alex_z

Hi.

Now, that my GS-1 lens line-up has been rounded by 65mm, 100mm and

200mm lenses, I would be considering a pro hood for them.

I searshed the archives on photo.net but found very little (in fact,

one single posting) that covers that subject, albeit not very informative.

I'll be glad to hear actual users experiences with this hood.

 

I understood I'll need 72mm and 82mm adapter rings for it, right ?

What kind of provision it has for square system filters usage ? (slot ?)

Can it be used in conjunction with Cokin filters ?

Does it have preset positions for 65mm, 100mm, and 200mm lenses ?

Any chances to be abel to use screw-in filters in conjunction with pro

hood ? (I have screw-in polarizer).

 

Thanks in advance, Alex

You welcome Tim.

The thing is actually pretty straightforward, nothing to be confused about. Just two sliders: metering mode (centerweighted/Spot) and AE/AE lock.

One thing to remember (and it is emphased in camera and/or finder manual) - if yuo use MLU and camera (finder) metering - do not forget to switch to AE lock after the metering and just prior raising up the mirror (by MLU lever), otherwise the camera/finder will continue measurements with mirror locked up (blocking the view) and you will end up by deadly burnt out frame.

Every new GS-1 user who utilizes camera's metering and MLU messed up with it at least once, I think I burnt over 10 frames until got used to the procedure. :-)

 

Alex

Hi Tim.

I apparently have such as PDF (not sure though), however I also have na original one. I cannot scan it down at my convenience (no flatbed scanner availability), but I'll be glad to assist you regarding the operation of the finder.

Just ask your questions and I'll try to answer and/or phrase what is said in the manual.

 

(you may want to write of off-list - just email me to my photo.net regsitered address)

 

Alex

Being GS-1 user (though relatively fresh one - just a year of joy with GS-1), as far as I'm aware of, PG is the only Bronica lens line (Zenzanons) for GS-1 system. Other (such as PS, for instance) intended for SQ/SQ-A/SQ-Ai (6x6) and ETR/ETRS/ETRSi (6x4.5) systems.

Understood Pavel, thanks.

Whenever you will have your cash printer back to work and will be planning on visiting Israel, I'll be glad to have a nice photo meeting with you (as well as wlecoming to be my guest) :-).

 

Enjoy you roots visit.

 

Alex

Pavel, are you saying you're going to betray your Mamiya RB this time ? :-))

Perhaps would you keep your GS-1 that would be your choice for travel ?:-) just curious... :-)

 

BTW, any chances you'll come over to Israel ? :-)

Pavel, I remember you used to shoot with your GS-1 a while ago (and kindly answered my GS-1 related questions then when I was contemplating about this line_. Now, shooting with GS-1, when shooting handheld (although in rare occasions, mostly from tripod) I indeed feel the camera jumps a little when I release the shutter. I not sure whether it si happening during shutter being opened or right after that, but I can feel it. So if Mamiya learnt to "cool down" this, it is indeed its adavntage.

 

Alex

Shay, the backs are designed to be changed at regular conditions, including daylight, dark slide keeps the light out of back internals. Of course, it is best to avoid direct bright light to be shining into the back while changing.

Film holder is a back insert - contains of two rollers for two film spools. Usually, one empty spool is held inside - on left roller, while new film spool is inserted into a right one, film is manualy wound around and secured at left spool. The holder must be taken out of the back for loading and once film leader is secured on left spool,

and film has been manually wound until special mark (usually an arrow pointing on the corresponding mark in the holder - see film loading instructions), the holder hsall be inserted into the back and back to be closed securely. If yuo have two or more backs, you can freely swap film holders between them (at least on Bronica).

 

BTW, Shay, I've wrote you a private email few days ago (got your email address from photo.net registered one), let me know if you didn't recieve it.

 

Alex

But alternatively, one can use hyperfocal for DOF evaluation one focusing on the main subject (or most improtant detail) and setting teh aperture.

Then hyperfocal scale provides an assessement of available DOF at these conditions, i.e. lets you alter it by choosing appropriate aperture to cover required DOF (but always keeping focusing point on your main subject). Am I wrong ?

Hi Shay.

I just sent you a private email considering your recent posting in MF forum here. Besides, I spent considerable time and efforts to understand and learn to utilize Spot metering technique a while ago, so I hope I could help you out to clearify the issues related.

 

Will look forward for your response on my email.

 

Alex

I don't understand why people would ever consider something that never proved itself reliability-wise when excellent MF stuff is readily available now used in good condition thanks to thanks all-digital "revolution". Why bother spending your hard earned cash for something in question, furthermore, for something that likely to bring you troubles and frustration whilst for roughly same amount (or probably slightly more) you buy a used but in good shape quality branded gear ?

That Kiev and similar are just a russian roulette, nothing more. For every 10 frustrated owners there is one who is satisfied so far but feeling dismay of something will brake/stack each time they press the button ? Even though this one is tuned/reworked russian/ukranian model, how much original junk can be improved ?

