kipling

<p>i have one i'd be willing to sell if you're still looking. i bought it from zoerk two years ago (after waiting 7 months for it!).<br>

worked perfectly on my contax 645.</p>

<p>best, kipling phillips</p>

i've done it a bunch of times. just write c-41 process on the envelope you drop the film off in. if you have prints made don't be too concerned about how they look (they can get really funky looking). they always comes out diferently. you'll have to scan the negs to really see how it's turned out.

Start searching here: <p>

 

http://luminous-landscape.com/forum/index.php?showforum=16 <p>

There's a few people who use the Rollei with DB's there. <br>

The p25 and p45 backs will work with the Rolleiflex as well as Sinar DB's. <p>

Here's a list (http://www.phaseone.com) of Phase dealers in the UK where you can get all the info you need: <p>

 

The Flash Centre, London<br>

68 The Brunswick Centre<br>

Marchmont Street<br>

WC1N 1AE London<br>

United Kingdom<br>

Phone +44 020- 7812- 0064<br>

Web www.theflashcentre.com

Fax +44 20 7833 4882<br>

E-mail david-garvin@theflashcentre.co.uk <br>

Contact David Garvin <p>

 

Teamwork Digital Ltd.<br>

Address 41-42 Foley Street<br>

W1W 7JN London<br>

Phone +44 207 323 6455<br>

Web www.teamworkphoto.com <br>

Fax +44 207 436 5212<br>

E-mail lawrence@teamworkphoto.com <br>

Contact Lawrence Wiles <p>

 

The Flash Centre, Leeds <br>

Address Unit 7 Scala Court<br>

Leathley Road<br>

LS10 1JD LEEDS<br>

Phone +44 11 3247 0937<br>

Web www.theflashcentre.com <br>

Fax +44 11 3247 0038<br>

E-mail graham@theflashcentre.co.uk <br>

Contact Graham Fox <p>

 

Direct Digital Imaging DDI - UK Ltd. <br>

Address 9 Whinbrook Gardens<br>

LS17 6AE Leeds<br>

United Kingdom<br>

Phone +44 7950 3685 54<br>

Web www.directdigitalimaging.com <br>

Fax +44 113 2370 563 <br>

E-mail chris@directdigitalimaging.co.uk <br>

Contact Chris Ireland <p>

 

Company DTEK Systems Ltd. <br>

Address Parkside, Spencers Wood<br>

Basingstoke Road<br>

RG7 1AE Reading, Berkshire<br>

United Kingdom<br>

Phone +44 118 988 2020 <br>

Web www.dtek.co.uk <br>

Fax +44 118 988 0636 <br>

E-mail sales@dtek.co.uk <br>

Contact Brian Tinsen <p>

 

Company The Flash Centre - Birmingham <br>

Address 2 Mount ST Business Centre<br>

Mount Street<br>

B7 5RD Birminghamv

United Kingdom<br>

Phone +44 0()79 6191 9116 <br>

Web www.theflashcentre.com <br>

E-mail kevin.treadwell@virgin.net <br>

Contact Kevin Treadwell <p>

 

Company Icam Archive Systems Ltd. <br>

Address Blisworth Hill Barns<br>

Stoke Road<br>

NN7 3DB Blisworth, Northamtonshire<br>

United Kingdom<br>

Phone +44 16 0485 9700 <br>

Web www.icamarchive.co.uk <br>

Fax +44 16 0485 9563 <br>

E-mail sales@icamarchive.co.uk <br>

Contact Andy Hawkins <p>

 

Company Keyphoto Ltd <br>

Address 156 St Albans Road<br>

AL4 9LP St Albans<br>

United Kingdom<br>

Phone +44 (0)1727 860400 <br>

Web www.keyphoto.com <br>

Fax +44 (0)1727 850998 <br>

E-mail service@keyphoto.com <br>

Contact Axel Flaig <p>

 

Good luck

i like the sigma 30 as well. it's sharper, faster, quieter and and has better bokeh thean the 35mm nikkor. downside is that it's twice the size and weight of the nikkor - otherwise a great lens.

it gives you a hard light with crisp, hard lined shadows, not blurred shadows. it's not the same as either a snoot or a grid - the light is wider spread and te shadows are crisply defined - more like a large fresnel (which are very expensive).

light output is okay. i'd guess 2 stops less light than a normal reflector. it's just a black box with a mounting ring. very basic.

hi, i've used one a couple of times. it's a nice light, kind of like a fresnel but not as even. i don't remember the lightmeter reading - might want to check with profoto. <p>

here's two examples with a key hardbox set up. <p>

<img src="http://farm3.static.flickr.com/2106/2194231919_ce520cb0b0.jpg" width="380" height="500" alt="" /></a> <p>

