roger_urban5

I have found marks on 35mm film that were caused by some kind of

static/chemical (?) light discharge which I saw in the darkroom. This

happened with masking tape, I believe, when I was 'rolling my own'

film, and used it to attach the end of the film to the spool. Upon

development, there was evidence on the film that the light generated

from yanking off the tape was sufficient to fog the surface it was

attached to.

I am looking at these three view cameras for 8x10 size work, and would like to hear back from anyone who knows something about them or better yet, has used one of them and can talk about likes, dislikes. I have not made a decision yet on which one is best for me. They are all top of the line models, all expensive. Dealer support for any one of them is an 'unknown' for me. At this moment, I guess I am partial to the Arca, as I can get it overseas for a fairly good price.

<p>

I have yet to locate anyone anywhere that uses anyone of these pieces of equipment. Every retail outfit I have talked to about them says they are special order and no one seems to have demo models in-house to let you get a hands-on to see what they are really like.

<p>

Intended use: Architecture, Studio.

I am looking at these three view cameras for 8x10 size work, and would like to hear back from anyone who knows something about them or better yet, has used one of them and can talk about likes, dislikes. I have not made a decision yet on which one is best for me. They are all top of the line models, all expensive. Dealer support for any one of them is an 'unknown' for me. At this moment, I guess I am partial to the Arca, as I can get it overseas for a fairly good price.

<p>

I have yet to locate anyone anywhere that uses anyone of these pieces of equipment. Every retail outfit I have talked to about them says they are special order and no one seems to have demo models in-house to let you get a hands-on to see what they are really like.

<p>

Intended use: Architecture, Studio.

<p>

Thanks,

Roger

I'm curious if anyone out there in cyberspace has tried out the Hobo LF point 'n shoots, available at http://www.bostick-sullivan.com

<p>

They seem like they could be pretty useful in situations where you had to be quick and when using wide-angle with deep depth of field.

<p>

Obviously, no swings, tilts, etc. But you do get a big negative.

The Schneider 110 XL and 150 XL lenses both cover 8x10. The 110mm is a little smaller and lighter for field work. However, if you use the 110 you will probably want to get the graduated neutral density filter for it, so you minimize the vignetting on 8x10.

<p>

I have both lenses and the 110 is sharper. Plus, you'll have greater depth of field at a more open f-stop if you use it. The downside is that unless you like the vignetting effect - and it does look good on certain types of compositions - you need the special filter.... more $$$$. Also, movements will be more limited than with the 150mm.

David,

<p>

I have a 300mm Imagon and it does without a doubt cover 8x10. As I recall , there wasn't any vignetting to speak of in the corners. The Rodenstock lens literature is in error on the conservative side by recommending it for the 5x7 format.

<p>

Perhaps Bob Solomon can add to this thread with more of an explanation?

Thought I'd pass this web link to you all. If you own any Zeiss glass (or are ponding the purchase of a new lens) you ought to find it interesting and informative.

http://193.141.75.83/zeiss/english/home.nsf/frame/pfi.html

Would it be a good idea to get this lens instead of primes for a 'Blad?

The Hasselblad 1999 Product Catalog carries a picture and brief information on this new lens on page 18. Also, is it even available anywhere yet? If so, what does this puppy cost?

This would be a nice lens to add to the Rollei 600x series too.

I used to make a living taking pictures, but it was a tough gig and there was lots of competition breathing down my neck. The available supply of photographers was and probably still is greatly in excess of the demand. Photography is now a hobby for me, and I have long since moved into another occupation that interested me more. However, there are some things that in retrospect you might benefit from reading.

Have or get sufficient knowledge and/or experience and the necessary equipment to be able to produce the desired product the job the customer wants to hire you for. If you're going to become a wedding photographer, then study up, apprentice for a pro, but do what you have to do to get confidence that you can do it and can do it exceedingly well. Arm yourself with the best equipment you can afford. Use that equipment to fund further purchases to make your job easier (ie. better flash, back up camera, etc.) or to branch into another area of photography (ie. school portraits). Or, RENT equipment if you won't be using it frequently. If you don't know what to do or are lacking equipment to do it right, then you'll not be very receptive to prospective job opportunities. If you're confident in what you can do, then you'll have a much better time in spite of the competition. Remember: You create your business and you don't need a license from the competitors to survive. What's more, some competitors love to put down other photog's equipment or try to intimidate you because they use a Hasselblad and you don't. They probably see you as a threat, and would love to have your business.

Try to maintain a pleasant social and friendly personality. Wise-cracking smart alect comments, arrogance and attitude can work against you by offending potential customers. Be as professional as possible in your business demeanor, the way you dress and act.

You might be on the receiving end of a customer who wants to negotiate a lower price with you and uses hardball tactics on you. Always maintain firm professionalism. Just because a customer promises you future business to get you to lower your price doesn't mean that you're going to get the future business. They could be saying that just to take advantage of you.

If possible, consider working together with 2 or 3 other photogs who can back you up or vice-versa on assignments requiring more equipment or coverage than one person can reasonably do.

Good luck!.

Fellas, what difference does it make if you shoot 70mm perforated or non-perforated film? Is there a problem shooting one or the other using Rollei or Pentax 645N? From reading some posts, I'm beginning to suspect that is the case, but I haven't come across someone actually spelling it out yet.

Also, do you need special negative holders to handle 70mm film in an enlarger?

70mm is attactive to me, and I'm weighing the pros and cons.

I tire of running out of pictures on a roll during a critical moment, like a wedding, or a fireworks show, or during spots action and having to reload on the spot and missing shots. I know I know, I could have an assistant or multiple cameras. There's always options and ways to work around problems, like buying more 220 spools for the Rollei 6006 (which is not such a bad solution either).

However, if you know you've got 70 or 95 shots available and you can shoot at roughly 2 frames per second, then during the action you can take long sequences of shots without fear of running out of film.

Also, every now and then I seem to come across a great deal in 70mm film. Outdated refrigerated 100 foot rolls of VPS for $8, for example, which could be shot regardless of color shift and used to print black and white. Very tempting. Lot cheaper than buying 220 or 120 equivalent lengths.

To start shooting 70mm, I envision this equipment as more or less necessary:

1) 70mm film back. My personal equipment choices are for the Pentax 645N (a new back) or Rollei 6006 (used back) Preference is for the Pentax as with 645 vs 6x6, it will hold something like 90+ pictures.

2) 70mm cassettes/cartridges (through B&H probably)

3) Some kind of device to load the film from the roll onto the cassette spool. Linhof has such a device and there may be others. Saw one for sale on Ebay recently that was being bid on at $345 last time I checked. However, if might be possible to construct such a device yourself, if you're handy at all with tools, for considerably less cost.

4) If I do my own B&W processing, then I need 70mm tanks, and film holders. B&H sells them. If I shoot only color, I pay by the foot to have it done professionally.

Am I missing anything terribly in my analysis of 70mm?