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As the others have said, this is a rating of the exposure index for the film or paper, using the ASA and the DIN scales. The DIN scale is somewhat antiquated, though you still find older camers that use them (I have a Yashica Electro 35 rangefinder whose film speed dial is marked in ASA and DIN units, and another later model with the dial marked in ASA units, but with a little conversion table between ASA and DIN on the inside of the back).

 

Each number represents a measure of exposure density.

 

The ASA scale doubles with each full stop difference: 50 to 100 to 200 to 400 to 800. You can get 1/3 stop increments here as well, 64 and 80 between 50 and 100, 125 and 160 between 100 and 200, etc.

 

The DIN scale increases by three for each full stop difference: 18 to 21 to 24 26 30. Note the difference between each full stop here: 3. Hence the 1/3 stop increments between DIN numbers are easily found: 19 and 20 between 18 and 21, 22 and 23 between 21 and 24:

 

ASA 50 DIN 18

ASA 64 DIN 19

ASA 80 DIN 20

ASA 100 DIN 21

 

and so on. I find the DIN numbers easier to think in, but ISO adopted ASA as their standard for film speeds.

 

Hope that helps.

I'll echo other's sentiments on the N90s: I love it.

 

I have the Sigma 28-70mm f2.8 EX Aspherical zoom that is wondefully sharp and works great in all nature of situations. I've used it for nature and portrait work. It's a heavy piece of glass to lug around for the day, but a good Op/Tech strap will help there. I used to have a Sigma 24mm wide angle lense as well: I've been really happy with the quality of their optics.

 

The lens I use the most is the Nikon 50mm 1.4D -- very fast, very sharp, and light.

 

By the way, one accessory I think is essential for the N-90s is the vertical grip (MB-10). It makes is so much easier to take vertical shots, and the extra mass is nice (though the extra weight may be an issue.)

 

Enjoy the N90s. It's a great camera.

I'm not sure where your Speed Graphic (how do you like it, by the way, I'm thinking of looking for one) fits. I believe that "medium format" implies the use of roll-film, at least it does to me.

Doug's suggestions regarding protecting the spools from light is a good one. I use "Film-Stor" plastic boxes, available from B&H. They hold 4 rolls of 120 and are nicely opaque.

Keep winding until you lose tension, then wind a little more. The paper backing of the 120 film is going to protect the film on the takeup spool. Open the back and carefully take out the spool, holding it so the paper doesn't unravel. There is a little band that you lick and stick to keep the film from unrolling (though some of the newer Fuji films have a peel and stick glue). Now move the empty spool to the takeup reel and you're set.

To develop your film you only need to be in the dark to load the spool: once it is put in the tank and the top screwed on you can do the rest in the light. Your bathroom will probably work just fine, or get a changing bag (or Photoflex's film changing "room").

 

Then you need the chemicals and a thermometer: you can do the rest on the cheap. Search the B&W Film and Processing group for tips. Also get a good book, like Curtin and Musselman's "Into Your Darkroom Step by Step" or Tom Grimm's "The Basic Darkroom Book" to start your process.

 

The up front cost will be made up in the savings in development.

Assuming the Rolleicord is in good condition and the taking lens is clean, it is a good system to start with. It may be worth seeing if Canon has a manual focus body that takes the lenses you have (I don't know anything about Canon systems, but many Nikon F lenses I use on my N90s will work on an older F manual body). Alternatively look on eBay for an Olympus OM-1 or similar older camera.

 

Anyway, if you want to stay with medium format (which is worth doing), then a Rolleicord is a good start.

 

The Rolleicord takes 120 rollfilm, which is generally cheaper than a 36 exposure roll of 35mm. Of course you only get 15 6x4.5cm or (I think) 12 6x6cm exposures per roll. Processing isn't much more expensive either, especially if you don't have to mail it out. Rarely do I print my medium format negatives or chromes, instead scanning them and manipulating in PhotoShop. But even then the printing costs aren't bad.

 

I don't think that that the Rolleicord has a built-in meter, so you'll have to use the Elan.

 

Your best bet on finding the film adaptor, if you still want it, is to use Google and/or eBay to hunt down a seller.

<p>This is indeed a hard question: without swings and tilts you are not

going to

be able to get the clarity you want. Horseman makes a view-camera

adaptor for Nikon and perhaps some MF bodies, that might help. Some

macro systems (I know Mamiya has one, I expect Bronica does too) have

bellows attachments that offer a variety of swings and tilts. </p>

 

<p>One technique is to bracket your focusing but you may not get the

results

you want, instead you'll have a bunch of chomes with different amounts of

focus: but maybe one will be better than the others. </p>

 

<p>A technique I saw in a British photomag that I want to try is to make a

multiple exposure with different points of focus. You obviously don't get a

sharp image throughout, but you can get an interesting 'dreamy' effect that

is aesthetically pleasant in some subjects. </p>

Better that the equipment go to someone who will appreciate it and use it than to someone who will just let it rot in a closet or cellar. There are objects that belonged to my father that I've saved, and some that I didn't: but I don't consider myself ungrateful for passing them on to someone who can appreciate them for what they are.

Vermont Color Lab will do it, see

 

http://www.vermontcolor.com/mediummain.htm

 

Depending on where you are, you may be able to find a local pro lab that can process 120/220 film. In the Boston area I use Dorian Color Lab in Arlington: they can turn around E-6 and C-41 120 developing in a few hours:

 

http://www.dorianlab.com

 

With regards to medium vs. large format: medium format cameras use roll film: 120 and 220 and generate negatives in the range of 6x4.5 cm, 6.6cm, 6x7cm, 6x9cm, or longer in some panoramic cameras.

