miesnert

<p>I see no metion of 160ns in there? Are they still going to make this in 120 and 4x5?</p>

<p>How about (I am not sure about the amount of income with all of these, but they are all well known and respected photographers in their particular area of expertiece). Most of them are considered art photographers, here it is that I think most people still use film (the lab I work with prints analogue only for exhibitions and museums (they do have a durst printer for the occasional analogue print) I think probably 95% of their jobs are analogue work.<br>

Dana Lixenberg<br>

Jacqueline Hassink<br>

Bas Princen<br>

Geert Goiris<br>

Scarlett Hooft Graafland<br>

Massimo Vitali<br>

Elliot Wilcox<br>

Marleen Sleeuwits<br>

Peter Bialobrzeski<br>

Hans Christian Schink<br>

Bryan Schutmaat<br>

Matthias Hoch</p>

<p>Thanks, I will definately do so.</p>

<p>Thanks, I will take the camera with me (the seller is on holiday and will come back in two weeks) to see if it fits.<br>

I did read something about unscrewing the rear element and screwing this back on trough the back of the camera after removing the ground glass, altough this seems like a hassle to me.</p>

<p>Thanks.<br>

All the work on my website was done with medium format camera's, Fuji rangefinders (ga645, gsw) and Mamiya TLR's (I love the 105mm D for it) and RZ67's.<br>

I have sold my RZ67 set and am keeping the rangefinders, together with the 4x5 the ga645 will not add to much weight and bulk to my bag, it seems like a nice combination, as easy to carry as my RZ67 with lenses was.<br />In the future I hope to replace the ga645 with a Voigtlander Bessa III.</p>

Thanks for the responses.

I am going to have a look at the lens and maybe buy it, hopefully he made a mistake and it is a super angulon, that, or he made a mistake

and it is a 6.8 or 8.0, which is still a fair price I suppose, would it allow me movements for perspective correction if it is a normal angulon?

<p>Hi guys,<br>

I am new to large format, I have just received my first large format camera; a Wista 45 VX with a Nikon 180mm W lens. I am looking for a Fujinon W 135mm, and was thinking about a 90mm as well to complete my lens set for now. I'd like to get something wider and something longer later on. I mainly photograph kind of abstracted city-/landscapes (I am going to shoot more stuff like this with it: www.sandermeisner.nl). The main reason I've got it is perspective control and larger prints.<br>

I want to be able to use the 90mm with perspective correction, I have seen a lot of Schneider Angulons for sale cheaply, but they only cover 4x5. Will I be able to put buildings straight with this lens without vignetting if I use back movements?<br>

And, I can buy a 90mm Angulon f5.6 for 100 euro's. I have tried to google this, I can find a 6.8 and a 8.0 angulon, But no 5.6 angulon, If it is a 90mm Schneider lens and f5.6 does it have to be a super-angulon or are there also 5.6 non super angulons made?<br>

<br />Thanks!</p>

I forgot to mention, it also comes with the angle viewer.

<p>Hi guys,</p>

<p>I have been using a Mamiya RZ67 proII with the 50mm (older version), 65mm, 110mm w-n, 180mm, 1 proII 6x7 back, 1 6x7 back and a polaroid back. I am selling this Mamiya set because I want more perspective control.<br>

I have thought about 4x5 but will do quiet a lot of travelling with the set, and the cost of 4x5 sheets plus the weight and size issues made me think of getting a Horseman VH camera.<br>

I can now buy a Horseman VH-R with 2 6x9 backs, the topcor 65mm super, topcor 90mm super and topcor 180mm super lenses in lensboards. The camera comes with the ground glass back and rotating back adapter. The rangefinder doesn't work anymore but I don't think I'd be using it anyway. The seller wants 1000 euro for the horseman set.<br>

<br />1. Is this a good deal? I think that if I sell the Mamiya well I basically can replace the Mamiya with the Horseman without having to put more than a 100 euro's in.<br>

2. How do the Topcor lenses comparea to the RZ lenses?</p>

<p>Thanks,<br>

Sander</p>

<p>I use one, and an RZ. Both camera's have a T setting in which you open the lens, and then manually have to shut it again. I use both camera's at night with long exposures a lot, and never have any problems with the T setting. I just use my hand to cover the lens, then close the lens.</p>

