ggriswold

I am hoping that before too long a full sensor, top of the line M body will be made that preserves the usefulness of my Summicrons. This M would have 12-18 Megapixels for stellar enlargements that really let the wonderful optics do their thing. That seems like such a no-brainer-- even if it is not the same form factor as existing M cameras... it surely would beat the clunky DSLR offerings. By not releasing a product like this they are missing an opportunity solely not to anger the small M8 crowd. It is great to promise upgrade paths on a product, but not at the expense of introducing newer and improved technology. I don't think I am alone in wanting a full frame camera that takes M lenses. This goes to a kind of insensitivity to what the users want and prolongs the problems with the M8 going forward. Cut the cord, roll out a M9 and sell some cameras already.

Werner,

That was the sole purpose of my post... to save others the same fate. Maybe I should accept PayPal donations from

everyone who almost bought one of these backs ;).

After doing some legwork and investigating I have purchased a Phase One P21 back refurbished at the factory.

Comes with all new charger, batteries, etc. I have shot and printed square format for a long time, but the P21 is

a newer generation imager that has some benefits. The P20 is square and has the same CCD as the Pro Back Plus--

a great imager but getting a bit long in the tooth. I decided on the P21 because it will have a better support

future and is more commercially viable.

 

I can recommend Capture Integration if you are looking for a medium format back. They are Phase One dealers and

have refurbished and used backs. Best of all you can talk with an experienced sales person who can find a good

fit for you. Everyone at Capture Integration has a deep background in digital technology and can be trusted to

guide your purchasing decisions. I called other firms and did not get anywhere near this level of service and

expertise. Currently (August 2008) Phase One is running some promotions on factory refurbished backs ( one year

warranty). Other promotions may be available depending on when you decide to buy. If you can scrape together

about $6000 you may want to give them a call. They did have some H series backs which have to be tethered for

even less money (no LCD, etc.) If you are ready to buy give them a call or email.

 

www.captureintegration.com Main office in Atlanta is 404-522-7662.

 

George

Also keep in the back of your mind that if/ when you get a digital back you have a 1.3 to 1.5 crop factor. Get what you should have, but I really like the 50 over the 60 for instance. If you get close the 50mm will create odd shapes... check your corners especially with subjects with known shapes (heads, circles etc).

 

Start shooting... buy one at a time.. with an 80 I would skip the 100mm. Once in a while the 100 Planar comes up -- those are really cool.

Dear Forum Readers,

 

I know that lots of us have seen used Kodak Pro Back Plus backs on Ebay and elsewhere. With new backs being so

expensive they are very tempting. When they stop working the real trouble can begin. I always held off the

temptation of buying one of these because the repairs can easily top $4,000. Add the purchase price of $3K-$4K

to a repair and you are very close to a new CFV Hasselblad and certainly a refurbished Phase One P20.

 

Two weeks ago I went ahead and bought a Pro Back Plus because it came from an individual (not a Power Seller

giant) and received a working back a few days later. The back was making really really good images... very exciting.

 

I shot with it for two days and noticed dust under the IR filter. I removed the filter carefully and got the

dust out and replaced the IR filter. I took two test shots and the back was now only making all white frames. I

re-flashed the firmware, powered down, tried a new CF card --- none worked to fix the back.

 

The ONLY place servicing these backs is Midwest Camera in Michigan.... so I sent it off there for a service

estimate at a cost of $149. Midwest was prompt and courteous and came back with a repair estimate of $3850 which

included the replacement of the imager assembly. When they went to order the imager from some division of Kodak

the price had jumped over $900 making the total repair $4750. End of the line for my Pro Back Plus.

 

Turns out there is a known issue with the IR filter latch spring.... it can break sending a piece to float around

inside the back... in my case it shorted out the imager assembly trashing the back essentially. I have used

camera and video gear professionally since 1979 and have never experienced such a catastrophic failure because of

a internal part coming loose. I removed the filter very carefully, but the part let go and cost me a bundle. As

these back get older they are failing more often and in unexpected ways with astronomical repair costs as result.