 

Large format cameras generally take sheet film in the range 4x5 in, 8x10 in, or 11x14 in. These negatives are huge, requiring less enlargement for printing, and hence generally better enlargements.

I have an N90s and an F100. My primary body is still the N90s (with MF-26 and MB-10).

 

What is it about the F90X that you want to move "up" from? Are any of the extras that you've read about worth the cost of moving up? Could you add an MF-26 back to your F90X and get some of those features (e.g., automatic bracketing?) The meter and autofocus on the F100 are better than the F90, and it is most certainly a sturdier body. I usually shoot landscapes and still-lifes in aperture priority with centre-weighted or spot metering, so focus speed and a studly matrix metering system are less important.

 

One thing that I really like about the F100 is the selectable focus regions, but you can find this in the N80 as well. Auto bracketing and an enhanced meter can be found in that body too, and a feature that I really like in the N80 is the custom feature to show gridlines in the viewfinder: I had to buy a different focusing screen for my N90s to get this functionality.

 

The F100 is a great camera, but so is the N90s. You can get a new N80 for less than the used price of an F100, so if you don't feel the need to have a body you can drive a car over (OK, you have one, perhaps a Humvee) take a look at the N80.

<p>Paula,</p>

 

<p>As with 35mm systems, you want to buy into a system that you can grow with. All of the bodies in the 645 line have interchangable lenses (I don't know if the AF lenses work on the MF bodies, but the MF lenses work with the AF body), and they are plentiful. Go to eBay and <a target="_blank" href="http://search.ebay.com/search/search.dll?cgiurl=http%3A%2F%2Fcgi.ebay.com%2Fws%2F&MfcISAPICommand=GetResult&ht=1&from=R7&ebaytag1=ebayreg&query=Mamiya+645&query2=Mamiya+645&search_option=1&exclude=&category0=293&minPrice=&maxPrice=&ebaytag1code=0&st=&SortProperty=MetaEndSort">search for Mamiya 645</a> lenses and bodies: there is a huge used market. I've bought into the Mamiya family, starting with a 645E (the current packages and rebates make it a great deal). I've already picked up a 150mm lens and a 2x teleconverter, and got a 220 insert through the rebate. I've very happy with it.</p>

 

<p>All of the systems you mentioned, as well as Contax, Fuji, and Rollei make excellent cameras and excellent lenses. I'm a bit of a camera addict, and am also looking at picking up Bronica and Rollei bodies: the Rollei is particularly appealing because of its ability to take a 6x6 back (or to be more accurate I guess, it can take a 6x4.5 back) so you can experiment with the square format, and the rotating back is a plus. Also they recently released an AF body that looks <em>really</em> nice.</p>

 

<p>All in all, I think the Mamiya 645 Pro is a good place to start, if you can afford it: interchangable backs (including digital, should you want to go there), interchangable finders, and greate optics.</p>

 

<p>Good luck.</p>

I have not seen the article you mentioned, but you might want to take a look at the <a href="http://www.lumiquest.com/" target="_blank" title="Lumiquest web site">Lumiquest</a> products.

 

The Photoflex <a href="http://www.photoflex.com/photoflex/index.html?products/default.asp?product=oncamera&1" title="Photoflex site" target="_blank">"on-camera" softbox</a> is pretty cool too: I haven't bought one yet, but I'm thinking seriously about it. They make a 2"x3" softbox that mounts on your flash head: small enough for a camera mounted speedlight. They also have a 12"x16" softbox designed for 'on-camera' speedlights that works when mounted on a bracket.

All 645 manual focus lenses will fit the 645E: the C vs. N designation is related to when the lens barrel was designed: C lenses are older. Optically they should be identical, from what I've read on the Mamiya Users's Forum.

 

I just picked up a used 150mm lens for my 645E from B&H for less than the same lens in the same condition went for on eBay.

 

Enjoy.

I recently moved to MF from 35mm (the current Mamiya 645e packages are a great deal) and love it. The package I bought comes with an 80mm normal lense, and I just picked up a 150mm lens from B&H's used department for less than an identical lense in similar condition sold for on eBay.

 

The difference in image size is wonderful: I shoot a lot of B&W and the larger negative is a godsend for judging the quality of the image. It also makes scanning the negatives a bit easier.

 

As others have pointed out, the aspect ratio of 645 is the same as an 8x10, so you can get a full-frame enlargement.

 

Medium format bodies are bigger than their 35mm counterparts: but lugging around the 645e with its rapid wind grip and 150mm lens isn't much worse than lugging around a Nikon N90s with vertical grip and long lense.

 

One thing to remember when shooting 120 rollfilm: not all labs process it so they will need to send it out. You may need to find a pro lab in your area if you want quick turn around on your negatives/transparencies.

 

Take the plunge!

What messages have you been getting? I almost always use Delta 100 in my Mamiya 645E for landscapes and love the fine grain and tonal range. I have also used Delta 400 and was really surprised with the lack of grain.

 

I also like Kodak's T-Max 100, though I have only shot that in 35mm so I cannot comment on how it works in 120.

 

My suggestion is to try as many films as you can and decide which works best for you.

 

Tom Emerson