james souza

<p>Hello all....<br>

I have been tortured over the last 10 years with various stages of the digital vs film dog fight.....<br>

Now the dust seems to have settled, some of my choices seem to have paid off...<br>

Yearning to become a professional photographer and just before the decent 35mm options began to appear i purchased a ebony 4x5 and a Mamiya 6x7 Pro 1 ( used ) with set of lenses for each..... <br>

I have also been purchasing the Nikon digital options as they have been coming out... d1,d2....d800E<br>

This last d800E i am extremely happy with... really amazing results on screen and on paper...<br>

Now i have an opportunity to do some new work and to get some results in the various professionals areas i dabble in... long story short.... its an opportunity i just would be stupid to miss.<br>

I intend to start work with the Nikon D800E....<br>

Its mostly portrait or fashion work.....<br>

For certain jobs i would like to be able to use the RZ 67 with the new Mamiya-leaf Credo Backs.....<br>

They seem really well designed and well thought out....finally the result we have all been waiting for from a really amazing camera system.... Mamiya has, very thoughtfully made a series of adapters for many film cameras ,medium and large format, to use with the range of old DB´s they have and the new credo 40,60 and 80 backs.<br>

<strong>I am really interested in anyone who has any hands on experience with the RZ 67 Pro 1 and the credo backs....</strong><br>

<strong>Specific questions :</strong><br>

<strong>-Which adapter plate works for this set up ? What cables etc needed ? where should i purchase it ? </strong><br>

<strong>-What lens crop factor will i be dealing with ? ( i know the Credo 60 + 80 are full frame on the native platform camera they were designed for and the Credo 40 has a 1.3 LCF ... just wondering if its the same with the older model RZ set up )</strong><br>

<strong>-Do the old glass Sekor z lenses really work with the Credo DB.... will i get the same or similar results as i would with the new lenses that come designed for this platform...... Is it worth it ?</strong><br>

My plan is to use the Nikon 800E for the smaller faster stuff and when i get decent job or commission which would warranty a larger budget i would rent the credo back to use with my RZ kit ( having already tested and bought all the bits and pieces etc ) <br>

Most importantly..... i think the RZ is one of the most amazing cameras i have worked with..its simple and it gets results... i love the lenses, the top, bokeh and the general feel of the photographs... yes it is harder to use than the 35mm digital slr´s but it brings something very special to the final image....<br>

Maybe its just nostalgia.... fact is... i love the camera... and would love to use it on jobs with an up to date digital back and workflow.<br>

I apologize for the long post.... i think context is important.... i thank you all for your time.<br>

James </p>

<p>Hey all, thinking of starting a small modest print business. The idea is to photograph local landscape and sell prints in local hotels.<br>

I would like to do 10 prints per area : 80x40 cm mineral ink prints on cotton photo rag. Right now i use a place that does amaizing stuff for me but prints that size + postage and packing etc around 100 euros. I dont want to sacrifice quality but i would like to charge 150 euros per print and make 100 euros per print or there abouts :) i also would enjoy the printing process enormously.</p>

<p>Which printer do i need to get to satisfy my needs ? and after the ink + paper + maintenance + work will there be that much of a difference in price per print.</p>

<p>Someone who knows there stuff, please HELP</p>

 

<p>Yup John, i correct it a little in photoshop but it still doesnt cut it, not when you see your transparency perfecty exposed in the center and not so perfectly exposed everywhere else. I like the effect when i shoot black and white but for low light sunset kinda shots it can really throw a spanner in the works especially on tranny.<br>

Soothing words massimo, im gonna go with the 72, thanks.</p>

<p>Yup i guess i wouldn't be too pleased if i bought a new lens and found it had a big nd spot in the middle of it. Sometimes i forget that its not just a magical box we pull these things out of and that a lot of hard work and development over a vast span of professional areas, individuals and time has gone in to improvement of every piece of photographic equipment that exists. Its one of the reasons i use LF to begin with, it makes me stop and think about what im about to shoot rather than just run around snapping at everything.<br>

