nathan_jandl

<p>I shoot with a Canon 10s, a Nikon FE2, and then a Mamiya 6 system. I develop and scan everything at NCPS (who are wonderful, by the way) and then use my graduate student privileges at my university to borrow the resident Nikon 5000 and 9000 scanners when I want some serious resolution and dynamic range. Prior to this setup, I also spent a few years shooting with a Canon 20D and the best lenses I could afford for it at the time: a 17-55IS and 70-200 f/4L. I have several framed prints from that now-measly 8mp sensor and they look damn good at 12x18. I hung a show with the 20D images mixed in with scanned 35mm, and nobody said "hey, that print looks digital! those highlights (are) blow(n)!"</p>

<p>But then one day I borrowed my grandpa's old Konica film camera, shot some plain ol' Fuji consumer 200-speed negative film, looked at the results, and realized I was smitten.</p>

<p>So why do I shoot film now? Because, after learning quite a lot from the instant results one gets from digital, I like to go slower now. I like to think about my images more - <em>before </em>I trip the shutter. I like to think about framing and the zone system and have the satisfaction of getting an ideally exposed, hellishly sharp, gorgeously colored or toned image (depending on the film, of course) come out of the Mamiya 6. I like that photography becomes more of something that you do with tangible objects and dials and rewind levers. I like that a certain amount of skill is <em>imposed</em>, not merely optional.</p>

<p>I still use Photoshop, because I scan all my images. I think that the hybrid approach offers the real advantages of the digital darkroom and inkjet printing (or Lightjet etc.) alongside the real aesthetic joy of different emulsions. Can one imitate Velvia or FP4 or Pan-F on a computer? Sure! I just think that these films' inherent "looks" are quite <em>difficult to imitate well</em>, and I happen to think that things like grain make a photograph feel more dimensional, less flat and plastic, more made of reality.</p>

<p>Some days, all I want is a digital camera, and wish I could afford a 5DII or the like. I'd never shoot a wedding with film, probably (unless I had very particular clients); and there are all kinds of ways in which digital is the logical and wonderful evolution in this art form. But film is not dead, it's not gone, and it's a beautiful medium at every stage. For some people, that's enough.</p>

<p>I have many of the same reasons as the above - fantastic color, great sense of depth, lovely "feel" that seems to evade digital still. I also like how shooting film period slows you down a little bit (though it also speeds you up...no more damn chimping!). At the end of the day, though, I'm finding that my 6x6 slides are just far sexier than 35mm :) 4x5, anyone??</p>

<p>Another option might be "digital fiber" prints (forgive me if somebody's already mentioned this) - that is, digitally exposed silver gelatin B&W paper. I haven't tried it, and the prices are not cheap, but it seems like it could offer a very close approximation of the "look" of traditional prints with the extra control and repeatability of digital manipulation. <br>

One lab I've found who does them: http://www.dalmatianlab.com/digital/true-bw-digital-fiber-prints-pricing/</p>

<p>I'd offer another vote for the 17-55IS. I had the 17-40L for a year or so, loved it for its build, but ultimately traded up (and yes, I think it's a trade up) to the 17-55. The extra stop of light, the extra reach, the IS are all absolutely worth it. Also, my copy was very sharp - better than the 17-40. Here's an example where that is apparent... I did not sharpen beyond the default settings in Lightroom: http://jandl.blogphotography.com/archives/5885_1884844992/296814.<br>

Good luck regardless - you can't go wrong with any of the lenses you're considering.</p>

<p>Or you could get P&S film camera! Maybe a Contax T3...load some Provia 400x in there and you're set. Decent develop & scan labs are still pretty easy to find. And in this case, the results would be right up there with your 5D, albeit with the "film look." </p>

<p>Chris,<br>

I recently bought a Mamiya 6 setup and, despite the inherent rangefinder learning curve, have hugely enjoyed the camera. Once you get to know it, it just works. <br>

A couple thoughts, then: I ended up buying a Mamiya 6/7 strap from B&H and it's quite nice. A bit slim, but well-made and comfortable. The camera is not so heavy that you can't get away with a lower-profile strap (though I haven't used it for 8 hours straight either).<br>

I also found a good deal on the Mamiya polarizer on KEH ($100; retails new for $199) and have used it a number of times. It's actually pretty slick and probably quicker to use, overall, than most other solutions. The only caveat I have is that to use it you must remove any other filters, as it locks into the bayonet mount. If I ever get rid of it, it will only be because I want to get some ND-grads and will then just switch to a Lee system or something.<br>

Finally, as far as reliability: I had the terrible experience of dropping my 6 a few months back; the fall jammed the lens retraction system. I sent it to Mamiya and they did an overhaul on the body (apparently that's the standard service at this point). Everything came back beautiful. What I want to share, though, is that they only service they did on the winding mechanism was lubricating it. That indicates to me (though I may be wrong) that there isn't anything fundamentally wrong with it other than a certain level of delicacy. In other words, do what has been suggested above: wind with care, and you should be OK. <br>

Enjoy the camera!<br>

Nathan</p>

<p>Follow up: local repair place didn't feel comfortable doing the job, so they sent it to Mamiya. Just got the estimate back...$381. Ouch. That includes a "full overhaul," however, along with a rangefinder adjustment. It would appear that when Mamiya works on the camera for this kind of problem, they check everything. I truly wish it wasn't going to cost this much, but this will at least give me peace of mind going forward.<br>

Live and learn...and be more careful too!</p>

<p>Thanks Sergei and Barbara - sound suggestions from both. I'll have to ponder whether or not to bother bringing it to the local place...seems like it may be just as quick to send it to Mamiya directly.</p>

<p> </p>

<p>Yeah, I don't think I will be happy again until I know it's been checked out and fixed by a pro. An excuse to get it CLA'd too I suppose, though I frankly can't afford ANY of this...<br>

Why oh why didn't the cheapo 35mm body fall instead?!</p>

<p> </p>

<p>So I just bought a beautiful used Mamiya 6 several weeks ago and have totally fallen in love with it. Today I was out shooting and had two cameras and a camera bag around my neck. Trying to extricate myself from the three straps when I got home, I somehow lost control of the Mamiya and it tumbled to the carpeted (thank God for that) floor. It landed lens-first, which cracked the (flimsy) 50mm hood right through. Everything else appears unharmed, but now I can't retract the lens into the camera body! I am very distressed about this. I have *gently* tugged and wiggled the lens and mount around, but nothing seems to help. The lens can be removed without any issues. <br>

Anyway, I have two possible repair places to go to, but I'm just curious if this has happened to any of you? Any suggestions?? I'm in Madison, WI by the way, in case you have a favorite repair shop nearby!<br>

Thanks in advance,<br>

Nathan</p>