chris_laudermilk

I think David got right to the heart of it. The amazingly low prices of old film gear has made that gear both available and visible to a larger pool of users than ever before. I'm one of them. Because of the low prices, I've been able to enter the MF world. Unlike David's expectations, I've found it a revelation and am enjoying using the gear so much, I've both expanded the original rig, and am looking at delving deeper; I started with a 645, now looking to a 6x7 and folder.

I'd also say ask the seller to be sure.

 

That said, I have the 645Pro and WG401 grip. It does cover the multi exposure switch, but has a switch on the grip that actuates the body switch, so it still works.

Sounds like you've earned your last name! LOL :D

I certainly don't treat my Mamiya any different when I'm carrying it around. I would think these MF systems should be able to take more abuse than your typical consumer (D)SLR or P&S since they were intended for pros & meant for heavy use.

Just as a reality check on the Mamiya prices, if you go through KEH & get all BGN parts, you can get a 645Pro rig ready to shoot for about $350. That's what I did, and the camera works perfectly. Sure it doesn't look brand new, but it's in great shape where it counts. The pieces I got were a 645Pro body with WG402, non-metered prism, 120 back, and 80/2.8 N lens. I've since added the manual crank & WLF and am still under $400 total.

Not distortion, vignetting.

 

Having used both the Tokina & Canon, IMHO the two are equals as far as the final image goes. You just have to decide if the 10-12mm range is worth $100-150. Both are excellent lenses.

Boy, I though I was jumping in quick! Still have to get to developing myself & get a better scanner.

 

Nice first attempt. Don't you just love the camera & that film? :D

I've used framedestination before. Nice stuff (I've mainly ordered the metal frames) and the owner is a photographer himself. They should be able to help.

There's lots of place in LA/OC. Samy's and Calumet ought ot be able to handle it too. Down here in OC, I use Irvine Pro Photo.

 

A Mamiya 645 would be a fine place to start. I'm having a ball with my 645Pro rig. It does slow you down. So far I've had Samy's or Pro Photo develop all my film, then I scan & go digital from there. I'm about set up to do all my own B&W developing & leave the color to the labs.

There is no "winner" here. The optics are both excellent (see here: http://www.photozone.de/8Reviews/index.html -- so close that the differences are meaningless). They are two different tools for two different jobs. For *my* needs the 24-70 is the clear winner, for others the reverse might be true.

 

Sounds like you got some soft copies, or your 24-105 is exceptionally sharp.

Like the others, it seems to me that the 24-70/2.8L is the perfect candidate for what you are looking for. It's my mid-range zoom & spends the majority of its time on my 20D.

 

If you decide to swap out the 17-40 for a wider lens, I'd say look more at the Canon 10-22/3.5-4.5 or Tokina 12-24/4. I have the latter & that combined with the 24-70 and my 70-200/2.8L makes a nice 3-lens kit covering most of my needs.

While the TLRs are always recommended as they are quite cheap, I opted for the 645 as it handles very much like the familiar 35mm SLR. I have not regretted that so far.

Gotta keep a closer eye there. Looks like 2 up right now.

Before purchasing my own lens, I borrowed rented 70-200/2.8IS lenses for a while. Now that I have the non-IS lens I don't miss the IS at all. I shoot mainly dance stage shows, so low light with quick movement--IS is of no help there. What you are planning on using the lens for, I'd say save the money. Oh, and I cannot tell any weight difference between them, both f2.8 lenses are heavy.

I have used the IS version a lot--several loaner & rental copies & now own the non-IS. My lens is sharper than any of he IS ones I have used. So, from my experience the common wisdom and photozone tests are correct.

 

For sports the IS is pointless anyway, so you might want to go the non-IS route.

 

As for TCs on a 70-200, I don't bother. I have seen examples showing it can work under optimum lighting conditions; but if you have to open the lens up, my experience is that IQ falls off so rapidly it's not worth it.

