brian_turner2

yes, contrary to popular belief, there are still some cameras

being made that require the photographer to actually MAKE them

work.

Awesome! It's good to know there's a product out there for this

purpose.

I just did a search on eBay, and came up with no results.

Does anyone know if this self timer mechanism had a specific

name, part #, or if it was actually produced by Hasselblad or

another specific manufacturer?

Would anyone have one they wished to sell?

I have a question regarding the self timing mechanism on

certain Hassy lenses...

The lens on my Hassy (80mm Planar) is one of the older

C-types, with the chrome finish. I know for a fact that these have

a self timer mechanism because I use it quite frequently. It has

the little X, V, and M settings... the V setting allows the self timing

function.

However, my wife just bought a Hasselblad recently of the same

vintage as mine, but she has one of the newer style, black T*

lenses. I believe these are CF, but I'm not certain. We've looked

and looked, but can't seem to find a function on her lens that will

allow for self-timing... did these not come with this option? Or am

I just missing it somewhere?

She's very frustrated, because she uses the self-timer almost

exclusively in her work, and it's sometimes hard for us to be

sharing my camera all the time when we are both trying to work.

She's not too interested in long cable releases...

Any answers for me??

About the felt-tipped pen idea... I would take caution as to any

possible harmful effects on the print itself, like in the long run.

Definitely try to find some sort of pen with archival ink

capabilities.

There is an inexpensive pen on the market right now that can be

purchased at nearly any office supply store (as opposed to

paying $10 for a "special photo pen at a photo store). It's made

by Zebra, and is called the Jimnie Gel rollerball pen. This

particular one is a somewhat chubby pen, and only comes in

this nice thick black ink color. Make sure the package states that

this is the one with the archival ink (there are others with the

same name that do not).

I've been using these to sign and title my prints on the paper

below the image, where the window mat would cover it once

matted.

Hope this helps!

John, welcome to Hasselblad! Great tool for making images.

It depends on what you do, and how much stuff you will

eventually be lugging around. I'll second the suggestion

someone made about LowePro bags. They are tough and have

lots of padding in them. I settled on a Nova 3 for my Hassy

because it fits my single body, back, and lens, as well as my

spot meter, various tools, and gobs of film. I like it because it's

cheap, small, and travels well as a carry-on. It is primarily a

35mm bag, but I appropriated it because I like small and

compact over big and bulky.

But obviously, if you're going to be adding to your system, I would

go with something much bigger. If you travel a lot, check out the

Pelican hard cases with LowePro soft bags that fit inside them.

A great combo! Good luck!

Thanks a lot for all of you taking the time to respond to my

request! I now have a lot more information going into this than

before. I'll try to come back to this thread in a few weeks and let

everyone know how it turned out!

Thanks again!

ok. I feel like a heel asking for advice on this, but I'm kinda

freaking out about being asked to shoot some formal wedding

photos for my brother-in-law's wedding this weekend. Portraits

are really not my thing, and I never use flash, or color film for that

matter... but since I do a lot of "photography" it is assumed that I

can do it all... anyone else feel my pain here? So imagine my

reluctance when my wife and I are asked to take on this task!

So here's my situation:

There are basically two locations in the Seattle area where these

shots will be taken; one is on a boat in the afternoon, the other is

in a heavily wooded arboretum around noontime.

I will be using my 500 CM, on a tripod. I'm shooting Kodak Portra

400 NC. I have at my disposal two light meters; an old handheld

reflected light meter, and an old Pentax 1 - 21 degree spot that I

use exclusively for my B&W work. I have a hard time with color

because it always seems to be either under or over exposed...

and flash use? That's a whole other dilemma! I have a Vivitar

3700, but it is hit and miss with the PC socket on the Hassie, so

I'd rather not try to use it.

Does anyone have any quick tips for me that will give me

somewhat consistant results? Which light meter should I use,

and how? Should I meter for 400, or something else? Any advice

would be much appreciated, since I'm really feeling the pressure

here!

--"the high price of a single pack of instant film ($12-$15 here in

the US)."

A roll of 120 (10 or 12 exposures), pro lab processing and

contact (or proof) is about the same price as a box of 665 (yea!)

or ProVivid. --

I was referring to the more common film packs you can get

almost anywhere, like the 600, and Time Zero, which cannot

even compare in quality to something like 665 or type 55.

My stock broker told me today that possibly as soon as

tomorrow, Polaroid could be filing for bankruptcy protection.

Since I'm sure more than a few readers of this post rely on great

Polaroid products everyday, I thought maybe we could get a little

conversation going. Anyone's concerns? Optimisms? Future

forecasts for this historic, innovative photographic staple?

I've often wondered how Polaroid has managed to stay afloat for

all these years, and still produce such advanced products, not to

mention the sheer volume of products they've put out on the

market under endless names, styles, gimmicks, etc.

