peter brown - www.peterbro

Thanks for all the above responses so far.

<p>

Miike, I got the SV45U mixed up with the 45SU and see that it is

indeed a folding model - I've been reading too much info and

now can't see the forest for the trees. I have read the archives

and your review on the LF page, that's what swayed me towards

the SV45U, but I was wondering whether the extra features

offered, justify the extra cost over the non-U versions?

From the above comments though, it appears the assymetrical

tilt/swings are worth having and perhaps the extra few hundred

dollars spent now on a versitle camera such as the SV45U will

be worth it in the long run. I'm about ninety five and a half per cent

convinced the SV45U is the right camera for me.

<p>

As far as the SW is concerned (this is my four and a half percent

doubt), the smaller size, lighter weight and cheaper cost, are

appealing, but I do intend using longer lenses. Could David,

Paul or Trevor perhaps comment on the 452 extension back, it's

usefulness, ease of use, with the extender what is the longest

usable lens, how much extra does it cost, etc?

<p>

Could the extension back be used on the SV45U to increase the

longer lens ability?

<p>

Now I just have to start figuring out the right lenses to get. . . .

decisions . . . decisions.

<p>

Thanks a lot guys,

Regards

Peter

Mo

<p>

The negative should scan as well if not better than a regular

B&W neg as the texture range is about zone I/II to zone VIII and it

has exceptional fine grain and resolution. If you are exposing to

use the negative try between IE 20 and 32 and for the print try

between IE 64 and 100.

<p>

The best way to clear the type 55 neg is to mix 220 grams of

sodium sulfite (anhydrous or desiccated) in 1000cc of warm

water at around 30 degrees C (80-90 degrees F). Add the sulfite

slowly to the water and stir until it's fully dissolved. Use at 21

degrees C (70 degrees F). It's a good idea to use a hardener

straight away after the clearing solution and then wash or if

you're out in the field keep in a water bath until washing can be

done.

<p>

Good luck with your experiments

Regards

Peter Brown

I am in the process of deciding which Ebony 45 to buy, for

mainly (90%) landscape and 'fine art' B&W work, with some

studio work required. I like working with wide-angle lenses but I

don't want to restrict myself to just wide-angle and envisage

using lenses between probably 47mm to around 400-500mm,

maybe longer, in the future. I also want to be able to use my

Sinar 6x12 zoom back and use a Horseman Bino reflex viewer

(yet to purchase).

<p>

I have discounted the RW45, too limiting for wide-angle work,

and the SW, too limiting for long lenses, and I have decided on

the two which I think will best suit my needs, the SV45U or the

SV45TE.

I am leaning towards the SV45TE as this seems to be the most

versatile, but the U series is tempting because of the

asymmetrical rear tilts and swing. This has been useful to me in

my studio work with Sinar cameras but would I get the same use

of this feature in the field?

Both cameras weight the same (2.7kg) and I believe the SV45U

is non-folding and also costs about US$600 +/- more than the

45TE.

<p>

Are the extra asymmetrical rear tilts and swing features of the

SV45U worth the extra dollars for mainly field use? Is having a

non-folding camera more inconvenient when backpacking? Do

they close up fairly small, are they protected enough from the

elements, dust etc?

<p>

I'd appreciate any comments, good or bad, from users of these

cameras and also from anyone who has used the Horseman 45

Bino refelx housing on the Ebony or other 45 cameras.

<p>

My problem is that it is impossible for me to get an Ebony to try

out here in Australia and I must rely on advice from people who

have experience with this product.

<p>

Thanks in advance for taking the time to reply.

<p>

Regards

Peter Brown

Thanks to all the above posters. I think I might go for the Pentax

as I have heard many good reports about it.

Can anyone give me the address, email or web for the Zone IV

people who do the conversion of the Pentax?

<p>

Thanks again

Peter Brown

I am in the process of converting to LF colour landscape and

'fine art' B&W style photography work.

I have been using the Minolta Flashmeter IV for many years for

my 4x5/8x10 studio work and I am wondering whether the IV

combined with the five degree spot attachment (which I also

have) will be adequate for accurate metering in the field or

should I perhaps look at the 1 degree Minolta spotmeter F or the

Pentax digital spot?

The IV has a fairly good 'highlight', 'average', 'shadow' reading

capability, but would the five degree spot be as useful as a one

degree meter when it comes to 'zone system' style technique?

<p>

Thanks in advance,

Peter Brown

Thanks for the above comments.

Everything said confirms I'm making the right decision to buy the

Ebony.

<p>

Regards Peter brown

Thanks Howard,

<p>

Do you have a phone number or email or internet address for

Badger?

<p>

Peter

Has anyone had any experience with the Horseman Woodman

45 field camera? I am inclined to buy the Ebony 45 series, but

I'm interested in any comments on the Horseman as I am not

familiar with Horseman products. How would it compare to the

Ebony series equivalent, such as the Ebony RW 45?