 

I would send gear to Midwest again and they are not to blame for the high repair cost-- The Kodak image

assemblies can not be repaired on the component level because of several internal calibrations that have to be

set to each specific unit. Kodak has responsibility for abandoning a product line and then punish remaining

customers with predatory repair parts pricing. I took a gamble on a discontinued product and I lost.

 

I share this story to help others avoid the same fate.... save for a newer product that won't leave you high and

dry. If you can find one for less it may be worth it. Another 20-20 hindsight: I would have shipped the back to

Midwest to inspect it and replace the spring, ribbon connector and check it out. They can put a piece of tape

under the spring to hold most of it if it does break or come loose.

 

Respectfully Submitted,

George

I looked for the correct forum for this inquiry and this seemed to be the best fit so here it goes....

 

I just completed a series on an old business in New Orleans, LA. Ed Smith's Stencil Works. In this location for

60 years these shots document the retail and manufacturing here. I am trying to come up with a working title for

the group that will be narrowed down to about 12 shots. When you have time could you kindly look at

my site and suggest a show title? I am stumped and looking for some fresh ideas. I seem to be

bouncing around with shopworn phrases, the obvious and downright didactic.

 

It may be a simple as "Ed Smith's Stencil Works", but that is not very descriptive for someone looking at a flyer

this December when PhotoNOLA 2008 takes place in the first two weeks of December in New Olreans.

 

Sponsored by The New Orleans Photo Alliance some preliminary info can be found here:

http://neworleansphotoalliance.blogspot.com/2008/06/photonola-2008.html

It is a great event here and you may want to come down for a weekend or two for all the events. Just as it is

getting really cold up North come down for some photographic inspiration. It is also warm enough to stroll

around and take some photos too.

 

 

Thank you in advance,

George Griswold

New Orleans, LA

I have had fantastic results with Fuji Acros 100 in Clayton F76+ developer. Shots- www.georgegriswold.com

This debate really comes down to the issue of respect. Respect for the people involved, their homes, their city. I live in Metairie, just outside New Orleans, and have seen the tidal wave of photographers and photographs since Katrina. I work as a freelance video shooter for news and corporate clients and their motives are for the most part no more noble than a photographer who wants to see it for themselves.

 

First off having people coming from the outside to cover this immense disaster (man made at that)has been a good thing. I was not accepting assignments right after I returned because of the things my wife and I had to do. As I told a network news desk, "it is easier to cover someone else's disaster". We did not flood, but her folks had 8 feet of water and we had other friends to help, not to mention our mental health. To that end having fresh spirits coming to document is good.

 

Brooks makes an excellent point about trespassing-- flooded, moldy and ruined; that house is still someone's home. Finding people for permission was impossible, so many entered and took the photographs. I was chased out of the 9th Ward with a full sized video camera while on assignment by some 20 year old males because it made them so angry. I was on the street-- it did not matter to them it was public property, it was their neighborhood. I guess they hit their limit with sight seeing-- screaming-- " where were you before the flood"? Roaming around a city that was dangerous before the storm may be riskier than people realize. I shot TV news in San Francisco for 20 years before I moved here so it was not my first trip into chaos by a long shot, but the anger and desperation was tangible,requiring a sharp eye for not only things to photograph, but situational awareness for people who want to "edit" you.

 

At the end of things most people duplicated the work that the last person did. I don't know how many moldy and sad teddy bears there were in New Orleans, but everyone got a shot of one. This is not a slam against Diana, but shows that when photographers came through here they were struck by a few iconic images and for good reason. So when viewed as a whole most of the Katrina collections show mostly the same thing-- when is the last time you saw a "new" shot of the Golden Gate Bridge?

I decided to seriously pursue post K pictures for a few days and then wrap it up... I got images that I am proud of, but did not lose two years of my life over it. Getting over Katrina became job one, photographs job two and to this day most people here have PTSD. Now when I go out to shoot I am conscious of what mode I am in... if I start seeing Katrina crap I shake it off or bag it for the day.