Thank you Bill and Michael, my wrath has been calmed and my knowledge illuminated, still dont want to fork out 1000 bucks for the two filters.<br>

Second hand does´nt inspire too much confidence in this case.<br>

The quest continues.......</p>

<p>By the skin of the teeth they are indeed Bob, they are indeed.</p>

<p>Thanks Michael, <br>

It seems to come down to the one filter then, at least to begin with, it seems doubtful that i will find substancially cheaper versions of something so specificlly tuned to a product. I still think its pricey for something that ultimatley should be corrected or come with the lens when purchased.<br>

Any ideas why the loss of light is not corrected or why the lens comes without its center filter from stock, surely its a "faulty" product ? It almost seems like a trap to fork out extra bucks ?<br>

Thanks again Michael.</p>

<p>i´ll bet they do at that bloody price.<br>

Thanks anyways bob :)</p>

<p>Hey all,<br>

After using the schneider 72mm and the 90mm on a 4x5 for a couple of years now, i have finally felt the need for a center filter. To begin with i rather enjoyed the fall out, but ive gotten to the point where i want the perfect exposure all over the neg not just in the middle,blah blah.<br>

BUT! Seriously 350 smakaroonies ($) for a schneider center filter is a bit much.( and it seems like i need two ) The damm lenses werent exactly cheap in the first place.<br>

I once again call upon the deep pool of collective knowlage to humbly ask if there are any alternatives to the original filters??? and if so do they work?? or am i still better off paying stupid money for the real deal ? cheap is expensive etc.<br>

I patiently await your answers with hammer hovering over piggy bank<br>

Thanks<br>

james</p>

<p>Check "ladislav Kamarad" site out, in particular : <a href="http://www.horolezec.cz/blog-engl/index.php?action=item&itemid=5">http://www.horolezec.cz/blog-engl/index.php?action=item&itemid=5</a><br>

Very interesting stuff. Flat Film = Amazing Prints. In the cam as well as in the scan.<br>

Enjoy</p>

<p>Check "ladislav Kamarad" site out, in particular : <a href="http://www.horolezec.cz/blog-engl/index.php?action=item&itemid=5">http://www.horolezec.cz/blog-engl/index.php?action=item&itemid=5</a><br>

Very interesting stuff. Flat Film = Amazing Prints. In the cam as well as in the scan.<br>

Enjoy</p>

<p>and another</p><div></div>

<p>Another pic</p><div></div>

<p>Hey lydia, ive done something similar as that which you are planning, i used an ebony 4x5 with a 150 mm schneider lens to do a series of portraits and printed them at 2m high x 80 cm wide.<br /> Film wise i used Kodak T max 100 iso and also Polaroid 55 ( print + negative) for proofing and in the end for a couple of the final prints. Because of the final format requierd i used a 6x12 back (instead of 4x5 sheets) to save on film and developing costs. I sent them off to be developed and the final choices drumscanned. (place called fotosintesis in Madrid).<br /> I lit my subjects with a profoto beauty dish with another flash as a strong backlight contra. I was neither experienced with the camera or large prints, i shot aprox ten shots per subject, using marks and a stand in (friend/asistant) to focus, once your ready to shoot, making sure your subject stays within your marks its quite easy and enjoyable to snap the right moment as and when you see it. I recomend some sort of proofing (polaroid,instant fuji, or a dslr as a rough guide)<br /> When it came to the prints, i asked the lab a lot of questions about the right printing process and paper to use for the type of photograph, format and situation where the prints were to be exhibited. i did a lot of work on the scan, cleaning spots,dust etc i even messed around with the grain type filters in photoshop, interpolated a little etc. I recomend getting some tests done before the final print, but basically i put myself in the hands of a profesional lab and hung around making a nussance of myself and really learned a lot about the whole process. That size print is not cheap so you can and will get a lot of help if you ask for it.<br /> The final results were amazing (for my standards) i wouldnt say they were razorsharp, no, but they were stunning, yes there was grain,but with ambient lighting and conditions, and a good four steps back they were great. I had never seen my work that big and i was blown away. I apologize for not giving you precise info about the whole process, ive a terrible memory for detail, what im trying to say is that the bigger and better quality neg or digital file you can capture of your subjects the better, and then find someone who knows what they are doing to help you with the print process, if you dont know now, you sure will by the end of it. Here are a couple of modest pics of the final product of some of my prints, you cant see much what with reflections etc but you can get an idea. If you have any detailed questions i can retreive the info for you. Good luck</p><div></div>

