geoffmead

Martin

 

In an earier post on this forum ( about a year ago) I mentioned that I used Bronica 1 and 2 close up lenses (on Bronica SQA)with complete success and mimimum cost. I could not detect any image quality loss even using both close-up lenses together. There is no exposure correction needed. The No1 allows focus from 1 metre in, and the No.2 (which I believe is 3 dioptre) allows focus from 1/3 metre in.

 

Geoff

Richard

 

Bogen/Manfrotto make a large (about 9cm. square) quick release plate.

The four little feet on the bottom of a Rolleiflex fit nicely.

 

Geoff

To David and Freddy

If you want a true white background you will need to light the background independently of the subject lighting.

An incident reading about 2.5 stops above your subject exposure is about right.

Less than that and your background will be a hint gray.

More than that and you risk "haloing" round your subject.

A bit of experimenting is needed to get it exactly right

Geoff

I use a Metz hammerhead (45CT-4) with my Rolleiflex, but almost always on a tripod. I use the bar which comes with the Metz gun, to which I have attached (permanently) a tripod quick-release plate.

You can configure it with the gun to the right of the camera (where it interferes a bit with wind-on) or (as I have) on the left (where it interferes, but less, with focussing). I find it almost impossible to hand-hold this set-up successfully, but then I would use 35mm. for that kind of work

 

Geoff

Laura

Most of my work is portraiture, both inside and out.

As I said in my previous post, I would not like to be without my Manfrotto pistol grip.

IMHO the main activity in portraiture is rapport with the sitter, so time spent fiddling with the camera/tripod is very counterproductive. Other types of tripod head are just too slow when you are trying to elicit that expression from your sitter.

If there is a high wind I probably would not be doing a portrait sitting outdoors!!

Also, a Bronica, Hasselblad, Rollei with a 150mm lens is not so much different in weight than a Nikon/motor drive/ long lens combination.

Try the pistol grip: it isn't exactly flimsy, and on a decent tripod it won't let you down, and when you're shooting portraits you will bless its convenience

 

Good shooting

 

Geoff

Huw! How can you post such a long answer about a product you have not used!

 

I have both the three way head and the pistol grip. I use both with my Bronica SQA. I use the pistol grip only for portraits, where it's unbeatable. You can frame your subject in seconds, while the three way head might need several adjustments ( vertical, horizontal).

In portrait work the camera is usually near level, and the shutter speeds are seldom very slow, sothe head is not under much stress. I would not be without it for portraits.

 

For landscape or still life work I use the three way head because it enables adjustments in the three ways to be made independently. eg I can tilt down without upsetting the side-to-side horizontality.But it is MUCH slower than the pistol grip.

 

The third option, the ball and socket head, on my opinion , has only one virtue, namely weight, and unless you get one of the very expensive damped type, is a b.... to adjust precisely.

 

So, Laura, is it landscape, still life you do, or portraits?

 

Geoff Meadowcroft

Hello Guy

I have a Nova 4x 16x12 processor that I no longer use (I've gone nearly all digital)

Any interest? If so then please email me direct.

I live in Suffolk UK

Geoff Meadowcroft

Is anyone out there producing acceptable ( ie compared with wet

darkroom) B/W images using digital scanners or cameras?

I use Minolta (35mm) and Epson scanners and printers, and struggle to

produce anything anywhere near what I used to produce in my lamented

wet darkroom. I have tried scanning as color negs, and printing as

duotones, but the results are always coarse and unsubtle, like tone

separation prints.

I am waiting for Lyson to produce their "quad black" cartridges for

my Epson 1200 printer, but without much optimism.

Has anyone any better ideas?

 

Geoff Meadowcroft

I agree with Scott. My 3.5E has definite detents at each shutter speed, and you are recommended not to try to set the shutter between speeds. The aperture wheel rotates freely. The shutter, by the way, is a Synchro-Compur. Did Rollei use any other?

 

 

Geoff

Mary

I reported this problem with Bronica cameras (ETRS SQ, and 6x7) on this forum a couple of years ago having suffered much the same as you.

I didn't ring any bells with anyone then. Ihave talked to Bronica's UK importers, but there is no way they can get it changed. You just have to take extra care!

Geoff Meadowcroft

Jared

 

I have a set of three Minilite 200 units in a medium-sized suitcase which have been in regular use for about 20 years, and they have never let me down, in spite of being dropped, and generally chucked about.

Of course they are fairly low powered, but quite adequate for studio portraiture up to groups of 15-20. the modelling lights are low-powered too, which is OK in my darkened studio, but pretty useless on location except for showing you if you have any reflections of the lights in windows, mirrors or wall pictures.

I would not be without mine!

