karl_amo

The Metz 54 does have a feature where one can adjust the output of the flash in automatic (thyristor) mode by 1/3 stops to 3 stops (I think). This adjustment stays as long as one keeps the flash in automatic mode. One can change ISO, f-stop, focal length, and turn the unit off and on and the adjustment stays in place. Change to manual or TTL mode, and the adjustment goes away, permanently.

 

In manual mode, the flash gives a distance readout (via LCD) in feet or meters for a given power setting, f-stop, ISO setting, and focal length. There is no permanent adjustment for output in manual mode. One has to change the ISO, f-stop, or given power setting to implement an adjustment. If one makes the adjustment to the ISO setting, then when one changes ISO setting one needs to remember to include the adjustment in the new setting.

 

I think that this bothers me because I am an engineer. I like things to be elegant.

 

Otherwise, the Metz 54 appears to be a very nice flash unit.

It sounds like being able to somehow set the guide number on a flash to adjust the unit's distance scales (manual flash) and f-stop settings (automatic flash) would be a good feature. Such an adjustment would allow one to take into account manufacturer's hype, individual unit variation, and variation in where the unit is used.

 

Thanks for the input.

I have tried three of the more powerful hotshoe flash units

available on the market: Sunpak 383, Vivitar 283, and Metz 54MZ.

From the the density of the images on film and from flash meter

measurements, I believe that the actual guide numbers of these

flashes are about one stop lower than guide numbers that the

manufacturers claim.

 

Instead of have a guide numbers of around 120, they have guide

numbers of around 80. Bill Harris in an article entitled, "Flash

Guide Numbers: Fact or Fiction?" reports a similar result with a

Vivitar 283. http://www.mindspring.com/~woharris/tech/gn.htm

 

 

One stop less actual light means that for adequate flash in manual

and automatic mode, one needs to set the ISO of the flash one stop

lower, or the f-stop setting one stop higher, or the power level one

stop higher.

 

Last week I forgot to make the adjustment, and a roll of film came

out less than ideal.

 

I would like to have a flash where one can use the ISO or f-stop

that the camera is set to. There's enough to think about in

photography already without having remember to make an adjustment to

ones flash (and in the right direction, too!).

 

Does anyone know of any flashes that use actual guide numbers?

Something to add to the mix:

 

The manual for the Metz 44 MZ-2 flash (which I downloaded from www.metz.de) states under the topic of manual flash exposure correction:

 

"The automatic TTL flash exposure system of most cameras is matched to a 25% degree of light reflection by the subject (average amount of light reflected by subjects show with flash)."

 

Also, under the topic of maximum flash range indication in TTL and automatic flash mode:

 

"The mecablitz LC display indicates the maximum flash range. The indicated value relates to a factor of 25% of light reflection by the subject, which applies to most photographic situations."

 

What I get from these statements is that if I were to measure the maxiumum output of a Metz 44 MZ-2 with a incident flash meter calibrated to 18 % gray, I would measure 1/2 stop less output.

 

Perhaps other flash manufacturers also use 25 %.

I have a RSW45, which is Robert White's (www.robertwhite.co.uk/ebony.htm) simplified version of the SW45. I think that the RSW45 is the least expensive Ebony model. It's designed for taking landscape photos in that it is quick to set up (non-folding) and light weight (1.5 kg). I probably isn't a good portrait camera because it's mainly for wide angle (short focal length) lenses - it doesn't have much extension (190 mm).

 

It seems like people take tend to use lenses in the range of 200 to 300 mm for portraits for 4x5. I have a Nikkor M 200 mm lens, but with a 35mm "top hat" lens extension panel. I could also use a Fuji 300 mm telephoto lens on that lens extension panel because that lens requires only about 180 mm of extension to focus at infinity (a non-telephoto 300 mm lens requires 300 mm of extension). I have no idea how well a 300 mm telephoto lens works for portraiture.