<p>GARY,<br>

IF YOU TAKE THE 4X5 YOU WILL TAKE 4X5 PHOTOGRAPGHS (Maybe you will get 10 prints in the 10 days, who knows)<br>

IF YOU TAKE THE CANON YOU WILL TAKE LOTS OF DSLR PHOTOGRAPHS<br>

There is a world of difference to the two systems. But with the 4x5 you will be forced to make very carefull desicions with regard to every aspect of your photographs and trip, it will be harder and at times extremely frustrating but if you manage to get your shot you will be all the more extatic for it.<br>

TAKE THE HIGH ROAD SIR, TAKE THE HIGH ROAD.</p>

<p>Thanks Guys, keep in comming, Rodrigo, i guess it does depend on where and how you will be viewing them, its like Bruce says, its gonna come down to the individual´s standard. I agree with john about the film holder thing, i normally tape my sildes directly to the glass of the scanner, the wet mount sounds like it could work but maybe a bit messy?? ( so that was what that funny bit of plastic was for )<br>

Two questions :<br>

if i did want to step it up, which scanner and software should i go with?????? (and yes cost is an issue)<br>

And if i ask my lab to do a drum scan for me what paramaters should i give them or what output an type of scan should i ask for. (what do i need to know to make sure im getting what i pay for) ???<br>

Thanks all</p>

<p>Hi all,<br>

im shooting 4x5 and 120 (6x12) velvia, scanning on a epson v750 pro, basic silverfast software + PS CS2<br>

I would like to print from 120cm up to 240cm, am i mad ?<br>

also while ive got your attention;<br>

Does anybody rate the multi exposure scan tecnique from silverfast and will it work well with photoshop to process the 48 HDR files?<br>

Ive had a go, but it has been quite frustrating (fiddly) with no positive results, does anybody use this tecnique to achieve decent dynamic range from scanned film???? and is it worth all the faffing about????<br>

Again, i thank you all for your combined wisdom and prevailing wit.</p>

<p> </p>

<p>Hey all, <br>

Ive got a few cameras, 35mm, dslr´s, 6x7 and a 4x5. I have a modest amount of hands on experience not to bright on the tech stuff, but i get by. I shoot landscapes, architecture and portraits. I feel the need to have equipment that will cover most situations in these areas, so i like a broad range of creative possibilities both off and on camera. I love my 4x5 view camera (Ebony Su245) with lenses 72,90,150,210 & 250.(looove it) But got to go digtal (you know how it is).<br>

Im looking for a high end digital system that will give me the same kind of relationship i have with the 4x5 and that as and when needed i can switch the digital back to a camera that offers more portable and versatile options (viewfinder ?, handheld ?, reflex viewer?) In short i suppose i want it all.<br>

Any ideas?<br>

Ive been looking at Alpa, not totally convinced though, bloody pricey.<br>

The Phaseone/Mamiya looks promising as a handheld option.<br>

Anything? Anyone?<br>

I humbly await your knowledge </p>

<p>Your a dude Michael, sounds great, i havn´t checked it out yet (about to right now)<br>

Have you used it ?<br>

Whats it like ?<br>

Heres the big question; Do you think it will last ?<br>

Thanks again for the post, really appreciated.<br>

James</p>

 

Hmm, trouble is Paul without a net, if you fall you will break your neck. I just dont think its profesional to shoot with out

proofs, sure you can slip in a digital slr but its not the same, i want to check the effect my camera movments are having on

the subject, unwanted flares from tight lighting etc. i also want to show my subject something and the client. But above all i

just think there really cool.

