george_rhodes

I hope I wasn't too negative in my previous statements regarding the shows. I was trying to point out that the rate os success is very different for every photographer. While some do very well, others never make it. Most fall somewhere between those two extremes. Some do very well one year and not so well the following year, etc. There are so many variables with the shows. Although there are some doing the shows full-time out there, making the six figure incomes most years, there are also many successful full-timers and part-timers who are happy doing the shows, but making a lower income. It is not necessary to do the best fine art shows, in order to be successful doing shows. There are many photographers doing what is referred to as the "B" shows, who make a living from shows, or make a portion of their living from the shows. Almost everyone starts out at smaller shows and then works their way into the bigger ones. Some stay with the smaller ones. Although I do know some photographers who regularly make six figures doing the higher-end shows, I don't think it would be appropriate to divulge someone's income levels on a forum such as this. Some of the best, high end shows in Florida, for example, are Coconut Grove, Winterpark and Mainsail. I personally know several photographers who have made over twenty thousand dollars in one weekend at Coconut Grove and Winterpark. As I said previously, there are many variables. While most high end shows are good for most photographers, there are always exceptions, because everyone's work, presentation, etc. is different. There are always a few who do not do well at the big shows. Even those who regularly do well at certain shows have their up and down years at a given show. I know a high end painter, whose big abstracts sell in the six thousand dollar range. His booth was by mine several years in a row, at a show in Naples, Florida. One year he sold eight or ten big pieces and made over $50,000. The following year, at the same show, he did not sell a single piece and made zero. I'm not making this up. Because the competition is so fierce at the best shows, some exhibitors have found smaller, less known shows that they do well at, partially because they have less competition. Like I said, there are many variables in this business and everyone who considers themselves successful has figured out their own approach to it. What works well for one photographer, doesn't necessarily work well for the next photographer. In any case, it is an interesting and exciting way to make a living, or partial living, as the case may be and most photographers who try the shows have at least some level of success.

I make my entire living from the sale of my fine art photographs and have been doing the art shows for twenty years. The level of success among photographers getting into this business ranges from very successful to disasterous. It is different for every photographer. I have a few opinions to throw out here. The sturdiest, most secure booth is the Craft Hut. Pro Panels are the nicest looking, most professional panels. Many of the best, most experienced, veteran photographers on the show circuit make six figure incomes. The majority of new photographers doing the shows are lucky to break even the first year. Many just give up after a year or two. You can often find a used booth and panels for sale from a frustrated photographer who has thrown in the towel after a year or two. The biggest mistake that dooms most photographers who are new to the shows is the following - They try to figure out what is selling for the successful, veteran photographers and then try to reproduce the same darn subject matter to exhibit in their booth. The problem is that the veteran photographer is already known for that particular subject matter and has developed a following of repeat buyers on the circuit. The new guy's work is perceived as a copy of the work of the veteran photographer and is usually not as good. He probably won't even make it past the screening committee to get into the better shows and if he does, he finds that his work doesn't sell very well. To be successful at the best fine art street shows, a photographer's work must be unique, of outstanding callibre and the subject matter must be what the patrons are looking for. He needs to have a style. His work must be recognizable as his work. It must also be priced right. It takes determination, time and the resulting experience and also outstanding talent to be one of the more successful photographers on the show circuit. It is not for the timid of heart. Success did not come easy, even for the most successful, veteran photographers.

I shoot with a Pentax 67 system. With proper technique, using 100 ASA print or transparency films and occasionally Fuji NPH400, I consistantly produce excellent quality 24" X 30" fine art prints. While the prints from NPH400 show great tonal range and are quite sharp, my prints from the finest 100 ASA films show slightly better resolution. I make my living entirely from the sale of my fine art photographs, through galleries, art festivals, etc. A superbly executed 24" X 30" print from 6X7 format will exhibit excellent resolution and tonal range, as well as very fine grain.

