joseph_verdesca

I believe that the Ricoh GR-1V (28mm) and GR-21 (21mm) have an electronic cable release port that would allow you to use PocketWizards to trigger them - they are smaller and lighter than the Nikon rigs that you are considering. You can also pre-set the focus at infinity, set the aperture where you want, enjoy AE, etc.

I like the suggestion above - buy at least three of whatever body you end up choosing - the cumulative chance of breakage, droppage, theft, etc. of a camera (irrespective of how simple and reliable it may be) increases over time.

The 120 does much better (IMHO) B&W scans than the Nikon 4000ED (I have both), lacks ICE, has not suffered the banding issues associated with the Nikon 8000 (search the archives), and has proved to be a reliable workhorse that I enjoy using and with respect to which I have had no problems.

Sorry - I just realized we are in the Leica forum - you can probably scratch the backup batteries suggestion

no filter, extra film, backup batteries, shoot many to get one, practice with the camera and film combination beforehand - if possible, at the pool with your son practicing, for example, so that you can spot any errors early

"I'm a proud and happy user of the Canon EOS system of 35mm SLR cameras, they work fine for me. But of recent, especially with portrait shots, they didn't seem to come out right. According to my tutor if Canon made EOS MF's I'd be sorted. But they don't."

 

I would "fix" your shooting with the Canon first - that is, learn what it is with the lighting, composition, exposure, etc. that you do not care for and learn how to make it more to your taste. Whether the shot is captured on 35mm or medium format is merely a question of negative size - if your shots are "not coming out right" in 35mm, they won't come out better in medium format (unless you mean that the shots look good as 8x10s, but are "not coming out right" when you blow them up to 30" x 40"...). I would suggest that you spend the money on film and processing rather than more tools, and spend your time fixing what is "not right" in your technique.

RAM RAM RAM - max it out

You may find some info of use at the end of http://unblinkingeye.com/Articles/Times/D3200/d3200.html

Try http://www.luminous-landscape.com/tutorials/workflow1.shtml

I carry a Ricoh GR-21 (21mm version of the GR-1v). It is extremely portable and a delight to shoot. The AF system is good (no MF, although you can lock it to 2 meters, infinity, or another distance that you set by AF). All important settings (flash, focus (other than if you set a custom distance using the AF), aperture, etc.) remain unchanged when you turn the camera off and on. Unlike the GR-1v, the lens does not retract into the body - thus it is slightly bulkier than the 1v (also twice the price!). Do a search for the GR-1v and the GR-21 in the archives - there are a couple of strings to be found. A common complaint with the GR-21 is that, for the price, you could buy an FE and 20mm Nikon lens and have cash left over. I own and love that same setup, but I can't carry it easily and discretely on my belt - it's just too bulky. If you want small while retaining control of functions, I think you will like the Ricohs.

I would do one of the following: (i) suck it up and take all three, (ii) bring a friend to carry the third, (iii) go with the 40 and 75 for people shots on the streets (400+ film, f/8 or better, hyperfocal focussing, shoot from the hip), (iv) go with the 40 and 150 for perspective shots (especially near-far of people with blurred skyline shot from below, for example) and people shots within the parks (Washington Square, Union Square, perhaps Central Park (although you generally need a longer tele for Central Park)), (v) go with the 75 and 150 for people shots within the parks (especially shot from waist level using the 75 from close range within the crowds), etc. You can't go wrong (other than to not bring the camera, especially medium format, as there are as many persons and things to photograph as there are footsteps on the island).

 

Related tips:

 

Do keep the camera stap wrapped around your wrist at all times, to prevent either the occasional theft attempt or (more frequently) to avoid dropping your investment onto concrete from four feet up when somebody in a hurry jostles you.

 

Do bring B&W film, primarily 400 and 3200 (keep shooting at night! there are lights everywhere).

 

Do not photograph drug dealers or people who look like drug dealers - they tend to get mad (and sometimes get "even").

 

Bring a small camera bag - just big enough for the camera with a "quick" lens (75 or 40) attached, so that you can bring it into action quickly (keep the other lens(es) and accessories in a small backpack) - life moves quickly in the city, as do photo ops.

 

I also vote for bring the digital point-and-shoot - for use in situations in which you would not / cannot haul out the MF (e.g., in a club on the dancefloor).

 

If you just wanted a quick answer (and if you haven't guessed already), I wouldn't leave any of them at home.

Use distilled water to mix your Photo Flo.

If you are into autofocus, want a new lens, are looking for something tighter than a 50mm, and are on a budget, I would opt for the 85mm f/1.8 D-AF.

 

If you are willing to spend more money, carry a larger / heavier lens and still want autofocus and a new lens, I would opt for the 135mm F/2 D-AF DC or 105mm version of the same (depending on your taste in perspective).

 

I would suggest that the 50 f/1.8 D-AF is the best value that one could find in today's Nikkor line (dirt cheap by Nikkor standards coupled with excellent performance), and depending on your vision of portrait photography could be the answer. Not my first choice for solo non-environmental portraits, however.

