herve_laurent

Hello Roger,

check my posting in the digital camera section under the title : "the best DSLr under $1,500

i.. " and you will see this camera has pretty much anything you can ask for :

the excellent viewfinder of the DS and DS2, RAW with the option to choose between DNG RAW

and the PEF PENTAX RAW, plus RAW+JPEG mode, plus weather sealed joints (more than the

D200), an ISO mode, The indication of ISO in the viewfinder, shake reduction mode and dust

removal capacity ( no body in this price range has both )

ANd MORE NEWS

that camera should have also a ISO prioirity mode, an option to choose between DNG And

pentax PEF raw, ISo indication in the viewfinder-YES_what more to ask

Waouh ! Great news . Please check the last entry in the Pentax section and discover the link and features of

the new Pentax K10D. pentax should have a winner. No DSLR in the same price category comes even close

to this one. Think about it :

-10 MP in a well-built body at $900 . this is half the price of the Nikon d200. the Nikon D80 has a similar

price but wihout a decent viewfinder. The Pentax k10D (alomg with DSand DS2 ) has the best viewfinder in

the market (outside Canon 5d and nikon d2x which do not play in the same category)

-Anti-shake and dust removal capacity. No 10MP camera has both these features.

-Well built, not too plasticky way above the canon rebel and 20d ,30D

-Making pictures is about composing . with the viewfinder magnification over 95% and the field coverage ,

it allows a good viewfinder critical to good compositions. on a sensor size smaller than 35 mm camera ,

anything lower is barely acceptable for lots of us

_ When digital was introduced, a promise was to get more compact outfits than 35m SLR. so far it is not

even close . most lenses are of similar size of the 35mm ones. pentax managed to present both compact

bodies and lenses

For those of us , who prefer fixed focal lengths no other brands offer so many options. with the new

21mm (equi 35mm ) and 70mm pancakes , you can carry two main lenses ina coat pocket

-Also look at the prices of the zoom lenses.

Oh and other couple things JPEG +raw , simple user friendly interface, grip available , special water

resistant body

a new star is born!

Hello everyone,

It is pretty clear that at this stage this is not a fake. the reason is that this camera was

presented to a happy few during the Festival for image in perpignan (France, that is). One can

also note that the webiste summilux.net had posted similar products a few weeks before. the

disappointing factor for me is that there does not seem to be any iso dial or button and this

is going to be done via the menu. Not a good idea. I would also question why put delete and

protect one below each other, better not make the mistake. Hopefully we would have an

option to confirm for deletion

Hello everyone,

today another part of the puzzle was shown and to me the biggest issue is that leica seems

to have decided that the ASA setting will be through the menu. what a disappointment

Mark,

I don't agree with your comment. We are not talking analog film here but digital . that means

that the so call 4.5X6 format will be in fact a 36x48 mm, which seems to be a new standard

for medium format. So why not propose in that size of sensor a 36X36 mm option. it is still

way bigger than full frame 35mm and with the new trend towards 16 or 18 MP relatively

better priced than before medium formats , there is still quality for large prints.

It offers some choice and I am sure this would be an advantage for Rollei compared to the

competition

Hello everyone,

I need your help in trying to figure out something. I am seeing the moment where , at last, there will be a

digital camera of interest. (leica M8 and Pentax k1D ,one day). BUT , I have first to understand what seems

to be complete nonsense. I understand that the so-called APS-C format for digital cameras can vary a little

from a camera brand to another one. yet, in the tec hnical features there all said to have the 2/3 ratio

(except the olympus and the smaller sensor). I have read many times that this is said to be the similar

ratio than 35mm. I shoot mostly square on medium format and I am already not comfortable with the

rectangular ratio of 35 mm. I own a Pentax ds-2 that I use as a back-up when I travel . (it was the only

DSLR with a decent viewfinder) and I know that THERE IS NO WAY THAT the image size is the same ratio

than 35mm. the image is WAY MORE RECTANGULAR. where is this myth of same image ratio than 35mm?

if someone can tell me what is the real ratio of digital SLR in APS-c . will the ratio of the M8 with its 1.33

crop also be 2/3 ?