<img src="http://farm3.static.flickr.com/2356/2151548393_ceaec99858.jpg" width="381" height="500" alt="" /></a>

okay, you've got a fourth light so you can light the backgroud seperately. and you'll be in a studio shooting a full length. i'd stay with the white background, but you need to get the subject farther away from the background or angle the light so it doeasn't reflect into the camera - you're getting strong fill from the back and flare which is affecting the right side of the subject (look how washed out it is compared to the left side). <p>

also, if you do a full length on white at that angle, you're going to see a lot of floor. either move down with the camera or use a much longer lens AND move down with the camera. <p>

the key light on the left might look nicer if you move it off to the left a bit, making the shadow a little longer. the ratio of fill looks good, you just need to a larger source on both sides to even it out. i'd think about using a full length white styrofoam board to fill in the right side and use that other light to shape the model with some head and side light. <p>

good luck.

what do your numbers represent? 1 = full power, 2 = 1/2 and 6 1/6?

and what are you shooting at? i'll just guess, f/11@1/60th. <p>

it doesn't look too bad, but maybe this will work better (if you have time to experiment): <br>

first get rid of the white cloth and use the blue curtains (or if you have a bright green cloth it will work even better) in the background instead. put her closer to the curtains so that they're getting lit, but no direct shadow is hitting them (in the frame). spread them as flat as possible. you can then separate her from the blue or green in photoshop and use your background light as a hair/hat/shoulder/side light. Take the white cloth and use it as a bounce camera right. use both softboxes stacked on top of each other as the key light, camera left. move them back double the distance they are now and make sure the light hits your bounce sheet and is filling in the right side. set up your background light above and to the left and a tad behind her and light the hat, the side of her face and her shoulder and the left side of the video tapes. (not to much). if you darken the room while shooting you should be able to lower your shutter speed to 15th and still have no movement in the shot. this way you have more power to play with. <p>

 

if the fill is too weak even at the closest distance to the subject. go back to your butterfly set up and lower them a tad and move them back and lower the shutter speed a stop. this should also work with the green or blue background to separate her in ps later, so you can use the third light for the subject. if it's just not enough light to do without lighting the background, forget all of the above ; )

have fun!

Nearly all mf digital backs will work on the h1. Leaf, Phase One, Sinar, Mamiya and Hasselblad backs. <p> You can order any of the backs from these companies with an H1 mount. In the case of Sinar, you have an adapter plate which fits on the back for your specific camera. So you can just change the plate to switch camera platforms. With the other backs you have to get the mount changed by the back manufacturer. With Leaf this costs about 1.500 Euros.

the longest night of te year is around the 21st on june - that's a great time to travel in the northern part of the country. the warmest time of year is in august...so if your looking for the best chances of good weather, it would be then. the south to central western coast in norway is one of the rainiest parts of europe...it's very beautiful but can have very bad weather. <p>

if you take the hurtigruten, you should spend time in the lofoten islands and do some hiking. there are buses and you can rent cars.

<p>

oslo is a safe bet. usually good weather in the summer time and lots of things to see and do. some things to see would be frogne park, the ski jump on holmekollen, and you should definitely take a ferry from the oslo fjord to one or more of the smaller islands in the fjord. for example: bygdoey. <p>

the old train (flambanen) from oslo to bergen is also a great trip that takes around 8 hours and has a lot of great foto ops. you can take a boat from there and go north to trondheim (also very beautiful). you should plan on spending some time in bergen and trondheim. the farther north you go the nicer it gets...

the kodak proback is no longer supported by kodak. it's completely outdated and you'll have no way into a future upgrade path. don't do it! <p>

i think the leaf aptus 22 refurbs are going at low prices right now. it's a great back and the new leaf software (lc11) works very well. if money is really tight it's worth a look. <p>

otherwise, if i worked with an rz67 i'd opt for a phaseone back. you'll be in the phase/mamiya family, have 1st class support and be eligible for an upgrade to the newer backs and cameras that will be coming out of the phase mamiya relationship. <p>

it's very, very important to think about what system you're getting into because changing to another system will cost you dearly. <p>

also, go to a dealer and ask to try out the backs. that's what they're there for - to show you the equipment and advise you on what will work bst for you. you have to use these backs on the camera you use to really know what you're getting into.

<p>

good luck and don't buy used, go to a dealer.

<i>"Yes, but what if you're using an uncoated Dagor, or Commercial Ektar on your view camera?" </i> <p>

 

why go to the trouble and expense of a p45+ on a view camera and not use the best lens possible if you are going for sharpness and resoltion?

what about the sb600? or du you need something that it doesn't deliver?

you connect the sync cable from the flash to a light meter and hold the light meter in front of the subject or scene you want to shoot. set the light meter to measure flash. with the light meter you dial in the time (say 1/125th) and the iso you want to use and trigger the flash with the light meter. the meter then tells you what aperture is correct. to raise or lower the aperture increase or decrease the flash output.

try asking eric millner (info@ericmilner.com) he used to post a lot on photo.net. he a unit stills photographer for on set photography. you can check out his site and see what he does and the type of equipment he uses (sound blimps, etc.) <p>

he's a nice guy, send him my regards.