 

The 200 and 300 mm Nikkor M lenses are good for landscape in that they are lightweight. I suspect that they are also good for portraiture.

 

There are a few articles on large format lenses at http://www.largeformatphotography.info It seems to me that most modern 4x5 lenses are on par in quality with Zeiss 35 mm and medium format lenses.

 

I hope that this sheds some light.

 

Karl

To answer Ed: Yes, I use a top hat with Nikkor 200M on the Ebony RSW45. The RSW45 has only 190 mm of bellows extension. I chose the quick set up time of the RSW45 over the longer bellows of the Toho.

 

A light and comfortable backpack is an important part of the equation. The Arc'Teryx Khamsin 38 that I use weighs 2 lb 9 oz, has 2900 cubic inches of space, and is comfortable. It's not designed specifically for photography. Outdoor Research (www.orgear.com) makes cell blocks and padded cells that can take the place of the compartments of packs designed for hauling camera gear.

 

"..., Photo of the Weak..." - cute!

I put together a lightweight field system that comes out to 14 lbs or so. The heavier components are an Ebony RSW45, Schneider 80XL, Schneider Symmar 135, Nikkor 200M, Kodak Quickload holder, Gitzo 1128 carbon fiber tripod, Velbon PH-263QL magnesium ball head with quick-release plate, and Arc'Teryx Khamsin 38 (tall) backpack.

Early this year I ordered from a local dealer a Bay 1 polarizer made by Heliopan. It took several months for it to arrive from Germany. One feature of Heliopan polarizers is they have numbered graduations, which make them easier to use with TLR cameras.

 

There's a company on the web that sells Bay 1 to 49 mm and 52 mm to filter step-up rings. www.camerapeople.net

 

The close-up lenses that came with my Rolleicord V came in sets of two. The larger lens of a set contains a prism; it is mounted on the viewing lens. The smaller lens is mounted on the taking lens.

I experienced the unexposed film problem. I traced it to air getting into the packet, causing the packet to balloon a little. The ballooned packet pushed the holder's pressure plate in enough to prevent the holder from grabbing onto the packet's metal clip.

 

Air ballooned the packets when I drove up to a higher elevation after sealing the packets inside a bag with some air also inside. The air inside the bag became pressurized in the presence of lower ambient barometric pressure.

I'm using Fuji Quickloads in the latest Kodak Readyload holder. The only problem I've had is non-exposure when the metal clip at the end of the film packet did not catch in the holder. I traced the cause to air getting into the packet (not sure how that happened) and causing pressure against the holder's pressure place. I now make sure that the packets are flat (no bulging from air) before I use them.

"Need" is perhaps too strong a word. I too have used the screw-thread socket base in the camera.

 

I've heard and read though that there is a potential of damaging the camera. The tripod mount of the camera is attached to the sheet-metal camera back instead of the usual solid-metal part of a camera body.

 

On a postive note, the quick-release feature of the Rolleifix makes changing film faster.

I use a Rolleicord V from 1954 on day hikes and back-country skiing. I like the camera because it is lightweight and uses a waist-level finder. This lets me use a lighter, shorter tripod (Slik Compact). My occasional people shots look better too because of the waist-level position. Also, what I see in the viewfinder is very close to what I get on film

 

I bought a new Heliopan-brand polarizing filter (Bayonet 1) for my camera; it attaches directly with no adaptor. The filter has graduated markings (B&H filters apparently do not). I look through the filter in the direction of the planned photo, adjust it, and then mount it on the picture-taking lens. The markings ensure correct positioning. Only occasionally do I adjust the filter in place on the viewing lens.

 

If you go with a Rollei TLR, you'll need the commonly available Rolleifix quick-release if you plan to use it with a tripod.

 

My camera had a slow shutter from a decade of non-use. A cleaning, lubrication, and adjustment fixed it. It's been operating reliably in sun, rain, and snow for three years.

 

Photo.net has an article on Rollei TLRs. See www.photo.net/photo/medium-format/rollei-tlr