jerry_gardner

I don't have a specific answer for you, but keep in mind that the mirror mechanism on a medium format camera is both larger and heavier than the 35mm equivalent. This means that it will take longer for the mirror to get out of the way.

 

Many medium format cameras, such as Hasselblad, also have blinds in front of the film plane that have to open as well.

I was also looking for a self-timer for family group pictures, but couldn't find one. How about one of those 'cable' releases that uses a squeeze bulb and a long air tube? I could hold one of these behind my back and trip the shutter while smiling at the camera.

 

Do these work reliably with Hasselblads? Is one brand better than the others?

As far as I know, the cameras are still up there on the moon, free for the taking. Getting there is a problem, though.

Anyone have any opinions on this new meter (note: this is not the

Flashmeter V), particularly as a flashmeter? I'm looking for a new

flashmeter and am considering this one or the Sekonic L-358.

<I>How are they in bare bulb applications? It looks like they have a small built-in recessed reflector.

<p>

Yes they do, full width of the unit (about 4 1/2")and the same finish as the standard/w.a. reflectors. It works fine.</I>

<p>

Is the built-in reflector a problem when using them with soft boxes? I'd think you'd want maximum dispersion of light in this application and a reflector would cause hot spots.

Here's a link I found on Usenet:

 

<A href="http://dmanthree.ne.client2.attbi.com/400uc/">http://dmanthree.ne.client2.attbi.com/400uc/</A>

<I>I have a couple of Style 1200 units, very good performance and consistency, fairly robust. Weaknesses are the synch lead connection (unreliable, as with all Elinchrom units)and the high cost of replacement modelling lamps.</I>

<BR>

<P>

How are they in bare bulb applications? It looks like they have a small built-in recessed reflector.

The only thing that really counts regarding meters is consistency. As long as they are consistent from reading to reading, it should not matter if they are off by even a stop. Do you own calibration with the equipment, film, and procedures you use--this is far better than relying on a calibration by a technician.

I should have said in my original meesage that this meter will be used only for incident metering of flash. I have no need for any other function from this meter.

Along with replacing my studio flash units, I want to get a

flashmeter. I know that the Minolta Flashmeter V is the gold

standard, but it's expensive.

 

The Sekonic L-358 Flashmaster is about $150 less than the Minolta. Is

this a viable alternative to the Minolta? What will I be missing, if

anything, if I go for the L-358 over the Minolta?

I'm thinking of replacing my existing (non-Elinchrom) studio flash

units with several Elinchrom Style S monolights.

 

Anyone have any experience with these? How do they compare to the

other choices (Photogenic, Speedotron, Paul Buff)?

 

How is accessory mounting handled on these units? Is it secure and

robust?

 

TIA

Get a roll of white seemless and use that as your background. Pull out enough to cover the concrete floor as well.

<I>Hot lights are a good option for still life.</I>

 

<p>

 

How hot do these things actually get? Are they usable in a small room

(10x8x8 ft.)?

 

<p>

 

I'm not planning on photographing ice cream, but I'm concerned that

hot lights will excessively heat up both the room and the subjects.

Peter,

 

<p>

 

Do you keep the photos of your new camera in your wallet? ;-)

<I>My mistake, I meant just under $800 </I>

 

<p>

 

For that price, you can buy two and keep one as a backup in case the

first one breaks, and still pay less than what B&H charges for one.

 

<p>

 

IMO, charging more than 2x the international price is ridiculous and

the U.S. Sinar importer should be ashamed.

Here's my take on the gray market warranty issue:

 

<p>

 

Even though the official U.S. importer "won't touch" a gray market

lens, it still makes sense to buy gray market because the price

difference is quite substantial. You can buy a lot of repair work on

a lens for the price difference between gray and officially imported

lenses. Depending on the lens, the difference can be $500 or more.

 

<p>

 

Large format cameras and lenses are simple mechanical devices and are

not likely to need warranty work. In the years that I've been buying

and using LF cameras and lenses I have never had the need for any

warranty service.