I made a simple paper mask to my panoramic scale that I place over the transparency, moving it up and down, in order to find the best composition for my panoramic. Then I simply trace the panoramic rectangle on the clear plastic film sleeve. This will be my panoramic image. The image area above and below this traced image is simply eliminated in the scanning of the transparency. Another fine art photographer I know also makes 40" panoramics from his 6X7 negatives. He produces 40" prints on a traditional Super Chromega enlarger and simply cuts off the top and bottom of the finished print before dry mounting, producing a panoramic of any dimension he desires. I also used that technique in my first attempt to produce a panoramic, but have found there is less waste and more control with the scanning technique.

I make my living selling my fine art photographs. About a year ago, I produced my first panoramic photograph from a 6X7 format transparency, shot with my Pentax 67. I have since produced many more. Several of these panoramics are currently on my web site at www.georgerhodes.com. Click on the panoramic gallery. All but "Stiltsville" were shot with the Pentax, with either the 45mm or 75mm lens. I print them up to 15" X 40". The transparencies are scanned with an Imacon scanner and printed onto Fuji Crystal Archive photographic paper with a Lightjet printer. 40" is pushing the limit of the 6X7 format, in my opinion, so it is very important to start with a very sharp transparency.

I highly recommend a very nice lady in Fort Lauderdale, Florida. She is a superb camera technician with 30 years of experience, who once owned a pro camera store, but is now semi-retired and works out of her home. She has done superb work for me on my Pentax 67, at an extremely reasonable price. In my opinion, it would be well worth the small expense of sending your equipment top her for pepair, cleaning, callibration, etc. She specializes in mechanical cameras of all formats. I assume she will work on Minoltas. If you want superb work by the best in the business at a very reasonable price, call Mary at (954)584-2580 or email her at marycamerarepair@aol.com. Tell her I referred you, if you wish.

Charles, what is the web site address for H1 Photo?

 

Thanks, George

I recently purchased a mint minus 300mm Ed from KEH in Atlanta. I had previously contacted every place that listed the lens new for less than B&H, but every single time, the ads turned out to be a bogus lead-on. Hot Buys Electronics had the best price. They told me the lens was out of stock, but they could sell me a demo in mint condition, that had to come with a U.S.A. warranty for the same price B&H is selling it for new. I got the same kind of thing from every other place I called, so I bought the one from KEH for three hundred less than a new one at B&H. I know nothing about H1 Photo in Philadelphia. If they really do have this lens new for $1,545., it's the best deal I've heard of to date. I'd also like to know if anyone has had any dealings with them, because it's a place I plan to check out for future purchases. If you buy the lens from them, please let us know how it all works out for you.

I got one of the first 90-180s brought into the U.S. about two years ago through B&H and have been using it since. I concur with Steve that it is extremely sharp and easily rivals the fixed lenses. I haven't noticed the reduced contrast that someone else mentioned. Also, just after I received my lens, I photographed a tiled wall, in order to test for distortion. I don't know if my lens is better corrected than some of the other 90-180s, but my test showed no meaningful amount of distortion at any focal length. Maybe I just lucked out in this regard. I was pleasantly surprised by this result. My 90-180 consistantly produces well saturated 24" X 30" prints that are tack sharp. Many of my best selling fine art photographs were shot with this lens and one of those images has recently won several major awards for photographic excellence. I have a Maxwell grid screen in my Pentax 67, which increases viewfinder brightness by about two stops, so the f5.6 is no problem for me. I love this lens and highly recommend it.

Being primarily a landscape photographer, the primary problem for me with a rangefinder is that it is more difficult to use polarizing and neutral density filters to good effect. Also, I need longer telephoto lenses than are available for the Mamiya 7.