thank you for your help

Hello Jorge,

Could not agree more with you. Unfortunately, there seems to be a vast majority of people

who don't fully appreciate the advantages of square composition . I have shot my best work

with squares. But we are going to have to hold onto our Rolleiflexes or hassies since nobody

seems to want to produce squares negs anymore. Even Rollei is said to introduce a new

digital medium format camera which will be the digital equivalent of 4.5X 6cm. I think it is

stupid. they are giving up on their customerbase

Hello everyone,

I am one of those who is trying to get 220 alive. Frankly, I only work in B&W so I know that

the only film available in 220 B&W is TXP. If only Kodak would make the TX in 220 instead

of the TXP, it would be so great. For those of you who do not know it , despite the almost

identical name , the film is very different ( stupid kodak marketing). Please go to

www.film220.com to look at the petition to try to turn things around. Ilford has already

answered they won't do it, Kodak is hopeless, so we just have to pray that someone will be

able to convince Fuji to make the Neopan available in 220

A lot of stupid things have been said about 220. like 220 being more expensive. nOn-

sense a roll of 220 is twice the price of a 120 , because it corresponds to 2 rolls of 120.

Lots of people also forget that film flatness is a big issue for MF cameras and 220 allows

better film flatness resulting into sharper pictures (especially at wide apertures)

and for those of you who want to travel compact , with a mamiya 6 or 7, a TLR or simply

have other stuff to carry , having half as many rolls when you travel is a big bonus

Let's amke sure that we all use 220 film when we have the chance

H

Hi again Cayuga,

I am quite sure that the difference in metering accuracy-if any- is not so big that you

should base your choice between the M6 and M7 upon this feature.My advice ? well , I

guess it based on 3 things;

The kind of shoots you make. you mentioned that you do mostly street Photography. But

you must be speaking of something different of what people usually mean by street

photography because in 20 years I have NEVER heard from someone using a tele on a

rangefinder as his main lens for street photography

on that score, the minimim focusing distance of the 150 mm for both the 6&the 7 makes

it no so practical. Not to mention the small window in the finder.(unless you use the not so

intuitive separate viewfinder)

with the proviso that you may use other lenses such as the 50 mm or the 75 mm , my

advice would be the 6 for 2 reasons;

with the 6 , you can use the 50 mm by itself. on the 7 , the 65 is the only wide angle to

use without the finder , so you can cover a wider scene with the 50mm

the collapsible front in my mind is a very useful feature for street photography. for all

those times when you don't have the bag or wants to keep the camera more ready to shoot

in your jacket

hope this helps

H

Hello Cayuga,

I have a mamiya 6 for several years and can give you the following answer. The metering

area of the Mamiya 6 corresponds to the area of the 150mm. I have seen this information

several places and have a complete technical description/ test of the camera (but it's in

French so I can't send it to you). More importantly I have been able to verify this by myself

over years of using the camera. In my opinion, it was a very poor choice since tis

rangefinder (like all interchangeable lenses rangefinders) is more destined to use with

wide-angle or standard lenses.But if you use the 150 a lot maybe you won't mind it as

much.

As the previous post mentioned, you do not need to worry about the exact mesuring zone

since this is center weigthed. On the other hand , it means that the meter is VERY , VERY

sensitive to strong lights from the rest of the frame.

In other words, it has a strong trend towards under-exposure in case of backlight, light

coming from the side.with experience , you can avoid the problem by pointing the meter

towards the ground, hiding with your handlight coming from the side and such.

Once again, the real danger is under-exposure ( especially since you work in B&W like I do)

so you can always open up one stop form the exposure given by the meter

I have been working in medium format for 20 years and I can't still get past the point that

this camera could have become the camera. It has a lousy meter,has a fragile wind lever,

has this stupid central leaf shutter and the cumbersome lens changing procedure coming

with it, is not so well built like most mamia cameras (outside the Rb/RZ series) but yet is

with the rollei TLR's one of the two best cameras for street photography with the great

lens collapsing design so practical when you carry the camera in your jacket and great ,

great lenses

THe mamiya 50 mm lens is one of the 2 best wide-angle lenses that I have ever used

hope all this helps

H

Hello everyone,

I have a 4x5 field zone vi camera. It's barely used. I bought new 16 years ago , I think.

Can you tell me what do you think I can get for it?