 

<p>

 

In my opinion, the U.S. importers for may camera and lens lines are

shamelessly gouging their U.S. customers. Much of this stuff is

available almost anywhere else in the world for substantially less.

Consumers are starting to realize that much more reasonable prices

are available via the Internet from dealers such as Robert White and

Badger Graphics.

I have a Toyo VX125B. Here's what I like and dislike about it:

 

<p>

 

Likes:

 

<p>

 

1. Collapses to a very compact package. Not as small as a

Technikardan, but close.

 

<p>

 

2. Bellows are very flexible. I've used a 90mm lens with the standard

bellows and saw no need to go to a bag bellows.

 

<p>

 

3. Geared rise and shift movements are nice. Tilt and swing are a

little more difficult to deal with since they're a little stiff.

 

<p>

 

 

Dislikes:

 

<p>

 

1. Stiff shift and swing movements.

 

<p>

 

2. Large lens boards. I use the standard size boards, but if you

intend to backpack with it, I'd look into using Technika-sized boards

with an adapter.

 

<p>

 

 

The collapsable monorail itself is plenty stiff. However, the T-

shaped piece of aluminum that forms the tripod mount is, in my

opinion, not beefy enough. It's fine under most circumstances, but

it's a little too flexible when using a long lens in windy

conditions. You can use Toyo non-collapsable rails, but this negates

some of the portability afforded by the collapsable rail.

<I>For LF work, I think either meter is a good choice, and I have

found them very reliable with E6.</I>

 

<p>

 

What's your technique for metering E6 with a spotmeter?

Thanks for all the responses.

 

<p>

 

I took a drive over to Keeble and Shuchat during lunch today and took

a look at the TK45S and the Master Technika. Here are my observations:

 

<p>

 

Master Technika:

 

<p>

 

This thing's built like a tank, and would probably survive being run

over by one. It seems very rigid even when racked out to full

extension. The movements are more generous than I expected, and the

rear movements weren't as hard to perform as I was expecting.

Everything fits with precision and works very smoothly. The only

thing I didn't like was the leather hood surrounding the ground glass

(can this be removed?)

 

<p>

 

Technikardan 45S:

 

<p>

 

To me, this is a more elegant, although more fagile, camera than the

Technika. The finish is impecable, but I thought the movements of the

Technika were a little smoother. The movements on the Technikaran

seemed to stick a little in places--not much, but it was noticable.

 

<p>

 

I've heard lots of horror stories on the Internet regarding folding

the Technikaran up. The salesman quickly demonstrated the procedure

to me and, never having seen the camera before, I could do it without

problems on the first try. Takes about 15 seconds, and I don't see

how the bellows can get pinched during this operation.

 

<p>

 

The bottom line is that I like both of these cameras--a lot. It will

be a difficult decision choosing between them. I only do landscape

photography, so the Technika 2000 is probably a better choice since I

don't need extreme movements and it folds up like a clam. I'm a

little worried about carrying the Technikardan in a pack with it's

semi-exposed bellows, locking levers, etc.

Any of these likely to stock the Master Technika 2000 or Technikardan

45S?

I'm looking for a stocking Linhof dealer in the San Francisco Bay Area. Any suggestions?

Jim,

 

<p>

 

What did you need that the MT didn't have that prompted you to move

to a Technikardan?

David,

 

<p>

 

The maximum aperture of a lens is determined by the optics, not the

shutter. The aperture blades in the shutter are fully retracted when

the lens is "wide open".

 

<p>

 

If you replace a shutter, you typically need to scribe the aperture

scale on the shutter, which is blank when it comes from the factory.

I found a review of the TK45S on Paul Butzi's web site (thanks

Kerry). This answered a lot of my questions.

 

<p>

 

Anyone care to comment on the TK45S versus the Arca-Swiss FC 4x5?

Bob,

 

<p>

 

Do you have the specs/brochure on a web site somewhere? Sending them

by postal mail is so 20th century!