 

cheers, kipling

i think that was micheal reichmann whos front element fell out. shyt happens with the best of equipment.

i think the 35mm, the 50-110mm zoom and the 100mm f/2.2 is the perfect setup for a people/editorial/portrait photographer. I own and use the contax with contax, hassy and pentax 67 glass, but have used the hassy with these lenses and was very impressed with sharpness and resolution. excelent camera and lenses used by almost every advertising photographer i know. <p>

i'm seriously thinking of going with this setup next year, just waiting to see what phase and mamiya come up with.

just saw an ad in the paper that the d3 will be selling for 4,950 euros. the exact same amount that it will be selling for in the states, but in dollars. the euro costs nearly $1,50 as of today...that's like 7,425 dollars! i can fly round trip to nyc with emarites for 400 euros, stay for a week in a nice hotel, eat steak every night, see a broadway musical, go shopping in soho, tip everyone like i'm the duke of york and come home with a d3 and some spare change. crazy.

<a href="http://www.flickr.com/photos/kipling/1478626187/" title="Untitled by kipling., on Flickr"><img src="http://farm2.static.flickr.com/1395/1478626187_08f658c463_b.jpg" width="1024" height="685" alt="" /></a>

what are you planning on using it for? think about a used mamiya rz. fantastic camera, a tank with great lenses. all very inexpensive used. great for portrait and close up work. a huge system, huge 6x7 neg.

 

good luck

publicis not publicus! aghhhhh!, why can't you edit posts here!

<i>"When it comes to ad agencies, they like to be impressed. It gives the impression of higher value when you have a mf back."

<p>

"It has little to do with "being impressed" or " giving an impression of higher value" ... and a lot to do with the reality of multiple synergistic use of images by marketing clients these days ... thus the desire for higher resolution files to meet those diverse applications of photographic images."</i>

 

<p>

 

so true marc. it has nothing to do with ego and everything to do with multi-million dollar clients that have zero tolerance when it comes to mistakes. ZERO! <p>

you pay $25.000 for a back, you expect it to work without fault (otherwise your really pissed right?). well, <b>pay 25 million for advertising, then tell me how relaxed you are when an agency says: "sorry the photographer was using camera xy and that's why the 1.2 million posters hanging across the country showing your new $8000 top of the line watch are fuzzy looking." </B>

guess what the response will be. <p>

i work for several very large agencies (Publicus, DDB, TBWA, etc., etc. and every time i talk to a producer about a shoot, first question is always: "what is the photographer shooting with and what kind of files can he deliver?...we only want the raw files and please, nothing smaller than 39mp back file." <p>

fact is, large international companies work with several agencies at the same time and a visual that is intended to be used in a press ad at agency a might be used as in a 50ft blow up by agency b. Every producer i know has a horror story about an image shot with a canon dslr that had to be used for something unexpected and turned out looking like total crap.

<p>

<b>the new rule: ALL images start at DIN A1 (594 mm x 841 mm) @ 300dpi</b> - regardless what they're needed for. if the photographer can't deliver a file that can cut it, then he doesn't get the job.<p>

 

My wonderful Aptus 22 is history for commercial work.

what would a ff d3x cost? 8 to 10 grand? who is gonna pay that kind of cash? only a handful of professionals who need high speed & huge files - fashion/studio advertising photographers. that means at least 22mp. <p>

today, right now, fashion photographers have the choice between an existing canon ff cam (most likely soon to be upgraded to 22mp), hassy's h2, h3d, contax645, rollei 6008 af, mamiya 645 afd, rz67 proIId and soon the announced pentax 645d, rollei/leaf/sinar hy6 and mamiya zd with like 6 different mf backs.

all of the above, except the announced pentax/hy6 cams are working systems with huge lens choices and rentable all over the world.

why would nikon want to enter that race at this stage in time? <p>

no-one is going to thank them for investing millions into a ff system - but everyone will rip them to shreds if it's more expensive than canon, has bugs, sensor problems, outdated lenses not up to the task of a ff sensor and a software that is too slow and cumbersome to develop 1000 raw files and make jpegs in 2 hours time to send to the ad agency. <p>

i'd bet my house there aren't 2 people on this board that would shell out 9 grand for a ff nikon.

without adapters: tamron, tokina, sigma, zeiss zf, a couple vivitars, a lensbaby and a ton of nikkor lenses.

 

not sure what brands fit with adapters...canon??? don't know.