andrew l. booth

I'd like to store my Hasselblad (Bay 60) filters more compactly than

in their original boxes. With my 35mm filters I stack them, and then

put a lens cap front and back - works fine. I can do this with the

bayonet filters, but I'm stuck when it comes to protecting the back

of the stack. Does Hasselblad make a rear filter guard? Any other

suggestions for compact and secure filter storage?

Now I'm not sure it is a problem!

 

I was looking at the aperture just by using the DOF preview. The issue is that the DOF lever doesn't stop down all the way. If I shoot the camera with the back open on 'B', there's a clear difference between all the half stops, and it seems to be fine overall. My test film checked out fine too.

 

I can't see a practical problem with this as long as it stops down OK when I'm actually taking a picture.

"Trannie" and "Neg" are the two terms I've come across (and use) most often in the UK.

Methinks you complain too much. I took an RZ67, 50mm, 110mm, 180mm, 120 back, 220 back, Fuji GW670III, Metz 45CL4 and a Gitzo carbon fibre around SE Asia in 40/50 degree (centigrade) heat. I mostly carried the RZ kit in a timberland backpack with lowepro padded insert. I also tried some street photography with the 670 and Metz in Hong Kong's mongkok (very hot and humid).

 

Take as much as you want, and leave ehat you don't want in the hotel. Switch to 220 - much more compact and lighter. Get a small tripod / table top (often all you need in a city where you can rest it on things). Use a comfortable backpack. Use print film, 100 is still low when you're handholding, I used NHGII only on a Scandanavian holiday a few years ago with the handheld RZ - it worked great. No point having an ultra-sharp low speed film if you get motion blur. Hire a wideangle lens.

 

I've actually switched system to Hasselblad. I'd take my 503CW, A24 and A12 (mostly use 220), 120Makro, 32mm extension, 80CF and I'd hire a 40mm. I'd take my tripod too.

I think the answer is a qualified 'it depends'.

<p>

Multisampling:<br>

+ Higher bit depth - 1 extra bit or 1 stop per 2x (ie 1x 2x 4x 8x 16x)<br>

- Registration effects = lower sharpness<br>

- Takes longer<br>

<p>

Higher resolution<br>

+ More resolution / sharpness (assuming hardware can handle this)<br>

+ Photoshop downsampling may be more pleasing than sampling at lower res<br>

- Image may be less pleasing once you reveal grain<br>

- Takes longer<br>

- Bigger files<br>

<p>

Multiscanning isn't a Nirvana - it has side-effects (softness). On the other hand, if you scan at a higher resolution than you need, once you downsample you will recover some of the sharpness you lost in the initial scan.

<p>

I would always scan at the highest resolution and downsample in Photoshop when required. I've read lots to disagree with me on this, but I like to have a 'master sample' at the highest resolution I can, I find that with todays 2GHz/1GB PCs the extra processing required isn't a big deal, and I find that editing at high res produces cleaner results when downsampling than downsampling first. Downsampling is the second-to last thing I do, before final sharpening. I would only multisample if I needed to, and time was not pressing, but I would be tempted to multisample all the time so that my 'master scan' had the highest level of detail for archival purposes.

Mark - I haven't been to those places. My last big vacation with MF gear was to Malaysia/Singpore/Hong Kong. After calculating the amount of film I wanted to take, I decided to buy a 220 back for my RZ, and go completely 220. It makes an enormous difference to the volume and weight you'll be carrying, with the downside that your film choice will be a little more limited. It was also welcome to be changing film half as often - particularly if you're really hot and sweating buckets.

 

I've travelled around Africa, Japan and Scandanavia with MF stuff before. I'd advise you to be subtle and carefull about the gear you're carrying. I have a Timberland backpack, which I've fitted with a LowePro padded camerabag interior. My MF gear fits in this, as does my tripod, a small and lightweight Gitzo G1128. This is very light carbon fibre, I tension it with a bungie cord for added stability. With a rangefinder or with MLU, it's fine.

 

Using the Timberland I look like every other tourist, and it's not obvious that I'm carrying $n000 of equipment. I also have complete international camera insurance. I wouldn't be out of pocket if I lost everything; and that's a good feeling to have.

 

Be realistic about what you're taking, especially film. During the course of a day it would be nice to shoot a number of different types, but with 220 in a single rangefinder you won't be able to change that often - and you'll always have the 'wrong' film. Before now I've taken either entirely Astia, or to Scandanavia, entirely NHG II. Both worked well. If you always have a lightweight tripod with you, as I do, you'll always have a shot with slower film. Get a small tabletop tripod too that you can use indoors without anyone objecting.