 

Just my thoughts- no big revelations,

George Griswold

I gave up on a over the shoulder bag for MF. I now use a Think Tank Photo belt system. It is easier to move around and shoot without having a bag swinging. It is also a bit less conspicuous than a bag. The Speed Belt takes the lens cage lens pouches I use a 25 and 35 Lens Cage for Hasselblad 150CF and 60CF lens. The Chimp Cage will hold two 120 backs and some 120 film. Each of these pouches will lock to the belt with a plastic tab so they don't all bunch up. It does not sound like an easy system, but when you shoot all this really works. www.thinktankphoto.com has these products-- you really need to see it in person though.

I have tried the SS tape 2-120 strips together and it was not pretty--- I even did some run-throughs in daylight. Makes a mess-- previous poster was right- you have to get them straight. You could make a small plexi template to line them up, but there goes the battle with dust. I bagged the idea.

I want to vouch for David Odess from personal experience. I located a very hard to find part for a 120 Makro Planar which he agreed to install without the foot dragging you can experience with high end technicians. Try that in a Porsche shop. He can explain what is happening with the repair and takes the time to do it right the first time. There is a wait time, but that is to be expected for personal, competent and cheerful service. I can't imagine a better combination of skill and accountability.

 

I have reworked 5 120 backs for my Hasselblad system, but figured that was a safe learning curve-- worst case I lose some film. When it comes to bodies and lenses I let a pro do the work (with the exception of a dead-ender 500 C/M that I revived). There is a magazine and body repair guide (not just an exploded diagram) on Ebay, but having used both you need to spend some time to really understand the dynamics of the systems involved. For the usual and easy repairs you may luck out with some trial and error. Setting the magazine to space frames 1 and 2 is black magic and very precise. As David points out adjusting a body is not a good idea and I would imagine that very few malfunctions are due to lubrication aging and not every part that moves gets a drop of oil. Bottom Line for the DIY crowd: Lenses, never; Bodies, maybe; Backs, sometimes.

 

There is one small coil spring inside the 500C/M that is under a small round "can"-- if you take that cover off you will be headed to a Buddhist meditation colony or UPS to send it to David Odess. When it comes swirling out you will no doubt say what I did--" S H * T". I was lucky and got it back into its innocent looking enclosure. I have to say when I cracked open the 500 C/M it was a liberating experience, but you will quickly see that there are not a few adjustment points readily seen. The next feeling is, OK what now? That is when the adventure begins....

I always thought if someone designed it, it could be reverse engineered to figure what does what, but these systems are so interrelated it is a tough one. Like a clock, once you know some of the interplay of the gears it gets easier. I am now in the category of "knowing enough to be dangerous" and you never know if removing the next part will plunge you into the depths of despair, like that little can over the spring. It can be fun, but take lots of food and water, turn off the phones, put on the slowest classical music you can stand and sweep the floor before you start.

 

As they say, "good, fast, and cheap" - Pick Two.

Quick Answer: www.david-odess.com

David,

Thank you for David's info-- we have discussed the problem and working on an "elegant" solution. It is great to talk with David-- cares about my problem as though it were his own. Class act.

 

Thanks,

George

I have a 120mm f4 Makro-Planar lens with several really big chips in the rear

element. Don's ask, I got the lens this way and am trying to find a reasonable

way to fix it. I spoke with David Oddess and the rear element must be replaced

as a group (that is how the part comes) , that part is $800. The rest of the

lens is mint and runs like a top. I have blackened the chips and now don't see

any ill effects, but would like to have it the way it is supposed to be.

 

Does anyone have a trashed 120 Makro-Planar or suggestions on where I may look

for a "donor" lens for this rear lens group? Any other ideas are welcome.

 

Thank you in advance,

George Griswold

george@videonow.info

504-831-2009

c-504-874-6535<div></div>

I have a 120mm f4 Makro-Planar lens with several really big chips in the rear

element. Don's ask, I got the lens this way and am trying to find a reasonable

way to fix it. I spoke with David Oddess and the rear element must be replaced

as a group (that is how the part comes) , that part is $800. The rest of the

lens is mint and runs like a top. I have blackened the chips and now don't see

any ill effects, but would like to have it the way it is supposed to be.

 

Does anyone have a trashed 120 Makro-Planar or suggestions on where I may look

for a "donor" lens for this rear lens group? Any other ideas are welcome.<div></div>