jim_chow

What do you need to know? I have the Fuji G617 w/ 105 lens, didn't have a manual either, but the camera is easy to use. The only difference w/ the GX is it has interchangeable lenses (make sure to change them when there's no film inside, as there's no darkslide) and an electromagnetic shutter release (requires batteries).

Things I like about 120 are (1)they seal the light out better, (2)you have fewer shots to waste once the trip is over and (3) if that roll gets corrupted somehow (lab error, etc.), you've only lost 12 shots instead of 24. I've had a friend accidentally drop a roll while unloading exposed film (before the paper sticker that holds the roll together was affixed) and it rolled away from him, some of the paper leader unravelled, but no shots were lost. I've had a loosely wound roll (advanced the crank on my rangefinder too rapidly) and the film was really loosely wound, but only a tiny bit of light crept in at the edges on the first frame. If that were 220, half the roll would have been destroyed.

You could try to unload the film in a changing bag/tent and rewind it manually by hand for future reloading. I think on a manual film advancing camera, it would work. Power winders often rely on a certain film tension, namely that of factory-wound film.

 

The only rangefinder I know of that has interchangeable film backs w/ dark slides is the Horseman SW612/612pro, the latter having vertical rise. They are available w/ 6x7, 6x9, and 6x12 film backs, use Rodenstock lenses.

For those of you who sell fine art print, how to you price them? I

realize it would be dependent on the medium (oil pigment, Ilfochrome

Classic, Lightjet 5000) and, obviously, the print size. Do you charge

a certain price per square inch for that certain medium? Reason I ask

is, I have someone who wants to purchase a print from me, but since I

don't do this as a normal business, I don't know what the market

rates are.

At LAX, they make you remove your jacket and shoes and run

them through the machine. I have two 800 iso lead bags and put

one inside the other. It doesn't stop the X-rays, but it'll at least

weaken them. If you want something more X-ray proof, get a

metal clipboard or something and place that over the film when it

goes through the machine. I suppose you could always wrap

the film in a lot of heavy-duty tin foil...any metal, the denser, the

better.

20. The light is always perfect, or the wind perfectly still while

you're setting up your equipment and just after you've put it away.

Another approach is to get a top-of-the-line pack, like one by

Dana Designs (Rolls-Royce of backpacks). :-) I've done packing

trips with a Toyo VX125, Fuji 617 w/ Rollei 6008i and a couple of

lenses, and Rollei 6008i w/ a few lenses. BTW, the Toyo bellows

are so supple, I don't need a bag bellows, even w/ a 47XL!

Longest lens I can use is a 300/9 Nikkor (same bellows). So

that's one less accessory you have to buy/carry.

When making drum scans (drum has no anti-newton surface), one puts this special liquid on the tranny, then a sheet of acetate (I think) and that sheet is taped to the drum. Bubbles are squeegeed out. The liquid eliminates the newton rings and reduces graininess at super high resolutions. I think the liquid just dries up afterwards. I don't see why one can't use this liquid on an enlarger.

You're gonna have to compromise on weight vs. capability. As mentioned above, a rangefinder will give you lightweight, but isn't the best choice for macro shots. I've backpacked w/ 4x5, 6x17, and 6x6 systems. Whichever I choose depends on what I expect to shoot (do research on this beforehand). I just got back yesterday from a 17 mile overnighter to Anasazi ruins. As I had to pack in my own water for 2 days in the desert, weight was crucial, as well as shooting speed (time was limited due to ranger escort). Although I would have preferred to go 4x5, I chose the 6x6 (Rollei) w/ 90mm normal lens w/ macro capability plus a superwide 40mm plus a spare film back (shot Delta 400 and E100s) for the speed. Having interchangeable backs is a big bonus. It turned out that those two lenses were the only ones I needed.

 

Another possibility if you aren't rushed to shoot is a 6x9 monorail like the arca swiss or linhof tecknikardan s23 or a 6x9 field camera (clam-shell) like the horseman. The lenses are much smaller than MF slr lenses, cost much less, and you have macro capability, too. I've shot a lot with a 4x5 monorail since I figure the amount of work needed to take a shot is the same whether it's a 6x9 or 4x5 view camera (just the 4x5 equipment weighs more).

I think I paid around $800 for mine. Most useful feature by far has been the rear-curtain sync flash and resetting the self-timer so I don't have to massively sprint to get into the shot.

Problem w/ round grad ND filters is the horizon is always in the

center while in most of your shots, it's not. I use the Lee 4x6 w/

soft transition...works pretty well (I use it w/ my 6x17, sometimes

w/ other filters, but I just guess at the position of the transition).

The transition is a little too wide (like 2"), but fine on 95mm

lenses. Only caveat is, keep the sun off the filters since they are

not coated. I believe Schneider makes multicoated 4x6 glass

grad ND filters (intended for motion picture cameras), but expect

to pay.