 

I like the Lonely Planet 'Travel Photography' book by Richard I'Anson. Some of it is aimed at beginners, but it also contains a lot of useful and practical tips too.

Alex, since you're US based - can I ask why you're researching the UK companies and press? I would have thought you'd find a much better range of options your side of the pond.

 

Couple of comments on ProPhotoCD. It's a compressed format - and the 72MB files are compressed to around 6MB. To acheive this impressive compression, the scanned image seems to be softened before compression. After you import and finish work on the image, a good amount of sharpening is required.

 

Some ProPhotoCD labs claim up to a DMax of 4.8 on their scans, but I've read comments on these forums disputing this (I believe Scott Eaton weighed in on this subject). I wold expect a scan from a modern scanner like the Nikon 8000 to be both sharper and with better dynamic range.

 

I have never seen an economic process/print/scan for Medium Format (to answer your question 3).

 

I think the ideal solution to your needs would be something like the Epson 2450 - which will give you better scans than 'with processing' ones (if you could get them), and would approach ProPhotoCD at much lower cost.

Alex, there's a whole other world out there which you're not going to see if you read Amateur photographer. AP is written with low-cost photography in mind, so bear that in mind. Pick up Professional Photographer or the British Journal of Photography, and investigate some of the labs listed in those magazines if you want better/professional results.

<p>

Pro Photo CD produces up to 6000x4000 scans - this is a 72MB file. Check out: <a href="http://www.dunns.co.uk/">Dunns</a> as an example of a pro-lab which does these - and they're within your budget, especially for 20+ scans.

<p>

I've had simultaneous scans done from 35mm at Snappy Snaps (who are probably the best of the high street labs). They were unusable - poor colours and posterisation - avoid!

Michael Reichmann is a frequent contributor to this forum, a great

nature photographer and publisher of the impressive <a

href="http://www.luminous-landscape.com/">Luminous Landscape</a> web

site.

<p>

I hope he doesn't mind me posting a link to his latest article on the

above site, where he compares the picture quality of the new Canon

D60 6Mpixel CMOS camera to its predecessor the D30, to 35mm film, the

Pentax 645 and the Pentax 67. The comparison makes for interesting

reading.

<p>

<a href="http://www.luminous-landscape.com/d60.htm">Canon D60 Vs.

Medium Format</a> ( http://www.luminous-landscape.com/d60.htm )

You might want to take a look at <a href="http://www.luminous-landscape.com/645-mlu.htm">Michael Reichmann's test of P645 mirror lockup using the P67 300mm lens</a>. In his words: "Sorry to disappoint, but there simply isn't anything significant to show".

Azhar - read this thread: <a href="http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=001nEo">Is new Hasselblad 905SWC as good as 903SWC?</a> where this is discussed extensively.

<p>

If you're looking for the ultimate in wide angle there are lots of other interesting cameras out there. I've just bought a <a href="http://www.cambo.com/capages/wideds.html">Cambo Wide DS</a> which should finally satisfy my need for wide angle!

Akira - thank you for your help.

 

I've actually visited Tokyo before on business. I had time to visit Yodobashi in Shinjuku, so I know the area a little. I'm planning to travel in September for a 2 or 3 week vacation this time (I want to avoid the football in July/August!). I'll check out the Sigma lab.

 

Andrew

Can you recommend a reliable pro-lab in Tokyo? I'm also considering a trip later in they year, and I'd like to process all my film (E6 220 and 4x5 quickloads) before returning. I'll be staying the last day or two of a 3 week vacation in Tokyo, so Ideally I'd like < 24hour turnaround.

I buy a lot of film from <a href="http://www.mailshots.co.uk">Mailshots</a>. They're a web/mail order place based in England - and they usually deliver next day. They're cheaper than Jessops. You could place an order and get it delivered to your hotel (I'm assuming you'll only be in Edinburgh for a short while).

Hi Andreas - this is really interesting.

 

Do you have any problems with Newton rings in your scans? I have a previous generation of Epson flatbed, and this is the main gripe I have with it. The flimsy 120 film carrier won't deal with film curvature, and either allows the film to curl up out of focus, or down causing interference patterns. Is this improved with the 2450, or do you have some scheme for avoiding the problem?