 

Geoff Meadowcroft

Hello Shen

I have no information on extension tubes for your particular camera, but it's normal for the no.1 tube to begin where the prime lens leaves off, so there are no gaps in the magnification range. I would think that would be all you would need, (unless you want to photograph an eyeball :-)

Of course you can use a close-up lens on 35mm if the filter thread is the same, and with the same results ie. as I said before a 1/2 dioptre lens will give you focus at 2 metres when your prime lens is set at infinity, and the focus in from there.

May I say again, Close-up lenses are much cheaper than extension tubes, also they don't affect the exposure.

I hopethat helps

Shen

If you buy a 1/2 dioptre close-up lens for $50 or so, your 200mm. will focus DOWN from a MAXIMUM of 2 metres, and I promise you won't notice any degradation in your image quality, especially if you are using softeners as many portrait photographers do.

A 1/4 dioptre close-up lens would enable you to focus down from 4 metres. The fractional dioptre lenses won't be available off the shelf from your corner camera store, but several of the major filter manufacturers make them.

 

Good luck

 

Geoff Meadowcroft

Hello Debra

According to the formula every photographer knows by heart (ie. 1/u+1/v+1/f) an 8mm extension tube will give focus on 880mm. with the prime lens focussed at infinity.

If you want to experiment with close focussing, without the huge cost of extension tubes, why not try close-up lenses? A 1 dioptre will allow you to focus from 1 metre inwards. Fractional dioptre c/u lenses are available, and for instance a 1/2 dioptre will allow you to focus in from 2 metres.

I have used them for years to allow my 150mm to get closer than the 2 metre minimum the prime lens allows, and there is no loss of lens quality, at least not in portraiture.

Geoff Meadowcroft

Hi Jim!

I have an Epson pefection 1200 and i'm very pleased with it.

The resolution you quote is optical, not interpolated and is great for flatbed scans and MF/Lf negs and trannies.

For 35mm the resolution would omly give about 6x4inch prints

Geoff Meadowcroft

Virgil

I've been shooting artwork for many years, with Mamiya RB67 and Bronica SQ, among others. The lens focal length isn't a great factor, within reason.(ie nor super wide or extreme telephoto) I frequently have to use 1,2, or 4 dioptre close-up lenses, and they work fine.(I'm too mean to buy a macro lens or tubes)

The most important factors by far are lighting and alignment. The best lighting is 2 (or better still 4) lights arranged at 45 degrees each side of the subject, equipped with polarising filters (you can buy it by the sheet).Both polarisers must be oriented the same. you then need a polariser on the lens which you orient by eye. This will cut out the glare you get from varnished oil paintings etc. you can get away without all this if the subject is fairly matt.

For allignment I set up a small mirror at the centre of the field of view of the camera and parallel with the painting and set op the camera to see its own reflection in the centre of the screen, otherwise you get "keystoning" - non parallel sides to the pictures.

I hope this helps

Hi there

 

The previous respondent is correct ie that's how Bronicas work.

If you want to fire the shutter (to check it's working OK?), push down the multiple exposure lever, and of course remove the darkslide, or if you want to frighten yourself, just pull the darkslide out 1mm. You'll find it still fires, so you can imagine how easy it would be think the darkslide is out, when really it's "nearly in". I have lost valuable exposures thanks to that, so that now I'm neurotic about making sure the darkslide is safely in my pocket!

 

Geoff Meadowcroft in Suffolk UK

If you examine the SL66 you will see that, although its the lens that you move, the tilt is from a pivot at the BACK of the camera. ie. it is effectively a back tilt.

As I am sure you are aware, a back tilt doesn't require any extra image circle, so no cut off will appear.

If you tilt the lens down,say, 4degs, (on a tripod) you will have to tilt the camera UP 4 degs to frame the image you had before tilting. Whether you need to stop down after tilting should depend on where objects in your picture are in relation to the new, tilted, plane of focus.

Geoff in Suffolk England

Hi Anders

 

It would certainly seem that you have a faulty camera.

I use an SQA every day, and have done for six years, with Bowens and Multiblitz flash, and have never experienced the problems you describe. Some flash units have different polarity from others, but I don't know if that could be a factor? I suggest you have your repairman have a look at the camera

.

Geoff

I've been using the 150mm PS lens for portraits for several yerars now, and I love it! If you want really tight heads (ie. those with cropped off tops,which I don't personally favour) you will need a 1/2 dioptre close up lens. This will give you sharp focus at 2 metres when the lens is at infinity, and allow focus down to under 1 metre. Fractional dioptre CU lenses are not available from all manufacturers, mine's by Heliopan and cost about 30 UK pounds

The Bronica 150PS is a superb lens.

It focusses down to 1.5 metres, (to far for tight head)

I use a 0.5 dioptre close-up lens to allow 1.0 metre closest

To all those Hassy users talking about using an extension tube

for tight heads, the CU lens is quicker to fit and remove

and costs an order of magnitude less.

Quality loss? I can't see any, and what the hell for portraiture anyway!

Geoff