There is a famous saying for this case (mostly known to those who does image processing, including photographer):

"crap in - crap out" no matter how hard you will try to fix it. Something that originally wasn't intended to bring quality and reliability cannot be brought up without considerable investment which certainly cannot be justified considering the fact that at the next corner you can readily acquire a quality and trouble-free stuff.

I just finished building up my line for my GS-1: once "jumped" into MF with GS-1 about a half year ago, made standard 100mm lens to be my choice for default one, then decided to fill-in the line with 65mm for wide angle and 200mm for tele and portraiture.

Just few days ago recieved my 65mm and 200mm acquired off Ebay.

65mm is roughly 30mm in 35mm for mat, 200mm approaches 100mm in 35mm.

 

Would you consider 50mm PG lens, it would ceratinly priovide wider coverage, roughly equivalent to 24-25mm in 35mm format, but then you pay by filtering: this lens is featured by huge, 95mm diameter and 95mm quality filters are priced almost as the lens itself !

This is the reason I preferred 65mm lens (which is standartized to 72mm thread just like a standard 100mm/3.5 PG lens) over 50mm PG one.

Paul, I run a test roll though both backs, checking specifically for those pins that are supposed to be sticking out once loaded with film.

Both show the similar behavior: both pins are indeed sticking out when I loaded the film, however the same is happening with this particular insert.

Moreover, I loaded the problematic insert and swapped it between two back holders - the problem persisted in both.

Alternatively, I loaded the insert I used to shoot with and run it in both holders - both performed fine, problem free.

So my conclusion, the problem appears to be the insert of the back acquired recently, even though visually both appear to show similar

signs (pins stick out as expected, gear apparently operates similarily, ...).

Still cannot figure what can be wrong with that insert.

The camera locks its release, no film advance can be performed, multiple exp. lever is blocked and cannot be engaged, MLU lever can be free strocked, but no MLu operation is performed.

 

It seems I'll have to hunt for another insert or probably another back would be wiser purchase (cost-wise).

I was looking for GS-1 repair manual available for download or hardcopy purchase, google brought nothing.

Just thought most likely GS-1 constraction is similar for SQA/SQAi, so perhaps figuring SQA/Ai repair manual will be the solution for GS-1 as well. However, checking google doesn't bring SQA/SQAi repair/service manuals available for download also, neither for hardcopy purchase.

Did you happen to know the place where it can be achivable from ?

Paul, many thanks for your great help.

I managed to release the stacked back by applying a real force to the release button whilest pushing teh back towards the body - just like you suggested. I was really afraid I'll break the camera or back to both, but thanksfully both seem to operate fine (without film).

Now what left is to asquire some other cheapst roll of 120 film to check out the back's operation more carefully.

 

My apreciation Paul for your timely help.

 

Best regards, Alex

Certainly.

Typing this I was really depressed by what has happened, so my brain wasn't really functioning ...:-), don't be surpized by lots of typos also...

Guys, your help is needed here.

Today I took my GS-1 to shoot some nice views over our city and the

bay and also intending to test my recently acquired second 120 back

(picked on Ebay in used, good (not excellent) condition).

Well, truned to be a really frustrating experience :-((:

1. Once loading the back with fresh 120 film (Kodak S100 GX), winded

to the first exposure on camera. The frame counter showed 1 as expected.

However, no shutter could be released for some reason. The dark slide

was out, the camera was switched on and actual metering was shown in

my AE rotary prism, however pressing the shutter release did nothing.

Swapping the back with another one (which wasn't loaded with film)

brought camera back to operation, however since it is without film I

could only check it with multiple exposure turned on.

Trying the first (loaded) back once again locked the shutter again.

The lens was securely attached (this is for sure) as well all other

parts (prism finder and back), this this can't be the reason.

Each time I swapped this back with another, empty one and applied

multiple exposure, the shutter released without problem and MLU worked

as well. Bringing the loaded back brought the problem time after time.

Finally I broke down and opened the loaded back, took out the film

insert with film on it and switched it with the second back. Putting

this second back on the camera repeated the problem.

It seems somehow it is related to the insert or the way I loaded the

film in.

Once the back with the film is on camera, besides of the locked

shutter, the winding is also locked, MLU lever turns without click -

appearing as not brining the mirror up at all.

 

What is weard is that the camera worked fine until today, however I

only shoot Fuji films (actually only Velvia 50) in it, and only with

my original back. Can there be any issues with Kodak 120 slide film to

be loaded a bit differently then Fuji I used to ? Perhaps improper

loading locked the back and therefore the camera ? (albeit once I

opened the loaded back I checked again - the film seemed to be loaded

properly, with black backing paper towards the image).

Any hints ?

 

2. Following my disperate attempts, switching backs on the camera, I

managed to lock one of the back on teh camera while the left back

latch (left upper side) didn't fit into the appropriate body hole.

