mats_tegmark

Here is a question that I have thought about during the last year or so: With the recent developments in MF systems, such as the new Pentax 645N and the new Fuji 645's, are the arguments for 35mm artistic and journalistic freedom now obsolete? There has been a lot of discussion on this forum whether or not it is justifiable to use 35mm equipment when documenting weddings. The people defending 35mm say they need the zoom, autofocus, motor drive, autoexposure, TTL flash mode, etc. to be able to catch the moment. Well, can't we do that now with MF? Of course there still are a number of arguments for 35mm, such as price, film availability, fast develpment and printing services, ease of projecting transparancies. But then it struck me, are these features that a pro or advanced amateur will miss? The customers pay for the film, which we will have ordered in advance, and then have processed and printed at a professional lab, unless we do it ourselsves. Longer rolls of film for 35mm? Well, with 220 film in a 645 camera you get 32 exposures.

I'm not an autofocus man myself. The only AF camera I have is a Konica Hexar. So that's why I'm interested in what you guys think. Has MF caught up with 35mm when it comes to ease of handling and artistic and journalistic freedom? If so, why do photographers aiming for hight quality prints still use the small negative?

No, I haven't heard anything yet. But this is exactly what I'm waiting

for - a TTL-prism with optional spot and segment metering, and why not

throw in an exposure compensation feature while they're at it. Let's

wait and hope.

/Mats

Chad, you have received some good answers to this apparently eternal

question. What irritates me, however, is that people always single out

the Pentax 67 as the SLR camera with the intolerable mirror slap. They

seem to forget that also all the Hasselblads, the Mamyia 645 and 67,

the Bronicas, etc. are also cameras with large mirrors. Hence, if you

do hand-held photography, also these cameras will produce noise and

vibrations. Whether the camera is using a leaf or a focal plane shutter

is of little importance in hand-held photography. The difference - at

least in my opinion - is that the P67 is much easier and quicker to

handle at eye level.

Then there is the issue of flash photography. I have no leaf-

shutter lenses for my Pentax, and I have had no problems with studio

work. As one never uses apertures below 8 in a studio (the d.o.f. is

short enough anyway with a 6x7) the ambient light is never strong

enough to create problems, not even when I use modeling lights. Even my

constantly moving son is freezed by the studio flash.

The final issue is portraiture outdoors, what I do most of the

time with my Pentax, and the main reason why people shun the P67. Most

of the time flash isn't needed, and I try to avoid it as much as

possible as it, IMO, creates an artificial look. If I have problems

with dark eyes I simply spread a large white sheet in front of the

model's feet, or use a hand-held reflector, methods which gives me much

more control over the lighting. In some cases where reflectors are

difficult to use, as in a large group portrait, e.g., I h-a-v-e used

flash at 1/30 sek. with good results. People tend to stand still in

large groups, and my camera is always on a tripod. In sum, I believe the

P67 forces you to become a better photographer as you learn to work

with ambient and reflected light (use MLU as much as possible). No flash

can beat a natural large reflector, such as a light church wall, or a

white beach.

For these reasons I sold the Hasselblad that I had bought as a

complement to my P67, and I haven't missed it. If I ever need a

complement in MF I use my TLR, no noise or vibrations there, and flash

synch at all speeds!

<p>

Happy shooting with your P67!

I've been a very happy and content user of a later model of the Minolta

Autocord for over two years now. It has never failed me. Until last week.

When I put in new roll of film and advanced to frame one as usual I couldn't

fire the shutter. It is as if the locking mechanism by the shutter release

button is hung up. It doesn't matter where I turn the little dot; I can't '

depress the shutter release. So I guess my real question is: How do you

take this camera apart? I need to get under the whole cover of the lense

plate to see what has happened. Or could there be some other explanation?

The shutter itself I have had no problems with; it is smooth and works

as if it were brand new, so I doubt that's the problem. For your info:

the film winding crank also works perfectly, so I'm pretty shure the

shutter is cocked. But I can't fire it! My model is the one with a built

in CDS meter and a Citizen MVL shutter that goes from 1 to 500.