"The 645 Super, Pro and ProTL take the new style prisms. A waistlevel is available but uncommon."

 

You're telling me! I've been watching for a while now & nothing has shown up. :(

The 401 has a mechanical shutter release port in the release button, the 402 does not. Also the 401 has a port for the leaf shutter lens interface cables which the 402 is missing. The 401 on/off switch has a "load" position to load up a new roll of film--don't know if the 402 does that or not.

I agree that the OP must be tongue-in-cheek...if not, stop smoking whatever it is, 'cause drugs are bad, mmmkay? ;)

 

Read up on some of the Holga fan sites...the whole point is the unpredictable artsy results. If you want to play with that, it's less than $20 plus a roll of film to try, otherwise don't worry about it. I'm sure enjoying mine; half the fun is whipping out a $20 POS to grab a frame or two with $10k of digital gear hanging off the other shoulder (the "WTF?" looks are priceless).

 

Besides, anyone using more 120 film has to be a good thing, it helps convince the manufacturers to keep producing it--right?

David, I may be one of those "enthusiasts" you fear, at least in some way. I did indeed purchase my MF rig due to the stunningly low cost and the standard hobbyist dream of playing with MF. However, not only do I have a light meter (actually owned it beforehand for studio use with--gasp--my DSLR), but know how to use it. This rig might get a digital back one day, there are a few available, but it's main purpose is to use film. The more I play with various films, the more I'm leaning towards sticking with a couple of B&W emulsions. Even with using the low-budget borrowed gear to digitize what I have so far, there is a difference; enough that I plan to get a decent scanner to go with the very nice printer I now have. If/when the body breaks? I'll fix it or buy another to replace it, the MF rig is simply too much fun to use to let such a small hurdle stop the whole show. In fact, I've already expanded with a Holga for fun, and am looking at older refurbed folder cameras. It's a whole different kind of photography that I find very appealing. So, I intend to keep using film so long as I can get it; happily some of my emerging favorites are Fuji & Ilford. I know my attitude is not unique as I've seen many people traveling the same path as I have in recent months.

Well, that's an imaginative way of saying you're not happy with your lens. ;)

 

Let's see, a 10-22 at the wide end and a 70-200 at the tele end. Seems to me like the 24-70 is a perfect fit. In fact I know so: my bag has a 12-24, 24-70, and 70-200. The 24-70 is what started me on the slippery road of L-coholism. :D It's a brick, but does its job very well.

First of all, like others have said, slim is not necessary--I've used a normal CPL on my 12-24 & 20D with no vignetting. I'd suggest the B+W MRC CPL, or better yet, the Kaesemann version. Take a look at hvstar.net --prices are less than half of what you're looking at for a better filter.

It's probably largely a matter of personal taste. I am perfectly happy with the viewfinder on my 20D. I spent this last weekend shooting with a loaner 1Ds Mk II (drool), and had the viewfinder debate in the back of my mind the whole time. One overriding thought was "what's the big deal?" Personally I didn't see much difference beyond the scale of the information indicators (and the more comprehensive information). After spending three days jumping from one body to the other, to me it's a non-issue. One caveat though--I have the EP-EX15 extender (lens removed) and a KatzEye focus screen on my 20D.

I'm not sure exactly how your device works, but here is how I use my HD80. I connect & transfer the files (I use Downloader Pro--automates much of the process). Once I've verified all the files are safely copied to the main PC drive, I format the drive in the HD80. It's quicker & cleaner than deleting.

Looks like a good combo to me. My own is the same 12-24, then Canon's renowned 24-70 and 70-200/2.8. I've used the 70-200/4 and it's just as good as you'd expect from its reputation. Oh, and the 50/1.8 Mk I, which is still a deal.

I would be another of those the OP spoke of. Now that many MF rigs are cheap enough, I finally have been able to buy a Mamiya for myself. It seems to me there are many like myself and Francesco & that should keep film going for a while--hasn't there been news of some emulsions getting reintroduced due to increased interest?