<p>

Thanks in advance

Peter Brown

I have decided to purchase one of the Ebony 45 series field

cameras. Does anyone know where the best place to buy would

be?

I know Robert White has some good deals, but are there any

other reputable suppliers for me to compare prices with?

<p>

Thanks in advance

Peter Brown

Warren

This is my answer to a previous post about handheld work with

the P67 ;

" . . . I believe the P67 can be handheld reasonably easily. I've

used the P67 for photojournalism and fashion work and as long

as you're using a higher shutter speed than your lens and have

good handholding bracing techniques you'll have no problems.

Also because the 67 image is much larger than 35mm, faster

film can be used without sacraficing quality and the P67 lenses

are relatively fast as well (2.8/4) enabling you to use faster

shutter speeds. If you are using a wider angle lens you will also

find that camera shake is less of a problem.

I believe the 'shutter shake' problem often mentioned when

using the P67 is over-rated. Correct technique eliminates this

problem and the mirror return is probably the main offender with

the 'thud' coming after the shutter has tripped. I used a Rollei

6006 for many years and that mirror return sure was loud. . ."

I've heard very good things about the new P67II and I'm seriously

considering upgrading to one myself.

My friend Ben Greenberg will disagree with me about the reliable

nature of the earlier P67's, but I haven't experienced any of the

reported problems, wind-on etc, with my early model P6x7. The

only hickup has been a small lightmeter problem. In fact, it just

keeps on going and going, year after year. I once had a VW

kombi like that. It was still going strong until the day I sold it.

I'm very attached to this old Pentax, it's helped me to produce

some nice images over the years, but technology moves on and

I'd definately go for the state-of-the-art if I could afford to. Get

yourself a nice new P67II.

Regards

Peter Brown

Hi Kelly

Sorry, can't help with any sites with 67 images but there are quite

a few P67 users I've come across here in Australia.

I've only ever needed to get one small repair done in the last 10

years, recalibrating the meter, and there was no problem getting

it done.

You'll find that 2nd hand mint quality lenses, bodies etc can be

had at reasonable cost. I've bought used, by mail order, from

European Camera Specialists in Sydney and James Place

Cameras in Adelaide and the items were as advertised and I got

good service and good prices.

Also try Photographic Trader magazine for some good deals.

There's also a list of repairers on the back cover.

Of course we all know how well the P67 is built, "like a tank", so

you'll probably never need a repair shop ;-)

If you want any more info let me know.

Peter Brown - Cairns Qld Australia

PS: I hope to have my own web site up in the next few weeks.

That'll have heaps of 67 images on it. I'll let you know.

I've spent many years in the 'wet' darkroom environment and

since slowly changing over during the last 7-8 years to digital I

find that I rarely get my hands wet these days. Recent advances

have all but negated doing any wet darkroom work for me.

I still process film (E6) as I don't think that digital imaging is

there yet, except for the very highly priced, high end D-cameras

and backs.

I'm getting excellent results up to Super A3 size, scanning from

film to the Polaroid 4000 for 35mm, the Artix 1100 for medium

and large format and then outputting to either the Epson 2000p

(for fine art type prints) or the Epson Photo EX (for portfolio or

proof type prints).

The scanners produce fairly high resolutions but the important

factors are good software, scanner to monitor to printer

calibration and making sure the scanners have a good D-max

(at least 3.6).

The new inks and media (200 years + lightfast) that is now

available from Epson and some others is nothing short of

fantastic. Far superior archival properties than any darkroom

prints I know of. Time and costs per print have also been

reduced.

My customers and other photographers cannot tell the difference

from photographic prints at normal viewing distances.

Only on VERY close examination do SLIGHT differences appear.

The learning curve takes some time but so did learning to

produce good quality darkroom prints. I think it's worth it and

with the speed at which the quality of scanners, printers and

media is improving I'd suggest you start experimenting now.

Hope I've been of help

Peter Brown.

Waldemar

I agree with Joel's comments, The P67 can be handheld

reasonably easily. I've used the P67 for photojournalism and

fashion work and as long as you're using a higher shutter speed

than your lens and have good handholding bracing techniques

you'll have no problems.

Also because the 67 image is much larger than 35mm, faster

film can be used without sacraficing quality and the P67 lenses

are relatively fast as well (2.8/4) enabling you to use faster

shutter speeds.

If you are using a wider angle lens you will also find that camera

shake is less of a problem. Not all 'street photography' has to be

done with telephotos. In fact I and many other photographers

have had great success using wideangles such as the 45mm.

I believe the 'shutter shake' problem often mentioned when

using the P67 is over-rated. Correct technique eliminates this

problem and the mirror return is probably the main offender with

the 'thud' coming after the shutter has tripped. I used a Rollei

6006 for many years and that mirror return sure was loud.

Regards

Peter Brown

Thanks for all the responses.

I'll investigate the options

Regards

Peter Brown

Hi all,

I'd like to improve the viewing screen brightness on my P67. Can

anyone recommend a good quality screen which may help? Are

they worth it?

Thanks in advance

Peter