I mean, just look at all the different versions of Polaroid cameras

that are out there, especially back during the '70's... all those

different SX-70s, all the different styles and variations of the

classic 600 series cameras. The professional films and media

products. All the new "flashy" stuff geared for the younger crowd...

there's tons of it! One has to wonder who's buying all this stuff,

especially given the high price of a single pack of instant film

($12-$15 here in the US).

I can't say I'm too surprised, although I'd really hate to see a

photographic world without Polaroid. I think they are a

tremendous asset to photography.

I'm in need of some expert advice....

My wife and I have been slowly building up computer equipment

in order to try out a little photo-restoration business venture. We

have just about everything we need except for a scanner. I was

hoping maybe I could get some ideas based on any experience

you guys have had, in relation to the kind of features we're

looking for.

We're looking for something in the $1100 - price range, with the

ability to scan from a platen glass as well as from various film

size formats. I like the ones that have the pull-out holders for

various film sizes because it seems that would cut down on dust

and newton ring effects. The scanner would have to be

compatible with Mac as well. (We would be using this scanner

along with a G4, and an Epson 2000P for in-house reprinting

work)

Right now, the Microtek ScanMaker 8700 seems to be a

candidate with all these features. Do you have any other

suggestions as to what I should look for? Any other models?

Features? Thanks a bunch!

wow, that Linhof M 679 looks awesome! Does anyone know

where I can find a dealer that would have prices for this system?

I bet I've searched 15 pages and still can't find a price....

Thanks for all the responses! Now I know that what you meant

was what I was thinking it was. I just thought maybe there was

something else about "projection" that I was missing. Forgive

me, for I know little to nothing outside of processing, printing,

and exhibiting my own B&W work.

I guess saying that I run in a circle of "art" photographers sounds

kinda goofy, but for me, that's all I know of photography with the

exception of one good friend who runs a studio for a living. I'm

well aware of the slide work done by artists like Nan Goldin and

Lorie Novak, and I do shoot slides of my work for archiving and

submitting for exhibition... I was just under the impression that

what everyone was talking about was perhaps something

different.

Maybe someday when I decide to get into color, I'll give it a shot. I

can only imagine how nice it would look! Thanks a lot!

Jerry-

No mistake on my part, maybe just a little confusion since most

Graflex cameras have at least 3 different names or logos

emblazoned on them! What I have is a 2x3 Crown Graphic (says

so right above the lens board), which also says "Graflex" near

the top where the opening button is, and it also says "Graphex"

with a "ph", on the shutter mechanism. Now I have a roll-film

back that says "22 Graphic". Who knows what the darn thing is

actually called, although I've always referred to them as "baby

Graflexes", basically any press camera smaller than a 4x5...

Yes, Paul's response above couldn't be more true. This recent

rise in price of Yashica 124-G's is completely outrageous.

I've purchased two in the last 3 years, one for me, and one for my

wife. Both about a year apart. The prices were $150 & $175

respectfully. Three other friends of mine have bought G's in the

past year, and I squirm when I find out how much they have to

pay: $180, then $225,... last weekend a friend bought one for

$275! And that's without the case, strap, and lens cap! Stupid

stuff. I mean, I think they are great cameras, especially for MF on

a budget, and they hold up real well, but frankly, I don't see how

they can be worth more than $200, even for a near perfect model.

I think eBay is to blame... anyone out there with me on this?

I know this may seem like a silly question, but I'm curious after

seeing this term mentioned so many times on here...

What is meant by the term "projecting", or projection of slides

when it is mentioned on this post? I'm immediately thinking of a

bunch of people sitting in someone's living room with the

shades drawn and the old projection screen set up- all looking

at each other's photos. Please tell me it's more than that... is it

some process that is used in a particular way for a specific

purpose? I know from working as an intern for a semester for a

local product photographer, that when we weren't shooting

digital in the studio, we shot transparencies, or slides, for print

publication usage, but I never heard talk of any "projection"

format. I can only guess that it involves slides, or transparency

film, but what exactly is the projection side of it, and what

applications would it have?

Please excuse the apparent lameness of the question, but I run

in the circles of "art" photographers only, so the business end of

things, professionally speaking, is foreign to me. However, I

want to know all I can about my medium, and this seems to be

one of the best sources for learning. Thanks!

After months of pining for the chance to use my Graflex 2x3,

which came with a totally unusable 6x7, 120 back, I finally gave in

and bought one of the "22" backs on eBay- the 6x6 format ones.

So, before I get it and start playing, can anyone tell me a good

way to compose somewhat accurately for 6x6 using the ground

glass? Should I make some crop marks to mask off the square?

If so, what is the best way to do so?

Also, I know that many folks have complained about the inability

of these knob-wind type backs to keep the film flat. Has anyone

tried to modify these to keep the film flatter? I had a hard time

trying to find the lever-wind type that was 6x6 format, and I prefer

the square, so I figured I'd give this one a shot...

