paulrumohr

Don't take your 22 mega pixel back to the beach or to the desert if the wind kicks up, or if

you get a bizarre phenomenon called RAIN.

I can afford the $700 repair and CLA bill to my hasselblad bodies and lenses from my last

commercial shoot, but am not quite sure I can afford the repair the repair bill to the $30K

back.

I use Rayovac's 15 minute recharegables available at Best Buy and Toys R' Us in my F100.

It's $40 for the charger with 2 AAs and then $14 for 4AAs afterward.

�15 minute recharges

�1000 Recharges

�2000 mA (powerful)

Awesome performance in the F100.

Any suggestions how to connect a QFlash unit directly to the cold shoe of a PM45? I

believe the QFlash units come only with only a 1/4 20 mounting hole for use with a

bracket like stroboframe.

I'd like to mount the unit the same way the Hasselblad DFlash 40 mounts- directly to the

prism. Can't find an adapter/accessory to do this directly from Quantum.

Know anyone who does this? Do you? Any suggestions besides black gaffer?

Hmm,

What were you planning to do with film, Andreas?

I have the holder and it's great. However, you're still limited to the scan quality of a

flat bed.

Why would Canon put these sync limits in their manuals?

I have never seen a camera have TWO sync speeds- one for on-camera flash units and

another for studio strobes!

After reading the downloadable PDFs I noticed the sync speeds for the Canon EOS 1DS

and 10D are only 1/125 and 1/60, respectively, with studio strobes (described as

large studio packs in the manual).

Anyone know why? This limitation could certainly put the kabosh on these if you were

using something like a Pro 7B or Hensel on location.

Sometimes you might want to darken the background or sky to bring it into the shot,

and may need more than the 550EX to do it.

I am looking into leasing a DSLR system with accessories and high end laptop. I think

this is the only way I can do it without charging up all my credit cards to the max. I

can ammortize the cost of the system over the period of time I plan to use it, and

make the lease payments tax deductible. And dump it when the lease is done and the

system is worthless.

I think this is a good idea. From my personal experience with the plummeting price

on the Nikon D1X I use to own, I have no illusions that the EOS 1DS system I'm about

to get into will be worth anything at all in 3 years.

It's so strange. I always thought that one of the rewards of making it in photography

was to own a system (or systems) outright that you had put together over time.

If the process of making images changes in step with Moore's law, I may never own a

camera again.

I will just have a lease payment in perpetuity.

One of the things I have noticed about the whole issue of the film digital thing is how

it is f***ing with my head.

Whenever I think of shooting for myself or for a client, the first thing I think of is HOW

I'm going to do it (ie film or digital). Well I can save money here, but lose time there-

the client wants it fast, the client doesn't want it fast- the client can't handle digital

files even though they're asking for it...

My head is so preoccupied with the techy crap I have analysis paralysis. It's amazing I

can even get it together to get out every day and actually take pictures. Who would

have ever thought I would look into my Hassy case and wonder if I had the right tools

for a photo assignment!

I don't believe you can do everything with the Graphire in PS7 that you can do with the

Intuous II. I purchased the Graphire first and returned it after I realized the limited

functionality in Photoshop.

I wanted to save the $100 too- but Wacom knows what it's doing. no one would by

the Graphire if it had the exact same functionality as Intuous. As it turns out, you

need to pay the premium to get the most out of the tablet and Photoshop.

Call Wacom and talk to someone in sales. They will tell you the differences.

Actually one of the thing that bugs me most about switching is losing the visual

characteristics of my medium format lenses (perspective, depth of field

characteristics, working distances to subjects). I spent a lot of time (years) trying to

put together the lenses I have now and I like the way my current lenses "see" the

world.

Sigh. I'm going to go and try to give my brain some rest.

I guess I'm saying I'd like some honest non-commercial feedback from shooters who

have also shot film for some time, hopefully commercially.

Sorry- I have no idea what I actually meant by this. I will try working on some

cohesive thinking before posting in the future.

Many of you have shot with the EOS 1DS this year and your posts are greatly

appreciated. I am still reading through them very carefully.

I'm toying with the idea of trading my Hasselblad system for a Canon EOS 1DS System.

I unfortunately do not have the financial power to own both, so this is a difficult

choice. I have many other working photographer friends who have told me that their

clients will require them to be completely digital before the end of the year

(Nordstroms, Eddie Bauer, JC Penny's).

I am shooting for two clients presently with medium format. One has complained

about the inconvenience of having to scan film but the other is not showing any

particular preference to going digital.

Most of this work is catalog. One of the art directors loves to crop severely- he's old

school and would never actually think of trusting the photographer to do the crop! :-)

This makes we worry a little, because he presently likes Minox sized crops from my

2 1/4, and the EOS 1DS may not cut it, unless we have a serious discussion about his

compulsion.

I was planning on an EOS 1DS System and Capture One DSLR for workflow. I use the

ColorVision products for color management on a dual G4 Powermac.

I like the EOS 1DS for obvious reasons (price, portability, versatility, untethered

shooting, weathersealing, battery power, EF lenses, etc.).

I would like to get your current opinion about the quality of the images produced

from the EOS 1DS RAW files. The ones I've seen on the net seem pretty good, but I

don't know how much tweaking they've been through. I guess I'm saying I'd like some

honest non-commercial feedback from shooters who have also shot film for some

time, hopefully commercially.