The Mamiya panoramic 35mm back looks like a bad idea. You get a normal 24x36mm shot using 35mm film, or you can use 'panorama mask' which cuts this to 13mmx35mm. This is a tiny piece of film! If you want to shoot a panorama with your 645 you'd be better off shooting 120 film, and cropping during printing.

All Mamiya's camera manuals are on <a href="http://www.mamiya.com/">their web site</a> in the customer services section.

Cock both. The slot on the lens must line up with the blade on the body, and both must be cocked to do this. Use the Hasselblad tool, a small coin, or if you're using something sharp like a screwdriver, be careful your hand doesn't slip (you're quite close to the rear element).

$8500 is a lot of money. That's only the start too - you're going to need more lenses for either system - time to sit down and research what you're going to want and how much it's going to cost.

 

You also need to search out a hire shop in your area and hire both of these for a 'test drive'. They're enormously different, and a quick look in a shop won't tell you what's best for you. Don't ask us - both cameras are great, but you want to buy what's best for you, not best for me!!

 

Also find a different camera salsperson. The salesperson doesn't 'give you two choices': you research and get the salesperson to help you narrow down your selection. Again, it's your $8500, not the salesperson's.

David - I live in London, and I shoot a good amount of 220. For travel with 6x7 (Fuji rangefinder) it's pretty essential, and seriously cuts down on the film bulk you're carrying. I just bought a 220 Hassy back too - even 12 isn't enough between reloads.

<p>

If you live in/near London you can get 220 most of the time in Calumet (was KJP) near Euston station. If I'm in and see some I usually buy a box or two (usually Provia F, sometimes Reala). They will also buy it in if you order it, or you can order it from their web site and have it delivered. Calumet's opening hours are on the lame side unfortunately - business hour weekdays only.

<p>

I've personally used Velvia, Provia, Astia, Reala and NPH in 220 and they can be bought, but usually mail order. I haven't been able to get hold of any Ilford or Kodak tech pan (don't use any other Kodak) in 220.

<p>

I haven't had any problems getting it developed. Joes basement does it OK (although it's just 2x the cost of 120). I also use <a href="http://www.peak-imaging.co.uk/">Peak imaging</a> in Sheffield who do a good job - they have a good discount system too which cuts costs quite a lot (you gain points when you get processing done - I got to 15% off pretty quickly), and nifty freepost mailer boxes which take 5 rolls. One problem I had was with C41 + machine print at Joes' - I tried it a while back and they couldn't do a rapid service, since their printer couldn't take 220 for some reason.

Rick - how does the loading work? Can you change film in the field, or do you have to have a darkroom/changing bag? I'd guess that you start to see the film if you pull the leader across that wide a back. Are you using a centre filter? and how do you plan to process/scan/use the results?

 

Sorry for so many questions - but this is an interesting camera.

The bracket is completely metal, with no contacts - so it will never trigger your flash.

 

If you wanted to hang a flash off the side of your camera, you first need to put an adapter in this 'coldshoe' - with a single contact and a flying lead to connect to the PC socket on your lens. I think this would be unstable for a heavy flash though.

 

The flash bracket solution is one way to go - or you could buy a flash like the Vivitar 253, which can be used in a cold shoe when the PC cord is connected.

Wow Charles! None of my cameras have even half the features you mention. Makes me wonder how I manage to take any pictures at all...

One more point. I have a 45CL4 (which is similar to the CT). You really want to run these flashes of NiCd rechargable battery packs, not alkaline batteries. NiCd is faster for recycling, plus cheaper to run. Figure the cost of a new battery pack into the cost of your Metz - a used flash with a cheap price probably has a battery pack which needs replacing.

 

Also check out all the flash settings. Electrical faults can be common in these flashes due to wear in the internal wiring to the head (these wear as the head is moved).

The prism meter is used for non-flash exposures only. TTL flash metering is done in the body of the 503, so it doesn't matter whether you have a prism or not (or what type of prism you have).

 

If you can live with auto flash, then you just connect the flash to your lens, and that's it. To do TTL (which is what you want to do), you need to buy a Metz TTL flash adaptor. This fits on the accessory rail of your 503, and has three wires - one for the lens, one for the flash, and one to hook into the TTL flash socket on the 503 body. The body socket tells the adaptor when the flash should be shut off - and connects to LEDs in the viewfinder which show flash status. Unfortunately the adaptor's going to cost you at least $150 (new).