nee_sung

I have both Leica lenses (on M6 Classic) and the G2+45+26+90.

 

I have used Leica for 24 years and Contax only 2 years.

 

Both Contax and Leica lenses are great. You are right to be torn between the two.

 

The character of the 2 brands are very different. That was sort of an unspoken understanding between the two manufacturers so that there will be no head-on competition, which would not do either of them any good (I'm talking here about the time when both of them were market leaders).

 

To give a very rough ananlogy (and I stress rough, so don't jump on me); Contax character is femine: fine details, smooth, exquisite and sohpisticated. Leica is musculine: strong, massive, full of punch and head-on.

 

The Contax character is preserved up to the G2 system. As to what will happen in the future, we'll have to see. Leica, however, seems to be drifting a bit from its character with its latest lenses. This is probably in response to the Japanese competition, rather than Contax, whom Leica might have written-off as a competitor. However, Leica might have to re-think that strategy in view of the Zeiss Ikon.

 

Japanese lenses typically are devoid of character, because of the team-work culture of the Japanese, i.e. each lens is designed by a team, if not actually several teams, and they out-source design and manufacture to each other. Any individuality is totally submerged in the sea of consensus.

 

The result is that Japanese lenses can only be regarded as tools, whereas Leica and Contax lenses are regarded as partners. At least I regard them as partners. And for this reason I give due respect to their individuality and do not cpompare their performances by any subjective means. And I pick a particular partner for a particular shot because of the effect I want, and knowing that which partner will give the effect I want. For the same reason I will pick a Japanese manufacturer for the occasions when I only want a tool, i.e. when I want the artistic expression all to myself and felt I don't need a helping hand.

Thank you.

Hello everybody

 

I'm looking at a used Plaubel Proshift. One thing that I have not been

able to get an answer is: how can I tell how much shift is correct? I

have tried it with buildings in front of the camera shop but the

viewfinder couldn't really tell me very accurately, it would seem.

 

Any help will be appreciated.

 

Thank you all in advance.

Actually the largest print of my exhibition was from a 1980 Canon auto-focus (first generation) P&S. Also Ektachrome. But it was made from an inter-negative made about 15 years earlier. The size of the print was 5ft by 6 ft (because I cropped the original slide).

I think it was 4ft by 6ft. I can't remember the exact size. I just made sure it occupied the maximum size to go into a single panel for my exhibition.

 

It was taken on Ektachrome about 18 years ago, but the exhibition only took place last year, so it was done digitally, I think. I had a professional lab did the enlarging. And I told them to enlarge all shots by traditional method unless it was impossible, in which case they should use digital. I got all the shots mixed up in my mind so now I can't remember which one was done digitally and which ones traditionally.

An article in Scientific American more than 10 years ago addressed the same issue and had the same dire warnings. And yet none of the disasters it predicted came to pass.

 

One of the things predicted by one of the interviewees was that floppies will be unreadable in 10 years (due to change in format, not deterioration). Well 10 years have come and gone and thank you I am still using my floppies. I even occasionally get to read those 5" ones.

 

So I think there really is no need to worry.

I live in a very humid climate.

 

My R5's window seal simply dissolved after about 6 years.

 

When I sent it in for CLA earlier this year it had to go back to Germany and they had the whole shutter replaced. BUT please read the following:

 

I had not used the camera for years, probably 3 years, and before that it was scantily used. So the shutter could be defective due to non-use in a humid climate. Also, my local distributor told me that Leica Germany is really strapped for cash and every time things go back to Germany they ask you to replace some expensive parts. So it is really not known whether the shutter replacement is necessary. Also bear in mind that all their R5 shutters are now obsolete stock so they may want to grab every chance to sell it.

 

Hope this helps.

Howdie Miles

 

Thanks for the offer. I have ordered some books but I look forward to any help you can give me in the future.

 

Thanks.

Hi Kipling

 

Thanks for the link. Actually I went there but I just wasn't sure whether the books will be of help. I've ordered some of the books.

 

Thanks.

Unfortunately I am from outside the U.S. When I reach this page:

 

http://www.sinarbron.com/litrequest.php

 

it tells me that if I am from outside U.S. I should click a link to get literature directly from the manufacturer. Clicking the link leads to a [NOT FOUND] error. I have actually gone to sinar.ch but there is no literature there.

 

My local distributor was no help at all. He told me that they have only recently took over the dealership and everything was in a mess.

 

Thanks for the pointer anyway.

As a general rule I would avoid early retro-focus lenses.

 

Considering the fact that the film is 56mm each side and therefore the mirror must at least be 56mm long, it is very unlikely that the 60C was not a retro-focus lens. So I would not be very enthusiastic about it.

Where can I get a copy of the Sinar P2 manual? Or books on this camera?

 

Thank you all in advance.

 

 

Sung Nee

Got into it in Form 3 in secondary school (grade 9 of U.S. system). The guy sitting next to me wouldn't stop talking and all he talked was about photography. He talked me into buying an Olympus half frame, no meter, no range finder. Nothing. I had to figure out everything myself.

 

The guy became my life-long best friend. I don't even know if he's got a camera any more, but me? I'm hooked for life.

 

Someone mention about people. That's me. too. Actually I think I'm of the Cartier-Bresson school. Everyday candids. For people of other places to see. And for posterity to see.

 

For equipment I really got carried away.

 

35mm

Leica M6, M3 & R5, Minilux

Contax G2

Minolta 7

Pentax mz-s and *ist

Nikon FG20, purely to use the 105/2.5

Konica Autoreflex, purely to use the 50/1.4

Used both Nikon and Canon in the past but traded them in.

 

120

Rolleiflex 3.5F and 6008i

Fuji 6X9, both the 90mm and 65mm cameras

Mamiya 7 II

Bronica 645 Kit

Used Hasselblad but I had agreed with my wife that my equipment cannot expand beyond the existing dry box; so I decided to trade in the Hasselblad and keep the 6008i

Used Linhof for about 3 years but found I left it at home most of the time because of the weight. Traded it in.

 

4X5

Sinar P2; I just bought it together with 3 used lenses but I found that there was no manual! Even though it's supposed to be brand new! I'm scurrying for the manual

Used Graflex for about 10 years before trading up to the Sinar

 

digital

What do you expect?

Sigma SD10

Minolta A1

Panasonic FX2, FX5 (hand me down to my wife), FZ3 and FZ10

Canon Ixus (hand me down from my daughter)

Kodak 7590

I had a Fuji 602 (gave to my Dad), Pentax Optio S (sold to a friend), Optio S4 (gave to my Mom)

 

Mostly I use the Panasonic and Minolta these days because of their anti-shake function.

 

I'm not really sure whether photography is my no.1 hobby, but it is the only one that I have held a solo exhibition.

 

I am also a painter and a Chinese opera singer. And I also teach Yoga.

 

Yes I do have a full time job.

 

This post is getting too long. Better stop.

 

Sung Nee

Please visit this site

 

http://www.cetussoft.com/pentax/85compar/

How can I make one, or where can I get one?

 

You know the lens is so good it really deserves a good lens hood to

bring out its maximum capability.

 

Thank you all in advance.

 

Sung Nee