Thanks Michael, your past explanations on the forum were the source of my original information, yup and your right about

Japan

 

http://images.google.com/imgres?imgurl=http://www.unicircuits.com/shop/images/quickload-holder.jpeg&imgrefurl=http://

www.unicircuits.com/shop/index.php?

cPath=22&h=250&w=250&sz=22&hl=en&start=6&um=1&tbnid=GEXSV0M8-4FzrM:&tbnh=111&tbnw=111&prev=/images?

q=fuji+instant+holder+pa+45&um=1&hl=en&sa=N

Can anyone confirm that the fuji instant film 100B 45 Super can be used in the Fuji instant film holder PA-45

Cant seem to find anywhere that actually says so, it seems like it, but just to be sure

 

Tanks

Thanks John, seems like a continuing solution, id probably go with the FP- 100 c45 for proofing then just shoot some T-

Max.

 

So lets see if ive got this right,

 

The Fuji film PA- 45 instant peel- apart pack film holder uses Fuji FP-100 C45 instant color film and the Fuji 3000B

instant B&W film ( that seems to be the lot for 4x5 instant from fuji) , the PA-45 seems to be compatible withe most view

cameras, amogst them the ebony. So i seem to have sorted the proofing problem, but surley fuji must sell a B&W

instant film that doesnt have such a high sensetivity, i mean they must do a 100B for this holder for sure, mabye in Asia

? anybody?

Thanks Guys, keep it comming, although i fear doom is inevitable.

I really really liked that film.

It was great i had a great guide line to see if i was shooting straight and also i had a quick gift to give to my subjects,

they would treasure them so, its really handy shooting street stuff as soon as you give a print away the whole street

wants there picture taken.

You also new when you had it in the bag, freeing you to try slightly more courageous stuff, like i said before i have

printed many a polaroid rather than the neg that was shot of the same subject. What a shame.

it seems like its all disapearing rather too quickly, will film suffer the same fate, even faster than we predicted? or will it

live on like vinyl ?

 

oh for the earlier mentioned aplication which of the remanding polas should i go with? The sepia sounds fun and moody,

anyone kn ow the stuff well?

 

Thanks all, i wish we do this in a pub.

Hey all,

 

Im pretty sure there isnt but, is there?

 

And if there isnt ,how about a B&W instant sheet film 4x5 that is still be made even if it doesnt give you a neg.

 

Im doing a series of Cancer Charity Portraits that will be eventuly made into a calendar, using nice large prints of each shot to exhibit and

generate intrest for buying the calendar,raise money etc. Ive chosen large format because hopefully it will add to the "specialness" of the

project and also generate more intrest in and around the exhibition and hence more cash for the charity.

 

Im used to doing portraits on an Ebony SV45 U2, i normally can get away with 2 or 3 polaroids (55) and aprox 10 sheets of T-max, system

works fine giving me enough shots to choose from, plus the garantee of the polaroid that im on the right track, more than a lot of the time i

find myself printing the first shot from the polaroid, but i still dont really want to shoot blind so to speak, not with portraits and especially

not for a commision.

 

Any bright ideas or infinite knowlage shall be well apreciated. You can also ridicule me, i can handle it.

 

Thanks Guys n Gals

 

James

Hi David, my name is James Souza, i have a small stills service company in Marbella Spain,

i have been a location Scout/Manager for 10 years now over the whole of Spain, i have a

huge network of contacts throughout Spain.

 

I would think you would get more for your money in Buenos Aires or there abouts,

however i could organize something for you directly with a couple of casting directors

down here in Andalucia(cheaper than Madrid)

or maybe put you in contact with a colleuge in Madrid.

(it really depends on the details and your spesific needs)

 

Either or, drop me a line or give me a call, im sure i can help you in some way.