About a year ago, my wife made a little light box for me that did

the same thing you're looking for. She took some scrap poplar, a

piece of translucent plexi, and a miniature flourescent fixture

(she purchased at Wal-ly World or Target here in the US), and

made a nifty little light box that could be placed on the scanner

glass. I believe you can also find battery operated flourescent

fixtures for a cordless operation. I think the dimensions were

approx. 4" x 8", with a depth of about 3". Worked great!

My wife and I both purchased 124-Gs when we decided to get

serious with MF. They are nice starters in this sense.

From what most people tell me, the meters on these cameras

read a lot of bright light that comes from slightly above your

subject. This could be due to the fact that the "eye" of the meter is

placed so high up in the top right corner of the camera body. You

could try metering with the camera pointed slightly down towards

the ground from where your subject is, then set your exposure

and take the shot. Another thing you can try, (and this is what my

wife does), just set your ASA number on the camera to half or

1/4 less from what your film speed is. For example, if it's ASA

400, set the camera to 320, or even 200. This should help keep

you from over-exposing. Personally, I tested my camera using a

spot meter, and found the correct ASA to match my film/camera

combo. I under expose for my shadow detail using a bastardized

Zone system technique.

Ditto on sending your camera to Mr. Hama for any tech work.

He's great!

Best of luck!

Wow! Using mirror lock when hand-holding!?! I wish I could do

this with my Hassie, but then I couldn't see the image in the

view-finder! I don't know about how other MF SLR's work, but I

wouldn't think that you could effectively hand hold with mirror

lock-up, since you run the risk of screwing up your composition.

I am returning to this post to make an update for anyone reading

this...

After being flooded with emails requesting copies of the 635

manual, I feel I must inform everyone on here that I no longer

have my 635. I sold it with the kit and the manual to a Yashica

collector. I'll probably regret it sooner or later, but I needed $$ for

a new MF setup.

Please do not write me requesting manuals. I no longer have

them. However, if you have a specific question regarding the

635, I may be able to help you out!

Thanks!

Robert,

The only bag I use for my Hassy is a LowePro Nova 3. It is a

top-loading bag with lots of pockets and stuff. I arranged the

removable dividers to fit my 500 CM with back and lens attached

(standing on it's end) as well as a prism finder and a large

Pentax spot meter. I keep lots of extra film, Proxar lenses, cable

release, WL finder, and lens cleaner solution in all the pockets.

This bag is all I'll ever need. Great light traveller. However, if you

shoot professionally, a bigger bag might serve you better.

I've searched through the archives, and have yet to find a

definitive answer on this...

I'm getting now to the point where I have good enough

equipment to standardize my work. For example, I'm going back

and reprinting a lot of my older work, now that I have a good lens,

enlarger, etc. Plus my printing skills are much better than say, a

year ago. What I've decided to do is print 5 editions of each good

print in case I need multiples for selling, exhibiting, giving away,

etc.

So what's the best way to store and protect these prints? I print

10 x 10 on 11 x 14 paper, and I have several archival boxes from

Light Impressions. Can I just store the prints in a stack inside

the boxes? Do I need to separate each with some type of

acid-free material? Is there a way to sleeve each one? I'd like to

know some of your methods and/or advice on this. Thanks!

I'll second Kevin in saying that I've found them to be on the

money- and I use a single, 30 year old Zeiss lens. BUT as he

said, you need to take care of some things on your end to make

sure you get what you expect. Use a tripod when you can for best

results, and try not to hand-hold at less than 60/sec. Even still,

you should lock up the mirror.

My wife started using the Hasselblad, and was shooting in low

light, indoors, etc. She was frustrated because all her pictures

weren't sharp as they should be, or had the depth of field she

was expecting (after all, we paid enough for the reputation of

these things!?!) Turns out, she wasn't locking up the mirror, or

using a tripod. Once she did, that made a world of difference.

I guess this is more of a "heads-up" rather than a question.

My wife just purchased a large pack of the 120 negative sleeve

sheets that Calumet sells with their name on them. Problem is,

if you are making contact sheets for proofing on 8x10 paper, the

sheets are way too big to fit on the paper, and you lose a lot of

information, at least half a frame.

I usually use the Print-File brand, which always seem to fit

perfect on 8x10. Does anyone know why Calumet would make

proofing sleeves so incredibly oversized?

So just a word to the rest of you who still make proof sheets...

stick with what works for you!

If anyone has any busted, broken, or beyond repair Hassy

lenses that will fit a 500CM, I would be interested in purchasing

one from you. I'm not looking to repair one, but rather to use to

build a "just for fun" experimental lens project. I'm more

interested in the casing that will fit snugly into the body more

than anything else. Body caps probably won't be secure enough

for what I want to do. If it's reasonable enough, let me know.

Thanks!