 

I like AF in 35mm (if I want manual focus and have the time and suitable subject / depth-of-field / lighting combination, I pick up an RZ). Thus, I cannot comment on the MF Nikkor line. I have never been drawn to the non-Nikkor lenses, but that comes more from gut reaction than reasoned thought.

I also have a Bogen 3051 (among others), which I typically use with an auto-dolly (set of quick-locking wheels) to provide a poor-man's studio stand for my RZs. The ability to change height and position quickly is very convenient for studio usage. I would not want to haul it with me, however (there are other tripods better designed for that purpose).

There are several comments on this lens in the archives of photo.net. My own two cents - excellent lens, excellent bokeh, very fast focussing, rather on the large and heavy side - I also happily use the 1.8 version for something smaller, more discrete, lighter, fits better in a camera bag, also very fast, less expensive, etc. If you are on a budget, you should strongly consider the 1.8. If you're not, get both.

There are numerous threads on this topic - search "multicoated filter", for example.

 

The following threads appear to be responsive to one or more of your questions:

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=000Vya

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00014k

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=0001SH

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=000S9w

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=000Hhe

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=000byv

I agree with Donald - the 6x7 Mamiya 7 (has meter) and 6x9 Fuji (has no meter) rangefinders are excellent, very portable (given the size of the negative), reasonably priced in the case of the Fuji 6x9, flexible in terms of interchangeable lenses (in the case of the Mamiya), etc. The rangefinder design also allows use of slower shutter speeds without camera blur from mirror slap.

 

Primary drawbacks are rangefinder design (I prefer SLRs, but everything is a compromise), lack of interchangeable lenses (in the case of the Fuji, and price (in the case of the Mamiya 7).

 

I would suggest that you go and rent these two systems for a weekend or two to get a sense of whether they match your passion. As far as 120 formats go, the sight of a 6x9 Velvia slide is typically even more eye opening than a 6x7 and more closely resembles the 6x4.5 format that you are tending toward (plus gives you an extra cm). Now the 6x17 is another thing altogether...

This does not directly respond to your question, but I would also consider the Fuji GSW690III (or II) with 65mm fixed lens. Advantages - RF design (no mirror slap); larger negative (6x9); sharp lens. A used one should cost you less than a grand. Disadvantages - can't change the lens, RF design (I prefer SLRs from a visceral perspective). Owning both 6x7 and 6x9, I prefer the 6x9 for landscapes.

The question is phrased like a belated April 1 post, but assuming it's not, I would suggest the following:

 

* Think long and hard about going pro - it turns your hobby into work, which tends to make the hobby much less interesting and rewarding.

 

* Fully develop technical skills before going pro. Take more pictures and learn more techniques, particularly use of flash and reflectors. You state that you cannot play around with light outdoors, which is entirely untrue. Perhaps you meant that statement in some other way, but wedding photography outdoors without some sort of fill flash to control shadows is not likely to provie results that most people would be happy with.

 

* Fill out your lighting equipment before buying another camera - if you cannot properly light now (using your 35mm or TLR) your subjects in the situations that you you will need to shoot them (in the church, under the gazebo, in front of the sunset, etc.), you will be better served by buying the necessary lighting equipment (strobes, stands, reflectors) and learning how to use it.

 

* Remember that the answer to most photographic questions has something to do with light and the understanding and control / manipulation thereof by the photographer. Time and money spent learning lighting (including lighting involving no artificial light) will serve you in whatever format (35, 130, LF) or technology (analog / digital) that you use.

 

* All of the above aside, the RZ is a wonderful system that has inspired me to learn more, try more, and do more. The 6x7 negs and slides are wonderful, the tonality that one can pull from them fantastic, etc. The RZ and its lenses are easy to rent (which you should certainly do before buying anything of this price range, including trying out Hassies and other alternatives). But do your homework first - read everything there is to read about the system here in the medium format forum archives (there is a whole folder just for RZ questions and answers) and photo.net - this will take you a while, but will be worthwhile in making your decision.

 

* Buyer beware about e-bay purchases, especialy when you're talking about high value items or delicate optical instruments like medium format cameras.

 

* Robert White is an excellent suggestion - I have bought much RZ equipment from them for great prices with good service.

 

* Don't forget point number 1 above, about thinking long and hard about going pro before you do it.

MF is a world of compromise (so is life, I guess). As a result, I would recommend researching like crazy to get as many perspectives on the variables involved. You may have already done this, but I would also scour the archives for perspectives on several issues, including choice of format (a hotly debated topic, and often entertaining), system expandability, user experiences, and reliability issues.

 

I would opt for a system camera that (i) has lenses available for rent in your city (e.g., Mamiya and Hassy) and (ii) allows for the use of a polaroid back to check lighting configurations.

 

I would rent a variety of systems before buying.

