karnezis

My friend was delighted that it's probably just a minor light leak. I'll get back to you once I know whether the viewing window is the problem. Thanks again, everyone.

Thanks, Pablito. Where can he find this special tape? Hardware store? Camera store? Camera repair shop? And Terry, I haven't searched the Leica service forum to know anything about DAG, but are there a few "top tier" places to send a Leica R or M (he has several) for service or repair?

Thank you for your responses. I'll tell my friend; he will be relieved that it's not a serious mechanical problem. I'll tell you whether the fix works on the next test roll.

Hello everyone. I'm posting this question on behalf of a friend who took his R4

out after about 5 yrs of inactivity. The first roll of prints was plagued by a

vertical band of overexposure on the negatives & prints. The band is about

1/6th the width of the negative, located about 1/3rd from the left edge of the

negative, extending onto the sprocket holes, present on almost all the shots,

with the last couple negatives spared. Could it be a problem with sticky

shutter blades that started to get better on the last few photos? (I don't even

know if this camera has vertical or horizontal shutter blades, mind you.) I

told my friend to fire the shutter a few dozen times and shoot a test roll to

see if the problem persists. If the problem persists, where should he send it

for repair? He lives in the San Francisco Bay area (Hillsborough). Thanks, Tony<div></div>

Hi everyone. I have a PC, Photoshop 7, a nicely calibrated monitor,

and an Epson 2200 which has consistently produced very nice,

accurate prints on Epson Premium Semigloss paper using the standard

Epson printer space profiles. I ran out of Semigloss and picked up

some Premium Luster paper and have had ABSOLUTELY TERRIBLE results

printing the same files that worked perfectly on Semigloss. I have

only changed the printer space profile from Semigloss to Luster, but

the prints are extremely shifted towards magenta.

 

I'm going to pick up some Semigloss to see if I can produce the same

high quality prints again, but until I do, does anyone have any

thoughts as to why this is happening? It's undoubtedly a

coincidence, but the only new hardware/software I've installed

recently is a new wireless PCI card for cable modem.

 

I'm completely confused and very frustrated after a couple hours of

test prints, varying every parameter I could think of in the color

management workflow. I'm at the end of the rope. Please help.

Sorry about the duplicate posting. I received an error message after the first posting attempt, but I guess it went through.

I have a Canon EOS 10D and would like something longer than my 70-

200/4L. I like pro zooms but am not thrilled with the trade-offs

involved with the Canon 100-400L IS (amazing IS technology, zoom

range and convenience vs. relatively soft at 400 until you really

stop down and push-pull zoom). The 400/5.6L seems to be sharper wide

open than the IS is at f/8 (see http://luminous-

landscape.com/reviews/lenses/forgotten-400.shtml for direct

comparison--the difference in sharpness is quite striking). However,

a fixed super-tele is not the most convenient thing to have.

 

Then there's the Sigma 120-300mm f/2.8. The few user comments on the

web seem to indicate it's a great lens. Weight would not be much

more than a 70-200L plus either a 100-400L IS or 400/5.6L. I would

use it in lieu of a two-lens combo. The way I see it,

 

PROS: One tele does it all--fast lens (f/2.8), good zoom range

(almost covers the zoom range of two lenses), twist zoom (vs. 100-400

IS's push pull design--I hate that), no weight penalty (vs. two

lenses)

 

CONS: No IS, heavy as a SINGLE lens, and the usual converns

regarding long-term durability and resale value of a Sigma (or other

3rd party) lens.

 

???: Optics.

 

Does anyone on this forum have any personal experience with the

Sigma? I know the 100-400 IS is a fabulous lens; I'm not trying to

take away from that. It's just that I don't want to part with >$1000

and compromise on image quality.

 

Thanks. -Tony

I have a Canon EOS 10D and would like something longer than my 70-

200/4L. I like pro zooms but am not thrilled with the compromises

involved with the Canon 100-400L IS (amazing IS technology, zoom

range and convenience vs. relatively soft at 400 until you really

stop down). The 400/5.6L seems to be sharper wide open than the IS

is at f/8 (see http://luminous-landscape.com/reviews/lenses/forgotten-

400.shtml for direct comparison--the difference in sharpness is quite

striking). However, a fixed super-tele is not the most convenient

thing to have.

 

Then there's the Sigma 120-300mm f/2.8. The few user comments on the

web seem to indicate it's a great lens. Weight would not be much

more than a 70-200L plus either a 100-400L IS or 400/5.6L. I would

use it in lieu of a two-lens combo. The way I see it,

 

PROS: One tele does it all--fast lens (f/2.8), good zoom range

(almost covers the zoom range of two lenses), hopefully top notch

optics, twist zoom (vs. 100-400 IS's push pull design--I hate that),

no weight penalty (vs. two lenses)

 

CONS: No IS, heavy as a SINGLE lens, and the usual converns

regarding long-term durability and resale value of a Sigma (or other

3rd party) lens.