<p>I have printed some 100x80cm wide c-prints with the 50mm and have no problems with sharpness to be honest, I do mind the distortion, and that's why I'd want to change to the ULD, but sharpness is not a great issue when stopped down to f11-f16 I think.<br>

<br />This is one image I shot with the 50mm:<br>

<a title="White noise #18 by Sander Meisner, on Flickr" href="http://www.flickr.com/photos/miesnert/7304291006/"><img src="http://farm9.staticflickr.com/8003/7304291006_c95ab1fe3e_z.jpg" alt="White noise #18" width="640" height="512" /></a></p>

<p>There is an adapter ring available that let's you use the older RB lenses on the RZ body's.</p>

<p>I have got the 180mm W-N, I have never compared it to any of those other lenses, but I am looking to sell it and replace it with the 210mm APO, purely because of it's reputation for being much sharper.<br>

There is only one 75mm, the shift version, this is (even second hand) a very expensive lens, so I'd recommend the 65mm ULD which is excellent.<br>

Level the head, and yes, put a level on the camera. It's much more accurate.</p>

<p>Ah, okay, in the RZ it stands for multiple.</p>

Doesn't m stand for multiple exposure?

That is one of the weak points of all

these camera's, the advance lever

mechanism is very delicate, I used to

have the same camera which

developed the same problem, the repair

cost more than a new camera.

<p>There is nothing missing, this shutter is sticky and needs to be cleaned. What you see in the picture are the five shutter blades half way between open and closed. Send it in for CLA and you'll have a fine working lens.</p>

I print large images on a regular basis

(up to 150cm wide) and recommend

you always use a tripod, you can get

images that look sharp without a tripod,

but never as sharp as with a tripod. For

small prints it is not obvious, but if you

print large you'll see the difference. For

handhelding you really need a different

type of camera, slr's don't excel in this

area, tlr's or rangefinders are much

better choices if you don't want to use a

tripod.

I think hipster and abercrombie don't work in the same

sentence, but that's another story.

 

I know loads of people under 35 who use medium and large

format camera's (processionally), and also people that are

over 35. Also know a few labs that print analogue

exclusively. Where I live there are about ten labs within 30

minutes from my house that process film, and I can find film

in as many places.

 

I don't think film is replaced by digital in every area, for

some people digital makes sense, for others film. I know

mostly artists and documentary photographers and for both

these groups of people film makes sense.

 

I don't feel like film is disappearing at all.

It does, the negative is obviously

smaller, but I think that if you would

crop a mamiya 6 or 7 piece of film to

645 and would print both images at the

same size you would have comparable

results.

I have wet printed rz67 and ga645

images (not mamiya 7 images) and

think they both produce excellent

results.

I would recommend you also take a

look at the fuji gs645, it's the

predecessor of the ga645, it is a folder

with a real rangefinder, it has got the sane lens, no autofocus,

and no lightmeter, but I would gladly

lose those for real manual focus.

I have shot these images with an rz67

and a ga645 and think the ga645 is

excellent.

http://www.sandermeisner.nl/ongoing-project/white-noise/

If you buy the 50mm make sure to get

the ULD version, the older lens has got

so much edge distortion I find it

unusable.

Make sure to get the 50mm ULD and

not the earlier 50mm, the older version

has got so much edge distortion I find it

to be unuseable.

<p>Make sure you set the button on the left to the open or unlocked position, make sure there is a takeupspool in the camera and that the camera is wound to the one position, make sure you are not trying to do a multiple exposure with the film type dial set to rollfilm.<br>

All this will prevent you from releasing the shutter.</p>

Good drumscans will always be better than the best flatbed, if you want to get all yhe benefits of using a good medium

format camera you need good scans, if you say you are happy with flatbed scans, I think you've not made a good

large print.

 

To stay on the subject, I make analogue 90x90cm prints on a regular basis which I find very pleasing.

He was not talking about your rz but about your scanner, i scan with a similar scanner to look at my negs (from rz too)

and when i scan for printing on an imacon i can see a huge difference, even more difference when printing analogue

(which I love).