 

As a short answer, I found myself in a similar situation a couple of years ago and opted for 6x7 (Mamiya RZ in my case) to do comparable things. The system is more reasonably priced than Hassy or Rollei, provides a rectangular format with rotating back (which I prefer to square format for my shooting tastes), has better availability of rental lenses and accessories than Bronica, provides a lot of film area (I viscerally prefer looking at 6x7 negatives and slides to those of 6x4.5 - again, a personal taste thing), and has built-in bellows which enhances its macro capabilities. I happened to opt for a 250mm lens (non-APO) with extension tube no. 1 (I like relatively tight headshots - this is about a 135mm equivalent) and the 140mm macro (nice for light-tele shots, with macro as a bonus). The standard 110 lens, which is bright and compact, comes with the package set and is good for travel shots (contrary to some opinions, the RZ is portable). I currently rent the 65mm for wide angles, but intend to buy it in the near future.

 

I, like you, shoot in the studio using a tripod (necessary when using the RZ in full regalia - motor drive, prism finder, 250 lens with extension tube, and compendium lens hood. I have attached a dolly to the tripod, however, and use the Bogen model, the height of all three legs of which is adjustable on the fly. This contraption is essentially a poor man's pedestal stand, but works nicely for portraits.

 

To determine which lenses you should check out, just identify which 35mm lenses you would most like to use in your most frequent shooting situations and find the equivalent in the system camera that you want (the web sites and brochures typically list 35mm equivalent focal lengths).

 

Don't forget a Pocketwizard setup - one wire less to trip over.

 

Look into the CompuScene remote control system for the White Lightnings (depending on which models you have) - it is a great system for pre-setting lighting setups.

 

Feel free to e-mail if you have more specific questions.

Having stayed in Grindelwald and Wengen (both in the Jungfraujoch valleys) and having visited Mürren (also in one of the valleys), I would suggest that you can hardly go wrong in any of them. The views are spectacular and different from each, and all allow you to use teh wonderful mountain train system to go everywhere. Wengen may be the most charming, but I intend on staying in Mürren in August. Grindelwald provides the best views of the Eiger, but the valley, waterfall and mountain views of Wengen and Mürren are more fascinating to me.

A few observations from someone who has spent a fair amount of time and money in photography:

 

* To start with your last statement, the best thing to buy to take your photos to the next level is lots of film (and processing if don't do it yourself). Experience is worth much more to me than Hasselblads and Rolleis and Mamiyas. Perhaps you feel you have reached the limit of your format. Perhaps you are just feeling that photo-buying-bug (Latin name "ifionlyhadahasselbladicouldshootworksofart"). Goodness only knows that I have suffered on numerous occasions from this dreaded disease. My first recommendation is therefore humble bricks of 35mm film. Shoot only one type of film with only one lens until you really feel you have exhausted the possibilities (you haven't, of course, but it sometimes feels that way). There are so many subtleties of exposure, focus, processing and printing. Explore motion, long exposures, infrared, off-camera flash, at-home processing and printing, etc. There are so many ways to make the mundane fascinating and the fascinating mundane. Tuck your EOS with a fixed lens in your briefcase or backpack and take it everywhere, shooting subjects that you have never shot before. All of this will help to bring you to the next level (and there are lots of levels - I don't know where they end), irrespective of whether you're shooting Minox or 8x10. I'm sorry - I'm way off track and wasting Phil's storage space.

 

* If you are still reading, I would suggest you find your photographic focus in terms of primary subject. No camera is optimized for all subjects. I would suggest completely different cameras if your focus was landscape (perhaps large format or a Fuji 6x9), portraiture (perhaps RZ67, RB67, Bronica 6x7, among others, in each case in the most basic configurations) or candids (I'd stick with your EOS and a fast and/or long lens, depending upon your style). If notwithstanding the foregoing you still want one MF camera for all of these and want to stick within $1,500, I would suggest a used system camera (RZ, RB, Hassy, etc. if you can find them in the price range) so that you could later accessorize to accomodate the various subject types.

 

With $1,500 you're very limited in MF land. Spending that money instead on film, coupled with focussed effort on your part, will be much more likely to take you to the "next level" than a new camera.

I have no experience with the Quantum slaves, but bought into PocketWizard a couple of years ago based on the discussions here on photo.net. I have experienced flawless performance from the PocketWizard Plus units (6 of them), albeit primarily in a studio or indoor environment (I have not yet tried any "trigger it from a block away" type of shots like Ellis). They are light, simple and fairly robust. I have just ordered a couple of PocketWizard MultiMax units, in part to try out rear-curtain synch effects using medium format. Having wireless triggering from the new Sekonic light meters (e.g., the 608) is also a pleasure.

I second the recommendation of the Bogen 3051 with a set of dolly wheels. I use the combination for RZ67 studio portrait work. It's quick and mobile while also being stable. I could buy another RZ system for the price difference between this setup and a nice pedastal system. Although a pedestal certainly has its advantages, it doesn't come cheap.

It doesn't sound like we need to start stockpiling roll film yet.