The right one did fit and the back is now locked onto the camera only

by right side, while back's upper left latch rests against the body

just above its hole.

It is locked very tight and applying moderate force I cannot unlock it

now. Back's release button (left lower side on teh camera) is locked

also and cannot be pressed.

I hesitate to apply a more then moderate force in order to avoid some

major damage to the camera/back.

Any ideas how to release the back that sits improperly ?

 

I was looking online for GS-1 service/repair manual, haven't beeng

able to figure such so far available for download or even hardcopy

purchase. Perhaps someone could help me pointing me to teh right

direction to figure the manual ?

Since I'm not located in US, no instant repair facilities are

available here in my proximity (and I'm afraid at all in the counry,

though still hope to figure at least one here), so you guys are my

only hope so far...:-(

 

Thanks in advance, Alex

Oh no David, getting around with the equipment you have no much experience with doesn't mean you don't know to make fine images. We all were in your boat once beginning a new photo equipment advanture, but one gains confidence with practice.

Would I bring my Bronica with me for our shootout, I would certainly be fiddling with the camera probably much more then you (bearing in mind yours is featured by much more automaiton then my Bronica), and probably wouldn't be able to shoot effectively at all, All in all, doing street photography with all manual camera, (not to mention all the burden related to MF) isn't going to bring much fruits, especially bearing in mind lack of extensive experience with this particular equipment. Besides, street photography isn't my main point of interest. :-)

But, I really hope you will have images from this trip to be proud of, despite all the fiddling with the camera, and the more you will use it the sooner it become second nature, you know.

 

In fact, would we both opt for a dedicated photo session there appropriate for MF, no doubt my Bronica would be my choice over 35mm. :-)

And David, we are getting ready to get stunned by your images from your trip....:-)

Oh, guys, what a stupid ass am I, I meant "will NOT be underestimated"..in my last posting (right above) - wrote it in late hours, my brain wasn't functioning well thinking only how do not fall asleep... :-)

Thank you once again, Tom, Troy.

I'll be visiting the farm in next few days so will check the location for lighting details and other technical things to be clarified.

Perhaps ISO 400 will be indeed the best tradeoff. I think I'll keep ISO 800 option (either Press 800 or Kodak Portra 800 as you suggested) for a moving shoots (racing or similar).

 

Anyway, I think once I'll see the location, more questions will rise up and your further help will be underestimated. :-)

Thank you guys, wow, this is a bit overwhalming for me :-), it seems I'll have to learn through your great advises several times until getting it swallowed. My appreciation to this great forum.

I'm going to visit the location within few days, then most ceratinly I'll have more specific questions to ask.

 

Thanks once again to all of you meanwhile.

Thank you Tom.

How would you estimate the grain of these ISO 400 films ?

Even though I used to shoot Fuji NPH 400 and generally quite satisfied by its performance, I have yet enlarged something out of 400 film enough to judge grain performance.

Perhaps 6x7 size will let me diminish the grain issue, but nevertheless I'm a bit concerned about it. What do you think ?

Thanks Troy, what would distinguish it from Fuji stuff,

for your opinion ?

BTW, its slide, right ? What about its exp. lattitude and dynamic range ?

I've just been quered to do a horse farm shooting intended to their

self promotion and probably riders (or for parents of riding

children). So far have only shot a horse jumping tournament which

isn't very similar to the assignment of this kind.

I have yet visited the location to evaluate the technical conditions,

will do that within few days.

The kind of advise I need in this thread is shooting ideas,

compositions that work best, however do not require the sophistication

of studio-type lighting which I don't have (neither I have experience

in such).

The kind of lighting I have at my disposal is Canon 550EX flash and

Sunpak 383 Super unit, both will mainly be intended for fill-in and

eye catchlights.

 

The camera gear is film-based:

Canon EOS-3 with accessories and 28-70/2.8L and 70-200/2.8L lenses

Bronica GS-1 (6x7 MF) with accessories + standard 100mm/3.5 PG lens,

rotary AE finder and 2 120 backs.

The Sunpak flash unit is intended for Bronica.

Of course, stable tripod, filters and so on...

 

Now the questions:

1. Do you think brining camera at higher position would produce more

pleasuable image ? (so that shooting from about teh height os the

rider on the horse) This is instead of shooting from regular position

so that the rider will have to look down to the camera (if his face

expression is intended to be a part of the particular image)

Even though I'm not really tall person (most certainly a small one -

165 cm :-) ), I wouldn't mind to stretch my tripdo to its full height

of about 2m and bring a ladder to stand on if this this is going to help.

2. I thought about a sunset image of alone rider siluette with sunset

on the background (or probably a number of horses grazing during

sunset/sunrize hours) ? What do you think ?

3. What kind of promotion images are desired for a recently opened

horse farm ?

 

Thanks in advance, Alex