One of my major peeves with the D1X was RAW processing time. Could someone give

me some current feedback on what workflow is like with Capture One DSLR and

Panther OSX? I'm finding it very hard to find RAW conversion processing times for this

product, so if anybody has a good link to some real world testing for this product, I'd

love to know.

I'd also like to know if CCD based MF digital backs look astronomically better to you

than the CMOS based EOS 1DS. And speaking of the CCD- less dust with CMOS?

True? Or are you guys packing sensor swabs and Eclipse solution all the time?

And here's a fantastic reverse question- what do you believe one loses by giving up

medium format for digital?

I asked this same question before getting mine. The person I asked responded that

after I got used to the tablet, using a mouse would feel like I was wearing a baseball

glove when working in PS.

This turned out to be totally true. When you first use the pen, you may feel very little

control. But you will realize that this is because it is OFFERING you much more control

than you ever had with a mouse.

May I recommend the 4X5 Intuous 2 if you will be retouching photos? Because of it's

small size it also works better than a mouse for getting around your computer's

desktop when you're not in PS.

Most people feel that if they are SERIOUS photographers, they need to get

AT LEAST a 6X8. Who would ever get the small one?

However, this is one of those instances where the small (4X5) does better than even

the medium or large. If you are an illustrator and plan to do some drawing then get

the larger size, but if not the 4X5 is PERFECT.

I had a poor experience with the Artixscan 120tf. YMMV. But read my post and the

responses to it if you like.

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=005nzK

I think the confusion may be that Sony claims the Artisan's default color space is

Adobe RGB which means...

Well, actually it doesn't mean anything. While Adobe RGB is a theoretical mapped out

color space with a really large gamut great for many things, it is alas not a monitor

profile.

The best thing I can figure is that they can suck in graphic artists and photographers

who are kind of new to the color management scene to buy their Artsan monitor

because it's "Adobe RGB". Or maybe they are suggesting that their monitors show

"more" of the Adobe RGB color space "more" accurately.

It's probably all hooey anyway. If I'm wrong, please let me know. But I still believe

you gotta make your own profile using a monitor profiling package and avoid the

canned ones.

To the original poster I would recommend reading the color management chapter in

Adobe Photoshop 7 for Photographers by Martin Evening for some clarity on all the

confusing profiles you are looking at.

Can anyone see an advantage to purchasing both a 180mm f4 and a 250mm f/5.6 vs.

getting a 180 and a 1.4 Teleconverter?

Besides having to remember the 1-stop loss when manually metering...

I am wondering if this might be the reason that the 250's seem so reasonably priced

used.

Looks good. I'm ordering one of these holders today.

It's so funny that sometimes a company doesn't really think about what it's doing and

includes something like a combo 120/4X5 film holder that won't do MF strips.

Thank goodness there are third parties who still have good ideas to fix dumb design.

Do a search on "bokeh".

In addition to all of the other things we have to worry about with respect to lenses (i.e.

how sharp and contrasty they are, lens color, handling) there is another concern- how

the "out of focus"/OOF parts or bokeh looks.

If you were shooting wide open at f/4, you would have gotten probably much better

OOF. If you were stopped down, the 5 blades of your Hassy 120's prontor shutter will

have caused really nasty looking OOF tree branches and foliage.

Bummer, huh? You have a hot smoking studio portrait lens- but take it outside and ...

You should know that some people can't see bad bokeh at all. There will be others

who respond to this post (as they have before) suggesting that bokeh is minutia. This

may be true too some extent, but it seems to have bothered YOU enough to ask the

question in a non-bokeh thread in this forum!

the shadow detail was incredible ... the back is able to do 14 f-stops which means you

can photograph someone under a tree in shade, have bright sunlight above the tree

and everything looks good ...

Does 14 stops qualify for a manufacturer's wet dream?

There's an accessory level that fits on the left side of your hassy body that should help you

level.

Will Kodak be continue it's winning trend with products like their EOS-1DS killer, the DC-

14N? With it's low noise and rock solid construction, I'm sure products like this are

integral in Kodak's strategy. Or how about that new digital back whose blue channel looks

like bad reception from a 1950's Black and White TV set?

Or perhaps the $1000 dye sub printers designed to slay the crappy Epson, Canon and HP

photo printers? I mean, EVERYONE knows that no one buys from the poor selection of

miserable papers Epson, Canon and HP offers, and everyone knows the future of ink and

paper expendables is Kodak.

I know! Kodak is planning to crush it's competitors with it's consumer digital cameras,

that are clearly superior to Canon, Nikon, Sony and Olympus' current offerings. Afterall,

who can even remember the brands of Coolpix or Powershot, when the ubiquitous Kodak

LS443 and DX499 just roll off consumers' tongues like hot butter.

Kodak is so behind it isn't even funny. I REALLY MEAN IT. The release is such a joke- to

me it's not so much about a change of focus as the realization of a huge mistake- Kodak

has been asleep for the last 10 years and they have been run over.

I've heard they want 1/800 second leaf shutters in the new Contax lenses to compete with

the H1!

But that's all I know, besides that one is in development...