As you have probably read in my previous postings from 5 yrs

ago, I have been using the 6008i for 5 yrs now. I have two

bodies, one was purchased in '99 (I think), the other in '97. The

'97 one, which was a gray market body, had the initial electronic

problems. After the repair by Rollei, the electronics have been

functioning perfectly. The only minor problem I had since was a

small light leak in the flap behind the mirror. That was fixed

(wasn't really under warranty anymore, but it was still fixed for

free) back in '99, I think. I used to fly 60K miles/year on photo

trips to SE Asia, Europe, desert SW, California high sierras on

multi-day backpacking trips (camera in the pack, subject to

constant vibration), and in snow during the winter in Japan. The

trick to saving the batteries is so keep it in your pocket until you

shoot, then load it in, shoot, remove it. I've used one battery over

a week in sub freezing temps doing this. I've shot the camera

down to 3F and up to 106F now that I live in AZ...no problems.

Since the first 6008i body is 5 yrs old, I don't mind thrashing it in

severe conditions...still, it's been reliable.

If money were no object, I'd get the Linhof 617sIII since I think

the schneider lenses are second to none (I use the Fuji w/ 105/8

lens). But regardless of the system, the achilles heel of 6x17's is

you don't have a ground glass to focus on. The Fuji 617 has an

optional GG..I've seen it, so at least it's available. I don't think

Linhof offers one. And even if you have a GG, you can only use it

before loading a fresh roll. Also, there is no tilt. Art Pan does

make a 6x17 back that fits on a 4x5. The film plane is a few

inches behind the 4x5 film plane, and the lenses are limited

from 80-180mm or something like that, but you get movements,

and can shoot both 6x17 and 6x12. I've yet to see this back

offered outside of Japan (I know RW doesn't have it). Nowdays,

if I know my focusing will be at infinity, i'll bring the pan.

Otherwise, the 4x5 is more versatile, but takes time...I guess one

small advantage of the Fuji 105mm over the schneider 90mm is

the center ND filter is only 1 stop vs . 2 stop for the Schneider IVa

filter. So for shots when it's windy, that extra stop might make a

critical difference. The Fuji 105 lens is sharp, but flare prone if

any sunlight whatsoever directly strikes the filter.For this reason,

I try to avoid shooting shots directly into the sun. OTOH, I can do

this w/ my 4x5 and schneider glass (don't have to use the ND

filter w/ the 90XL for mild movements)

I'd go w/ either the 90/4 apo symmar or 110/2 planar, and the

180/2.8 tele-xenar. I have the 90, 180 and use these for

portraiture (only resort to the 80 for indoor wedding/large group

shots due to constraits on space; the 90 is sharper, though). I've

tested the 110/2...excellent lens, bokeh is similar to that of the

180 schneider, as it's designed for fashion/portraiture. The 90 is

more useful overall than the 110, though, due to the 1:2 macro

capability.

I'm moving to Tucson soon and need to know what the best

prolab in town is. I'd like to develop both MF and 4x5 E6, B&W,

and MF C41. Any suggestions would be appreciated.

Easiest way to calculate is using the aperture scale. If it's a

210mm lens and you extend bellows by 15cm, that's 360cm.

Divide each by 10 to give 21 and 36. This is your equivalent

aperture. The difference between f21 and f36 is about the

difference between f22 and f36, about 1.5 stops. That should be

close enough. You need a simple method, 'cause after days

upon days of waking up early and sleeping late on extended

photo trips, one can easily blow something seemingly simple

like this from fatigue. :-)

I suspect the magazine roller is dirty and/or needs lubing. The

fillm slides over the roller, which turns those internal cogs. If the

film just slides over the roller without turning it (from excessive

dirt or lack of lubrication), it won't properly advance the film. One

simple test is to try it with a different magazine, if you have one.

Changing inserts won't make any difference.

Don't worry, I've shot mine at -20 C lots of times. To extend

battery life, the key is to keep it warm. I remove the battery after

each shot and keep it in the chest pocket of my polarfleece jacket

(underneath the goretex shell) or in the pockets of my jeans (not

as warm, but good enough). I set the tripod/camera up for the

shot, do the focusing beforehand, meter w/ a pentax spotmeter

(replaced the alkaline w/ a lithium battery and keep the meter

inside my goretex shell inner pocket). Then insert the battery just

before you expose, remove it and replace it in your pocket. I've

been able to use a low battery (ie, battery level of 7 or less) for

over a dozen rolls shooting along the sea of japan for a week.

Before you change to a spare battery, make sure you place it in

your pocket maybe 30 min before you need it. Otherwise, it won't

last long. When I backpack in cold temps, sleep w/ the battery

just like you have to sleep w/ your water to keep it from freezing.

Last year, I recelled all my battery packs myself with extended life

nicad cells...supposed to give a few more rolls per charge.

 

At least you can remove the battery easily on the Rollei to do this.

A friend of mine has a contax 35mm SLR...he has to stick his

entire camera under his jacket to keep it warm.

