michael_khano

Hallo Amanda, I tried both the Chinese in 8x10 and custom bellows in 8x10 and 5x7. Both are good, but if I needed new ones again I'd go custom bellows in spite of the extra cost. Theirs are just better made and seem like better materials. The link to etone link shows $96 though, not $80.

Regards,

Michael

This might sound daft, but the same has happened to me once. Try hard as I may, it would

not budge using force until I tried to do it gently without any noticable pressure. It came

off like a breeze! Maybe worth a try, unless you have already done some deforming

damage

Does anyone have any experience with the new Schneider Apo Symmar L 210mm? This

might help my descision making on whether I should buy this or the Rodenstock Apo

Sironar N 210mm. Responces greatly appreciated, thanks.

Well, I can only comment from the point of view of a camera man. I have been a few time

on assignment in America, before and after 9.11 (I hate using this word). It has always

been the case that one is not allowed to set up a camera on a tripod. Nobody has ever

objected if I carried the camera on my shoulder, which is of no use in most cases, but

security, police etc immediately would show up at the sight of a tripod, especially if you

are on private property. Now wether this is true or not, most establishments include the

pavement adjoining there buildings as private property!!! The issue with the tripod has

mostly to do, or so I gathered, with public security, meaning, setting up a hinderance on

public thoroughfares (spelling), so, in my opinion, going to the opposite side of the road

will change little, as the police will still want to get you moving! I have very often had to

obtain filming permission from the mayors office (film department), but this has not meant

that I could film on "private" property. This problem has been there prior to 9.11, but most

likely compounded since then. Unfortunately, security staff are not prone to differentiating

between friend or foe.

Thanks Michael (Briggs). I have already spoken to R. White; he is also a great fan of the

Ebony!!. Off course I would like to have a camera that is so versatile it would cover just

everything. I guess that does not exist. Choosing the lenses and then fitting the cameras

accordingly does make a lot of sense, I still like the idea of the Arca, although I would not

be using EXTREME Wide Angles, and moderate long lenses. Is it in the end a matter of

classic versus slick?

Thanks Paul! Your subtle coersion towards an Ebony might just work. I was however under

the impression that an Ebony would have much less movements in Wide Angle. I have to

check the specs. Again, I really appreciate your help, hope to receprocate.

Paul, you are probably right, perhaps the feel, the looks and the smell of the Ebony would

be good enough! But what about City (architechtur), and people (non studio however)?.

You mentioned 90,150 and 240 mm, but what happens when I shoot 6x9 roll film?

Besides that, and if I go for the Ebony or the Arca, any tips or suggestions on accessories?

Thanks again.

Brian, you are right, I will take it one step at a time. Although, I do regret not having

looked at LF before going for MF!

What kind of photography do you do?

Just to add, though again I am just going by the tidbits I am putting together from the

internet, I have the impression that the Arca (Though not so pretty), would allow me more

choices of movements in comparisson to the Ebony with the same vareiety of lenses. Also,

the Ebony is a wooden camera, how does that reflect on stability and changing weather.

On the other hand, R.White thinks that the geared movements of the Arca would be more

susseptable to dust, dirt and water in the field, and thus a draw back in comparisson to

the Ebony. Bu are not geared movements an advantage in simplicity and prescieion of

movement?

Thanks.

I am amazed by the speed you guys respond! Thanks.

Going 4x5 is most likely the best choice, 8x10 is probably too big a format, weight and

convenience.

Paul, Robert White thinks the Ebony 45S is the best choice for me, and I will most likely go

for new. As far as lenses are concerned, I will need a wide angle, nothing extrem (I am

happy with the 50mm on my Hassie), a normal lens and a more tele lens. This is also

where I am confused with the choice of lenses, their relationship to format -4x5 or when I

use roll film 6x9-, and obviously how my choice of camera would affect the use of these

lenses in relation to the maximum movements I can use on either a view or a monorail

camera (ARCA or EBONY), 6X9 roll film or 4x5? This interraction of lenses with different

formats confuses me. More advice??

Thanks

I was, and still am confused and not able to decide. I have been trying to come to a

conclusion as to my entry into LF photography. I started photographing MF a couple of

years ago, and although I am very fond of my Hassie, the lack of movements, the 6x6

format etc, has meant that I am pondering, and scouting these forums for the last couple

of weeks trying to come to terms with the pros and cons of 6x9 versus 4x5, the choice of

cameras and the correlation between both. I am not a professional photographer, ( a film

camera man), and most of the work I do, if not all is outdoors in the city and occasionally

landscapes. It is impossible where I live to find adequate advice, so I am turning to these

forums for some. I am attracted to both the Arca-Swiss and the Ebonys, can anyone help?