architectural photography where calibrated

repeatable movements would be of great benefit. Would

suggest something like a Calumet monorail if you are on a

budget. Its heavier than the folding cameras but gives more

precise control.

I regard the Gowland as very simple to set up but mine does

have zero points that I've added to the camera with the help of Mr.

Gowland. I love this camera due to its light weight for

backpacking use. If I did not backpack the camera I'd probably

have a heavier 4x5 with more precise movements.

Robert Meyer is correct, the 185mm Repromaster will cover 8x10

at infinity with some movement -- not a lot, mind you. Grimes

can put in a Copal 1. It is a sharp lens. I also have a Kowa fax

lens f5.6 that might do wonders stopped down; the only problem

is that there is no iris. But that is a possibility as well.

 

But after all the effort it might be at least as sensible to forgo that

180mm angle of view and go with a small, light, inexpensive and

sharp 210mm f9 Kowa (Computar) and for wider views bite the

bullet and get a Schneider XL 150mm.

I shoot the Nikkor 600 and 800, which have interchangeable rear

cells. Both are extremely sharp with the 600 having the edge.

Any questions?

Thanks for your responses. Yes, I agree it must be the internal

linkages and perhaps this is due to the design that enables this

lens to focus so wonderfully close. Now I have seen three

examples of this model and all have the rattle. Steve, I think you

may have an exceptional lens in more ways than one!

I own a Pentax 6x7 55mm f4.0 lens - the new version with the

lens information including the serial number on the focusing

mount and NOT inside of the front filter threads. And I have

recently checked out an additional example of this issue lens.

BOTH of these lenses have considerable rattle of the rear

element group (Or so it seems -- when I shake the lens gently, it

rattles). Is this normal for this lens for those of you who have it

or know it? I have no issue with the lens sharpness which is

wonderful. Is this something that anyone has discussed with

Pentax Service? Thanks for any advice on this.

Glad you posted that question, Lance. I could not locate the s/n

on my F100 either. Wow, it is hard to see!

Thanks, EVERYONE, for your help with this. I will look into the

Quantum diffuser and other options as well, including fabric.

 

THANKS!

 

John

Does anyone know of a quality front plastic diffuser for the

Sunpak 120J flash. I know it takes Lumedyne translucent jar lid

type diffusers - and I have been using one of these - but would

prefer one that offers more diffusion (that is, has less visibility

through the plastic). Does any company offer such a product?

 

Thanks much for any help with this.

I see a number of offerings for Hasselblad unjam tools on ebay

and I wonder what additional value these tools have over simply

using a long shaft small slotted-head screwdriver to re-cock the

camera body (the lens is easy to re-cock using a dime). What

do YOU use - and why. Thanks!

Have not dealt with them but if prices are overly low, they are making up the difference elsewhere - use your imagination on how they might do that. Stick with B&H Photo, I would advise.

I believe that Bogen/Manfrotto spikes will fit into the leg cavity of this model. For a more elegant (and expensive) solution, SK Grimes can fabricate inserts with threads to accomodate Gitzo's excellent spikes. At a trade show last year the Gitzo rep told me, "we are working on it" (this shortcoming).

If you want the sharpest results, you will need the "L" lens.

For macro work you cannot do better than the Canon or Nikon (yes, you can use them with an adapter) still camera lenses. Macro looks really good with this camera as there is (in macro) a perception of greater sharpness. I did a preservation doc with the camera so know it pretty well, what it can and cannot do. I would say to stay away from the frame movie mode, or whatever they call it- unless you have done tests that indicate it is somehow best for your purposes. You can always convert to film look later if you want. Email me if I can help in any way: oreamnos1@fnol.net (that's the number "1" rather than the letter L). - John

The comprehensive answer re "creative people" is contained in the book, WHO ARE YOU REALLY by Gary Null. The short answer is: BORN - and there is no doubt - but those with the 'gift' can enhance latent skills and creativity through training and study. Actually, though - and this IS interesting - due to the rather mechanical nature of some photography and the special skills necessary to succeed in an unrelentingly tough business, a number of the more successful photographers are likely not 'creatives' but actually 'dynamics' and 'adaptive agressives.' They will never have the creative reach of true 'creative assertives' (Null's term for the creative individuals of society), however, in the cutthroat world of commercial work, people savvy rather than high-end creative interpretive gifts often rule.

I personally love the high peaks area that lies between St. Huberts through Keene Valley and Keene and extends to Lake Placid. There are some outstanding views from the roads but the best vantages are from the tops of the mountains themselves. They can be reached by hiking trails, from easy walks to arduous multi-day trips might be needed depending on destination. The summit of Whiteface Mt. is drivable and has a terrific "aerial"-type view. Guidebooks are a must. Peak foliage varies by year but usually last week of Septemeber, I would say, is best bet in the higher (over 2000' terrain). Try Heart Lake (Adirondack Mt. Club) as one spot with easy to reach summit (Mt. Jo) with great views.

 

This may be a relatively dry year in that region, however these are mountains that influence weather and so one must always be prepared for rain. Clouds and rain are more the norm in mountains than clear weather.

 

As far as camera is concerned, that is a personal decision. Would only recommend the lighter the better if you intend to hike. Windy at times on mountaintops. Enjoy!

You "have an appropriate tank"? It takes large, expensive and very specialized equipment to develop this stuff properly. Recommend that you contact a professional film lab.

Tim, you are correct on both counts. Focus block is front block as are all of the Gowlands that I have seen. The rear standard is fixed to the block. To have rear movements would require a "U" bracket and frame to swing the back. This would add weight and bulk, of course. I have really not missed the rear movements, in practical use. However, rear movement could be added to this camera with a little ingenuity (and 6 oz. + weight gain, I would think). Both my 4x5 and 8x10 have zero settings - there are ways to add them to the Gowlands. That is something I would NOT want to do without.