I wrote an article on this for photo.net. See

http://www.photo.net/japan/camera-buying

 

I bought lots of MF/LF photo gear while living in Japan, shot in

some really difficult-to-get-to exotic (for Japanese residents)

places. A couple of magazines I like are Asahi Camera and

Nippon Camera, which have lots of ads in the back (got my Fuji

G617 from a shop in Osaka through one of those ads :-) ). For

artistic shots, there's Fukei (landscape) magazine (not sure if it's

still in print, but they usually feature high quality photos). You can

find all this stuff in the film level of Yodobashi. The "hon-ten"

(head store) is the best. I think I list instructions on how to get

there (which of the 70+ shinjuku station exits to take) in my

photo.net article. :-) BTW, the Yodobashi Camera hon-ten has a

"pro corner" floor. This is where you want to go. They have most

of the common LF lenses on display, many LF/MF bodies (you

can play with them, too!), etc. For Sinar/Arca Swiss, you need to

go to a different shop since a different distributor handles them.

There's also a gray market shop called Lemon Camera in Ginza.

 

Every march, there's an international pro photo fair in Tokyo

(Ikebukero)....great stuff there, like the Art Pan 6x17/6x12 pan

back for 4x5's (yes! That's 6x17 w/ a 4x5! ...works with 90-180mm

lenses). You can't buy this anywhere overseas, not even Robert

White.

 

--Jim

I don't think there's any less shake from the electromagnetic

shutter. When I was shooting in Grand Teton, one guy next to me

had a GX617. He had the cable release connected to the release

on the lens, not on the body. After taking the exposure, he

pressed the button on the film advance lever and I heard a big

'clunk' just like on my G617. I've shot my G617 both using the

cable on the body and on the copal shutter. At 5x, you can't tell

any difference in sharpness. Maybe at 8x or larger there is

(haven't tested it).

Yeah, something's probably wrong with your lens. It should be

very sharp from macro to infinity. Maybe one of the contacts isn't

making contact or something.

I thought Kornelius was referring to the low-cost EF lenses (or

whatever they're called), the ones that don't use all-metal

components. I know that back in '98 when I bought my second

6008i, Rollei was changing the 80/2.8 planar so the bayonet was

black aluminum. I prefer the chromed brass bayonets and got

one of those.

 

Anyways, if it helps, I have the 40/3.5, 80/2.8, 90/4, 180/2.8, 300/

4, and 1.4x schneider/zeiss lenses, and have used the 55/4.5 tilt-

shift, 110/2 planar, 150/4 tele-xenar, and 60/3.5 curtagon. I also

have a 4x5 (Toyo VX125) w/ 90XL, 150XL, 210 apo symmar, and

300mm lenses. I'd say the closest lens to the 210mm apo

symmar is the 90/4 schneider apo-makro symmar for the Rollei,

both in sharpness and focal length. Of my LF lenses, the 210/5.6

apo symmar is the sharpest (followed closely by the 150 super

symmar aspherical). I, too, like the 210mm focal length over 150,

but when in doubt, I use the 150 since I can crop. With MF,

there's not as much area to crop! (I've been spoiled w/ 4x5 :-) ).

For stuff like weddings, I like the 80/2.8, since it's noticeably

wider than the 90, which is useful for tight spaces. But for

landscape/nature photography, it seems like whenever I have

the 80/2.8, I wish I had the 90 instead. Sometimes, it's lack of

DOF (90/4 stops down one more stop than the 80), sometimes,

its lack of macro, etc. The 90/4 is sharper than the 80/2.8 at all

distances and all apertures. I use the 80/2.8 for star trail shots,

partly because it's 1 stop faster, partly because I don't mind

leaving the less expensive 80 exposed to the elements for

prolonged periods instead of my precious 90.

I tested this lens once in Tokyo. From across a square outside

Shimbashi station (maybe 200 yds) pointed at a maybe 10 story

building, the maximum rise was insufficient to compensate for

converging verticals. For the $7000 USD (at that time), it was

more cost effective to buy a 4x5 system. For that kind of money,

you can get something really nice, like an Ebony titanium 4x5.

My first lenses were a Schneider 90XL and 210 apo symmar. I

later added the 150XL and Nikkor 300M. I think the 210mm is a

great way to go, but you might want something like a 110-

135mm lens, too. I find a 90mm isn't very useful for landscape.

I'd much rather have a 110XL. :-) OTOH, for architecture, 90mm

is a must.

 

What's the max. bellows extension you can get w/ your 4x5? For

portraiture/landscape, I'd probably go 110mm, 210mm, 300mm.

BTW, the 210mm apo symmar is probably the sharpest of my

lenses and the easiest to focus.

You might not be able to advance the film without tripping the

camera body's shutter. On my Fuji G617, I can use either the

copal shutter on the lens or either of the two shutter releases on

the body. If I use the lens shutter release, to shoot the next

frame, I have to release the button on the body so it clicks, then I

can advance the film. Otherwise, the body thinks the exposure

has yet to be made, as there's no communication between the

body and lens.

 

Although the body shutter release makes a loud click sound, I

don't think the shots are any less sharp. I've taken photos both

using the shutter on the lens and on the body (up to 1" speeds,

mostly 1/4"-1/2" though) and the same shot using the body

shutter release and couldn't detect any noticeable difference w/ a

zeiss 5x loupe. Maybe at 10x or more, there is. :-) To be safe, you

can use the release on the lens. BTW, the shutter release on the

lens is good for double exposures.