 

Does anyone on this forum have any personal experience with the

Sigma? I know the 100-400 IS is a fabulous lens; I'm not trying to

take away from that. It's just that I don't want to part with >$1000

and compromise on image quality.

 

Thanks. -Tony

Jon, I almost bought the LowePro but opted for the Porter Case. The latter has bigger (4 inch) and slightly softer wheels, making it very smooth on the sidewalk, and it converts into a cart that can carry over 200 lbs of luggage. Though the divider system on the LowePro can't be beat, the Porter Case's system is plenty secure, and the two luggage-style latches make access faster than full length zippers. There's a combination lock too. Since it's a hard case, it doesn't have outer tripod straps, but overall, I highly recommend the case.

I second the comments of Chris Jordan and Dan Smith. I moved from NY to San Francisco last year and brought all my 4x5 and 8x10 film as carry-on. I should have shipped it all, because the idiots at United who searched my luggage insisted on OPENING EVERY BOX of film. I haven't gone through all of it, but I'm sure they fogged at least some of it. If you do decide to carry the film onboard, open each package (new or used) and tape the bags shut across the entire length of the opening to prevent light leakage. As for the rest of the above comments, I agree: arrive early, arrange and inspection (if possibe), and be courteous. I wasn't aware that you could have your luggage locked by the TSA people after they inspected your luggage. Does this go for normal carry-on luggage too?

How wide a lens can the Technikardan take with reasonable movements for the field without resorting to a bag bellows? 90? 75?

I have shot there several times over the last decade and, as a Greek, I have occasionally been asked not to use my tripod. Even then, I was allowed to carry it onto the grounds and then shoot with it. There doesn't seems to be any written rule either way, hence the comments above. I think it's best to conceal your tripod as you buy your ticket at the little ticket booth and not ask whether tripods are allowed. No harm done IMO.

Hi Jesse, I understand your desire to get user comments on only the Zone VI, but could you tell us why you're interested in this camera over the countless other field cameras that are lighter and, perhaps, more convenient that your Arca? I too was considering the Zone VI for its long lens capability but was told it can't handle a Fujinon C 450/12.5, so I'm saving up for a Canham or Technikardan.

 

My thoughts on the Zone VI from playing with it at Calumet SF: light and therefore a bit flimsier feel than my Shen-Hao or Sinar P (of course). No experience using it, but having shot with an ultralight Bender, I know you can get sharp photos at long extension with a very light camera. Its small knobs and other minor limitations aside, I can see anyone being happy with it. My 2c.

I've used the 3030 pan/tilt head and now the Acratech ball head on the 3021 legs with a Shen-Hao (6 lbs) and it works just fine. Recommended.

Aaron, sure they're different beasts, but why would anyone make a field camera that's almost as heavy as a big, heavy, sturdy, metal studio camera? I really like my Shen-Hao 4x5, but 14 lbs for a field camera is a bit absurd, especially with a weight-saving material like titanium. That weight would make the Shen-Hao 2-9 lbs heavier than other 8x10 field cameras. I'd rather put my Sinar P 8x10 in the trunk instead of spending $2000 on a camera that weighs practically the same amount. That said, I'm interested to hear what the 8x10 is like.

Chad, I have a Shen Hao and use from 90-300mm. The 300 focuses to ~15-20 ft at maximum extension. With front tilt, it's even closer. I use a 90 (~28mm in 35mm), but others have used a 75mm (~24mm) without resorting to Shen Hao's inexpensive bag bellows. As others have said, this site has many positive reviews of the camera. My camera's focusing was VERY stiff when I first bought it and is still loosening up, but everything else works smoothly. Highly recommended unless you need something really light for serious hiking.

Bruce, I didn't see the 8x10 on Badger Graphic's web site. Did you call in and find out this information?

As Joe said, don't worry about the quality of lenses, at least modern multicoated ones. They're all top notch. Do check out Kerry Thalmann's web site (www.thalmann.com) and go to his lightweight lens review. It's superb.

 

I use a Caltar II-N 90/6.8 (same as a Rodenstock Grandagon-N) on a standard/flat lens board on my Shen-Hao for landscape work (ie. with minimal movements--a few degrees of front tilt). You don't need a recessed lens board for this lens. At infinity focus, the bellows still allows more movement than I would ever use. However, since you're going to use the lens for architecture, which usually involves more extensive movements than in landscape photography, consider buying the Shen-Hao bag bellows. It's inexpensive (~$100, about one fourth the cost of other brands' bag bellows) and will likely make your life much easier as you won't have to deal with a scrunched-up bellows while using camera movements.