I also have a componon schenider 150mm and a rodenstock 240 mm

any idea of prices on these 3 items

?

thank you

Hello Bob,

Having owned both the cameras you are hesitating between, I will try to answer your

question. I say try because I think that , while you can find valuable feedback on this site,

for a question like yours , nothing is going to be better than to handle both cameras in

your hand at the same time to compare. I have big hands_not huge ones. I have owned

several big cameras having worked with medium format cameras for over 15 years.

In the standard configuration (meaning without the optional handgrip of teh contax 645),

it is obvious to me that the Pentax 645 handles better. If you shoot most of the time with

the standard 75mm or 80 mm lens , the difference in comfort might not be so noticeable

so you should handle the camera in the stores with the lenses you intend to use most.

I shoot mostly women in studio or in location. When using the Contax 645 with the 140

mm, I found myself having discomfort in my hand after lifting up and down the camera

with the lens after an hour or so.

Nothing of that sort with the Pentax 645 . As a matter of fact, I just went to a photoshoot

with a model in normandy and was working 5 hours or more in a row with the 150mm

attached and never felt anything heavy.

the previous post mentioned that it gets better with the additional cost of the handgrip. I

only tested that at the store for a few minutes and I will assume that it makes it better. I

had looked at buying the grip for trying to solve a BIG drawback of this camera

The contax 645 is the most expensive camera to use in terms of battery usage. It uses

2CR5 batteries(one or 2 , I don't remember) which are like 7$ piece and It runs only about

35 120-rolls . If I shoot 220, it won't run 20 films. This is plain ridiculous. I have owned

50 cameras in my life and never used a camera so voracious with batteries. For The pentax

645 , the notice tells you that with 6 standard AA batteries ( which cost far less than the

contax 645 batteries) you can run around 320 rolls in 120. This may be optimistic- as

most manufacturer's indications usually are- but I know I shot 140 rolls last week and the

battery is not even half -drained. Amazing

Last but not least, I bought the Contax because of the Zeiss lenses. I found the Contax

lenses superb on my 35mm SLR contaxes I owned. I loved the contax on the Contax g2.

But the 3 contax lenses I owned on the 645 were average at best. The lenses on the Pentax

645 are better and cheaper.

One final note if you do want a camera for big hands and do not need a motor on it, you

should check the pentax 6X7 (the 2 version preferrably)it handles very well and has great

lenses

hope this helps.let me know if you have any question

Also the reason why I think the DS & DS2 have a better viewfinder than the 5D is that while

they both offer a field coverage of 95% , the magnification ratio is of 0.71X for the 5D which

is low versus around 0.95 X for the Pentax

Hello Martin,

You are absolutely right. The viewfinder is absolutely key in composing and getting a

better image. I think the argument you should adapt to what's there is plain non-sense.

Why should you adapt to a inferior product where almost of the late film cameras offer

good to outstanding viewfinders. When R. Jackson spoke about the nikon D200, he must

not have looked around. the D200 may have a better viewfinder than a lot of DSLR, it is

still bad. The only good viewfinders are the Canon 5D and the Pentax Ds-DS2. I think the

pentaxes is even brighter.if you are not in hurry, you might want to wait and hope that the

new Pentax K10D

to be introduced at the Photokina this september will have a real prsim finder like the DS

and not the porrofinder. hope this helps

H

Hello everyone,

I have been photographing in medium format for almost 20 years. I have Rolleiflex TLR's and a Mamyia 6

that work perfectly for my street Photography. But I also need a motorized SLR for my other main

subject:photographing women in the studio and on location. Having a shoot in France in 10 days with a

model,I opted to buy a Pentax 645N used with a 150 lens. having owned a Pentax 645 before, I figured it

would avoid any learning process. I got the camera today and was surprised to face two issues that I don't

understand so I am asking for your valuable input

First, the 645N has a big and - I find-unpractical eyecup.It looks like a resting place for the glasses and I

like to take them off and use the diopter correction instead . The pentax 645 used to have a simple one at

the end of the diopter. I thought this would just come off -unscrew or slide off - but it looks mounted and

I do not want to break anything

Secondly, It was my understanding that with any pentax 645 manual focus lens, I would get a confirmation

in the finder for focusing ( as well as an optional BEEP confirmation of lens in focus). I don't get any of

that. I thought maybe the camera had to be loaded in order to give focus confirmation but no I still don't

get visual or noise confirmation that lens is properly focused.