I shoot with the last model Pentax 67, prior to the 67II. I use the 45mm, 75mm f4.5, 90-180mm f5.6 zoom and 300mm f4 ED IF, occasionally with 1.4X TC. I am very impressed with all 4 lenses and have found the 90-180 zoom to be surprisingly sharp. I routinely produce 24" X 30" prints that are absolutely tack sharp with that zoom! Proper technique is essential when using the zoom or 300. With either lens, I have found that with proper technique, (even at the "dangerous shutter speeds") I have been able to scale back from the bigger Bogen 3236 tripod to a smaller Bogen 3221 with 3047 head and still get razor sharp 30" prints. With the 3221 tripod, I pretty much use my whole body as a stabilizing tool. With shorter lenses, I cradle the camera with both hands, while pressing downward and slowly depress the shutter button. With the zoom and 300, I cradle the camera body in my right hand and press down on the lens with my left hand, holding my breath, as I depress the shutter button. When using slow shutter speeds with the 300mm, I add the Kirk Magic Arm to support the camera body against the tripod and use downward pressure with my right hand gainst that support, while pressing down on the lens with my left hand, which is mounted onto the tripod. For added tripod support, I hang my equipment bag from a hook I've attached beneath the center column of my tripod, weighting down the tripod and giving it added stability. Of course, I always lock up the mirror, when possible.

There is more to a photodo lens score than just sharpness. The 24mm Minolta has no distortion, is very sharp in the center, but not quite as sharp on the edges at wide apertures. The Tamron is an exceptionally sharp zoom, but shows extreme distortion all through its zoom range. The Tamron is also much larger and heavier than the Minolta 24, but is more versatile. There is a trade-off for everything in life. I guess it depends which features are most important to you.

KEH for sure! I have purchased numerous items from KEH, all in as good or better condition than advertised. They are excellent to deal with and have been absolutely honest and dependable in their dealings with me. Also, their prices are extremely reasonable and they will match or beat the lowest price of any of their competitors.

I forgot to add that the Pentax 67 does not have interchangeable backs, but a second body can be found had on ebay at a very reasonable price.

Hi Ben,

 

Someone suggested a twin lens reflex and another person suggested 4X5. For what it's worth, I personally don't think either of those would be a good choice for you. You would have difficulty using a polarizing filter or graduated neutral density filters with the twin lens reflex and those filters are essential equipment for most landscape photographers. Also, you have stated that you dislike the square format, which is what a twin lens reflex will produce. 4X5 is big and slow and not as spontaneous as a SLR, although I suppose you would then have perspective control with every lens, as well as a larger format image. Yet another person mentioned the 6X7 format and I think that might be a good idea for you to look into. You'd have a negative about a third larger than 645. I make my living primarily by selling prints of landscapes up to 24" X 30" that I shoot with my Pentax 67 system. Pentax 67 lenses are excellent and the offerings are extensive, including a very nice 75mm (about 35mm in 35mm format) perspective control lens. There are two different waist level finders for the Pentax 67, all but the oldest bodies have mirror lockup and used Pentax equipment is all over the place at very reasonable prices. The improvement from 35mm to 6X7 in a 24" X 30" print is quite substantial. You said you are considering a 645 format camera. 645 would probably also produce a very satisfactory 24" X 30" print, if you're planning to go that large and are satisfied with the slightly smaller format size. I have no personal experience with either the Bronica ETRSi or the Mamiya Super 645.

Dan,

 

I agree with Steve, that you might want to consdier the Pentax 67 system. You say you are a freak for grain. The 6X7 format will give you an image about one third larger than the 645 format, which means a third smaller grain. You say you are looking for a perspective controp lens. Pentax makes an excellent 75mm (equivalent to about 35mm in 35mm format) perspective control lens for the 67. There are also two excellent zooms available for the Pentax 67, lots of wide angles, two macros and even telephotos up to 800mm. Pentax lenses are excellent performers. The camera and lenses are built very rugged and take a lot of abuse. You can pretty much find anything for the Pentax 67 system used on ebay, just about any day you look, at very reasonable prices. The system has been around for many years. You may want to check out the Pentax forum.