Speaking as an advanced amateur photographer who just got out of film and bought a 10D, I agree with Kenneth--don't buy a 10D just yet. If you want to become a good photographer on a limited budget, stick with the Rebel (it was free after all), but make sure you don't let the cost of film and development from keeping you from shooting (easier said than done). An alternative recommendation: buy a 3-4 megapixel digital point & shoot ($250-500, good for a photo-quality 8x10) with a 128 or 256 MB card (about $50-100 I'm guessing). You can then shoot for free.

 

Whatever you do, shoot a lot. Focus on developing your eye--subject matter selection and composition, ie. what you shoot and how you shoot it. Make a folder of your favorites--be very selective. Get your photos critiqued by more experienced photographers. Once you get better and want to buy a dSLR, they will have gone down in price and up in "ability," and the used models will be so much cheaper.

 

Best of luck.

I need a rolling case for carry-on that is occasionally used as

normal luggage. I have yet to see any reviews of the Tamrac Rolling

Strongboxes or the Lowepro Pro Roller cases. Everyone who owns a

Porter Case seems to love them (www.photographyreview.com).

 

The way I see it, the pros and cons for each case are as follows:

 

Porter Case PROS: dolly feature (awesome), combination lock; CONS:

flimsier divider system (less stable unless everything's full), no

exterior pockets

 

Tamrac & Lowepro PROS: external pockets, tripod holder(s), very nice

dividers, zipper pockets on inside of lid (for filters, etc); CONS:

no lock (zippers can be locked, but these are easily cut or picked),

no dolly feature (then again, no other case does what the Porter

Case does), perhaps less sturdy in the long run? (nylon soft cases

vs. Porter Case's hard case)

 

I am specifically looking for PEOPLE WHO BOUGHT ONE OF THESE CASES

AND CHOSE BETWEEN ONE OF THE OTHER CASES AS AN ALTERNATIVE,

specifically the Porter Photo (or Photo Plus) case, Tamrac Compact

Rolling StrongBox 651, and Lowepro Pro Roller 1 (all carry-on

size). I'd like to know what convinced you to buy the case you did.

 

Thanks very much.

 

-Tony

Dan,

I have a Nikkor M 300/9, and I hand-held it at max aperture, max extention, no front tilt. A brief scan of objects out my window revealed sharp focus at roughly 20 ft.

 

I too was concerned with the close-focusing ability of the Shen-Hao with a 300mm lens. You won't be doing macro work with this camera-lens combo, but the Shen-Hao's extension is sufficient for relatively close subjects, as well as "near-far" landscape shots with front tilt which, of course, would provide even closer focus.

The Bender is very light, very inexpensive monorail with extensive movements and over 500mm extension. I have one and bought a Shen Hao to complement it because, though the Shen Hao is twice as heavy and has only ~12" extension, it can handle a 75mm lens without switching to a bag bellows (unlike the Bender). I like both cameras, though. If you're in the SF Bay area, you could use mine some time if you like.

 

The Zone VI has 560mm extension but is a little out of your price range new. I don't remember ever seeing them in the $6-700 price range.

 

The Toho 4x5 is also a little out of your price range but is a very rigid, lightweight, compact monorail camera with almost 400mm extension. For an excellent review, see Kerry Thalmann's web site, www.thalmann.com, click on Contact, then Large Format Homepage.

 

Then there's the wonderful Technikardan. Ah, if only I didn't have to pay for food or rent...

The Linhof Technikardan 45s can take a 450mm lens. I faced the same dilemma as you and opted for a Shen-Hao 4x5 until I do decide to buy a 450. Check out http://www.butzi.net/reviews/linhoftk45s.htm for a review of the TK45. It's quite a beautifully-made camera.

Riley, I bought a used 8x10 Sinar P on eBay from a studio that was retiring their 8x10 because of a switch to digital 4x5. I bought it on escrow so that I could inspect the camera before releasing my money. Like the one link cautioned, it had been put through its paces from over 20+ years of studio use, but it really worked just fine (gears were smooth, bellows light tight, etc.). Just buy from someone with good photos and lots of positive reviews, ask to go through escrow, and things should be fine. BTW, my entire system--camera, 4x5 reducing back, regular bellows, bag bellows, extention rail, and a multicoated Caltar 240/5.6 cost me $1500! I can ship the camera off to Sinar (in Jersey I believe), pay them a few hundred $ (I'm guessing) to tune up/tighten up the camera, and still come out ahead of what I thought I was going to pay. Based on my observations, you should be able to get a used 8x10 Sinar P in very good condition for under $2000.

I've had one for several years now. I like the 508's backlit display and variable spot meter, but the 408 is very robust. Non-rotating lumisphere probably helps. I've seen a Minolta with its sphere snapped off because of a fall. I actually like the half-moon display for 1/10 stops. The graphical display seems to 'register' faster with me (vs. looking at numbers). Don't hesitate to buy one.