Third in the LCD panel on the top plate near the handle , I have a "D" on the upper left . what does this

mean

Thank you for your help on these 3 questions so I can use properly the camera on the trip with the model

Hello,

Is it me or is there a always bigger time lapse between a product is annouced and time when it is

available?

I can't recall how long it was before the zeiss ikon reach the shelves and the nikon d200 is still back -

ordered at B&H?

same goes for ne pentax 10MP body, epson P 4500 and so on...a

anyway, on eof my coveted new product announced in shutterbug after PMa last march is the new TLR

rolleiflex tele.I look on kurland photo and robert white and do not see any mention of this product does

amyone know when and where it will be available for purchase

Thanks

Herve

more like a 5D. Too bad they could not get it a better viewfinder. 0.83 X magnification is not

so exciting

Save medium format 220 black & white film

What happens when you are confined to using 120 film? Its length is just half that of 220

film and so is the number of exposures possible: with 4,5x6 you remain restricted to 15 or

16 frames depending on the type of camera, 6x6 gives you just 12 exposures and with

6x7 the number drops to a mere 10 per roll, which is very frustrating. While in a studio an

assistant can prepare backs quietly, that's impossible for a photojournalist or an outdoor

photographer. Time spent on changing films creates a lack of concentration during the

shoot and furthermore the double amount of space needed to carry 120 film compared to

the 220 weighs in on the photographer's baggage needs.

Medium format offers an exceptional image quality. In color, the majority of films are

made in 120 and 220 lengths. In black and white, the 220 is in the process of

disappearance: in Europe only Kodak Tri-X 320 Pro remains while there is some Plus-X

220 available in the USA. But since everybody knows that Kodak discontinued the

production of black and white papers one can legitimately question Kodak's will to

continue manufacturing black and white film. Ilford ceased the production of both FP4 and

HP5 in 220 format and, likewise, Fuji remains confined to 120 for its Acros 100 and

Neopan 400.

Moreover, Tri-X 320 Pro differs from Tri-X 400 in that it is especially conceived for the

studio and not for available light outdoors photography: highlights are translated with

more contrast than the shadows and medium values, which makes it a bad candidate for

push processing. Thus, what we really miss is an all-around 400 ISO film in 220, like Fuji

Neopan 400, Ilford HP5 Plus or Kodak Tri-X 400. Since Kodak does not wish to get

involved we need to engage Fuji or Ilford.

We need your support so that Fuji or Ilford manufactures a 220 black and white film. In

order to get them convinced, please sign this petition and tell us how many rolls of 220

film (400 ISO) you would wish to buy in 2006 and which of the two emulsions would have

your preference (Fuji Neopan 400 or Ilford HP5 Plus). According to our information a

consumption of 20'000 films per annum is necessary so that manufacturing becomes

profitable.

The list of all photographers signing this international petition will be visible on the

www.film220.com site.

Please send the following information to:

Name:

First name:

City:

Country:

Mail:

Web site:

Number of 220 films (400 ISO) wanted for 2006:

Optional: Type of wanted film (Fuji Neopan 400, Ilford HP5 More)

Petition organized under the responsibility of Philippe Bachelier

(www.philippebachelier.com).

Hello Everyone,

Did you see this GREAT news ? it does not look like it has been posted on the net yet but it is

written in shutterbug. Rollei, or its new owners, are finally coming with The Rollei TLR TELE.it

is fitted with a135 mm and the focusing is close enough not to necessitate the close focusing

accessory used for the old tele-rollei.Isn't it the perfect travel companion for great handheld

portraits on location ? does anyone know when this will be available ?

The question in interesting. And like all these experts who predict the imminent death of

medium format, medium format cameras will still be there in years to come but not in the

same numbers

as far as numbers are concerned, the next big price barrier is to see a digital camera with

fixed back pass under the $10,000 mark. Hopefully the new Pentax 645 can do just that

First,

I wanted to thank you all. I was impressed by the number of people who contributed to this

thread. Mark U, thank you for the link, the article was indeed interesting, even funny at times.

I think that Ilkka and David Bedell are right, there are no reasons to expect less from a

$2,000-$3,000 DSLR versus a $1,000 (or less) film camera.

And to answer R. jackson question, I use several cameras but mostly my Rolleiflexes TLR's. I

also have a mamiya 6, which is poorly built but has great lenses in a compact format. for

back up on travel I have a pentax me-super and a leica M6