Just a comparison that came to mind while reading Mark's wish list, for the F.W.I.W. archive and anyone who may be interested. Don't ask me what it means, because I don't know. I guess I have too many figures floating around in my head.

 

Canon 400mm f4 DO IS: Diameter 5.0", Length 9.2", Weight 4.3 lbs., Close focus distance 11.5'. Focus hold buttons toward front of lens, on lens front side of focus ring. AF SLR Lens Test Guide quality rating of 3.43. Image stabilized. Digital camera bodies currently available. B&H current price $4,494.95.

 

Minolta 400mm f4.5 APO: Diameter 4 5/16", Length 10 13/16", Weight 67 3/4 oz., Close focus distance 9.8'. Focus hold buttons slightly in from center of lens barrel, on camera side of focus ring. AF SLR Lens Test Guide quality rating of 3.82. Not image stabilized. No digital camera bodies currently available. B&H current price $1,799.95

From what I've heard, I believe Alan is correct in stating that the 1.4X Pentax TC can only be used with the lenses he indicated. Also, I recently tried to attach a 1.4X Pentax TC to my 90-180mm f5.6 Pentax zoom and it will not couple to the lens.

First, be sure the 1.4X Pentax 645 TC couples properly with the 150-300mm zoom. I just bought a Pentax 67 1.4X TC with the intention of using it with my 90-180 Pentax 67 zoom, but the TC will not couple with the zoom. Perhaps the 2X TC will couple with the zoom, but that would be too dim in the viewfinder and I don't like the loss of resolution a 2X TC produces.

To Jim Vanson

 

Your photograph of the Mandarin Duck is stunning. Considering the equipment you used, I think it is a good example of talent and drive being more important than equipment limitations. Nice work.

I received my Pentax 1.4X TC earlier today. Anyone who might be considering using this TC with your 90-180mm f5.6 Pentax zoom should know that the TC will not attach to the zoom. It simply doesn't fit. I plan to use the TC with the 300mm f4 ED that I plan to purchase in the near future.

Steve,

 

Thanks for your response. Several days ago, I found a very good price on a Pentax 1.4X TC and ordered it, so I should receive it soon. As soon as I've tried it with the 90-180 zoom, I'll post my impressions on this forum. Also, I'm having a Maxwell HiLux bright grid screen installed in my 67, so I'm hoping the viewfinder will be sufficiently bright for my 90-180 with 1.4X TC attached.

I'm curious to kmow if anyone has used a 1.4X or 2X TC with the

Pentax 67 90-180mm zoom? If so, what kind of results did you

achieve? Thanks for any response.

I use the Pentax 67 (last model prior to the current electronic 67II) to shoot my 24" X 30" landscapes. By using the proper techniques, I have absolutely no problem with mirror or shutter induced vibration. I have found the optics, including my 90-180mm zoom, to be superb, producing razor sharp 30" prints. Pentax has the largest number of lens offerings of any 6X7 system, including a 75mm shift lens, 55-100mm and 90-180mm zooms and telephotos up to 800mm. Except for a few of the newer lenses, such as the relatively new zooms, both camera bodies and lenses can be found used on ebay for incredibly reasonable prices. In the field, I generally carry a tripod, 67 body, 45mm, 75mm and 90-180m lenses, neutral density filters and a polarizer. It isn't what I'd call a lightweight system, but compared to what many others carry into the field, it isn't all that heavy either. Pentax 67 bodies and lenses are built tough. In five years of use, no piece of my Pentax equipment (most of it bought used in mint condition) has ever let me down.

Congratulations on selecting an outstanding 6X7 format camera system. The lenses are not only affordable, they are outstanding! As someone else has already mentioned, don't listen to those who say mirror slap and/or shutter shake make it difficult to get sharp images. With proper technique, you should easily be able to consistantly produce outstanding 24" X 30" photographs, and without having to use an extremely heavy tripod. Read previous threads in this forum for tips on proper shooting technique, etc. The 90mm lens is very sharp.