Help appreciated.

/Mats

Hi Lou,

I have about the same equipment as you mention. P67 body with TTL prism

and grip, and the 75, 105, and 165, plus 2x converter and helicoid

extention tube, and I fit it all nicely into a Lowepro Minitrekker.

The compartments can be rearranged to give room for the body with grip

laying with the camera back downward, making it very stable when you

put it on the ground. And when you zip it open you have easy access to

all equipment. People who see me with it often ask if it is a special

pack for the P67. The compartment on the outside is perfect for film

and lunch. However, I seriously regret that I didn't get the Pro-

trekker, or the AW-trekker. Both these backpacks, I believe, have a

padded waiststrap like a regular backpack. The minitrekker has a simple

one, but it only keeps the pack in place, it doesn't give any support.

As you are well aware, this is heavy equipment when you go out hiking,

and a backpack is simply a must. I also carry a tripod in a separate

shoulderstrap bag. The Protrekker has a special feature for attaching

a tripod, which seems convenient. Moreover, if your wife lets you get

away with the 300, you'll definitely need one of the larger backpacks.

Good luck, whatever you get. Mine has served me nicely for two

years, and has brought my P67 equipment on daytrips through King's 4

Canyon, Death Valley, and Joshua Tree on foot, and now some Swedish

mountains on skis. I wouldn't ski with a shoulder bag.

<p>

/Mats

Although you already have a great answer from Mark Hubbard!, I'll give

you my amateur experience of the P67 as a studio camera. The 1/30 sek.

synch has never been a problem in in my shots. Most of the time I close

down the apterture to at least 8 to get enough DOF with my 165 portrait

lens, and at that setting the flash power is strong enough freeze any

quick movements that children, for example, tend to make. Some people

say that in a light setting you will end up with overexposed windows

or ghosting when subjects are moving. But if the setting is that light,

why use flash in the first place. This brings me to the real advantage

with the P67 as a studio camera: since the lenses are so fast and sharp

even at full opening I often take studio portraits _without_ flash. I

use strong lamps or window light with reflectors and shoot at f2.8 or 4.

This makes the portraits look very soft and natural, and the short DOF

gives them a nice effect which many of my models and customers like. If

you want to use it like a Hasselblad just get a WL finder and a leaf

shutter lens. Interchangeable backs? Well, I never stop a shooting mid-

roll anyway. Series of ten frames, is a good number. The available light

technique described above works very fine outdoors as well. I have taken

many wedding pictures like that with my P67. Just remember to use a sturdy

tripod and use mirror lockup. Good luck!

/Mats

I second the first answer. The Minolta Autocord is an excellent camera,

great optics, and very reliable. I bought one used for USD 100 in Santa

Barbara two years ago, and it has served me perfectly since then. It is

true that the focussing lever was broken, but I easily fixed a new one

myself. The second answer stated that the Autocord didn't have a built

in meter. Well, mine has one. It isn't TTL, but it is battery powered

and sits on the left hand side. It gives you an EV indication of the

reflected light equal to the 75mm coverage, which you then transfer to

the aperture ring. Both shutter speed and aperture are shown in a

convenient window above the viewing lens. The meter has proven to be

very accurate even when using slide film. I assume that I have one of

the later models made. The shutter is a Citizen-MXL, with speeds from

1 sek. to 1/500. The slides aren't as constrasty as those from my P67,

but the the sharpness and colors are great. Often I find this to be an

advantage. Mine came with close-up lenses, even those are great, as

long as you compensate for parallax. My concluding view on this camera:

If you can get hold of it, buy it.

Here is a short and simple question: What is the difference between

an old C12 mag. and a newer A12 mag, except the price, that is? Would

I gain anything by using an A12 instead of my old C12 on my 500 EL/M?

I hope someone can enlight me on this issue.