peter walker

Some of you may have seen a post that I placed here a few weeks ago

regarding protecting my negative / transparency collection from fire.

This was triggered by a fire in my building that caused me no damage

but made me think seriously about this topic. I looked into a few

options including: fire-proof safes; duplicating negatives and storing

the duplicates off-site and; scanning negatives and storing the media

offsite.

I came to the conclusion that the latter was the optimal solution.

The fire-proof safes are not really fire-proof for long enough nor can

guarantee that the temperature during a fire will not exceed the point

where damage occurs. Besides which, none of the fire-proof safes have

the necessary humidity protection required in the tropical places

where I live. Duplicating the negatives is possible but very

expensive for a large collection. My chosen option, scanning,

achieves the fire-proof objective but has an added advantage of moving

the negatives into the format of the future and providing me with a

stock of scanned images for future updates to my website

(http://www.peterwalker.com).

So I have purchased a Nikon 4500 film scanner (multi-format because

most of my collection is medium format), upgraded my Mac to a G3 with

lots of memory and purchased a Yamaha CD-Rom reader/writer. I plan to

select my best 500+ images and employ an arts student over the coming

summer holidays to scan these images and save them on CD-Rom.

My final concern is regarding longevity. The CDs will last forever

but will only be useful as long as the technology to read them is

available. I expect that, sometime in the next 10 years, I will need

to transfer the images to whatever state-of-the-art format is in

vogue.

Here are my questions:

1. How big should I make the saved scans? Is there a formula for

calculating how many pixels (megabytes) one needs to capture and store

from a 6x6cm negative to (a) have captured all the useful image data

and (b) not captured unnecessary redundant extrapolated data?

2. Is JPEG the best format in which to save the images? How long

will it be the best format for storing images?

3. I presume that I should use JPEG lossless compression (Quality =

10). Is this correct?

4. Is the PhotoCD format the best way to write these on to the WORM

(write once, read many) CDs? Or should I just write them as data

files on a data CD-Rom format?

5. Is there any other considerations to ensure that I get the best

long term value out of this effort?

Any comments or suggestions gratefully received.

Regards

Peter

Email: pwalker@singnet.com.sg

URL: http://www.peterwalker.com

Jerry,

One last comment regarding magnification:

In my experience, there is always a trade-off with more magnification.

Whilst things get bigger, and therefore easier to focus, they also

distort somewhat. With a magnifier in place your eye can only see

part of the image clearly. The best way, IMHO, to frame and

previsualise an image is directly on the ground glass screen.

However, sometimes the details are too small to be sure about focus.

That's why, the pop-up finder on the standard Hasselblad includes a

little pop-up magnifying glass. But of course, the best way to use

this is to frame the image, pop up the magnifier, check the focus and

then push down the magnifier before taking the shot. I think that, if

you used the magnifier all the time, your images may not be well

framed. This is becaue, with a magnifier in place, you have a move

your eye around to see the whole image. You can not see the full

effect of the whole image.

So my point (I am wandering a bit), is that, if the magnifier is

easily removed, then it might be useful sometimes to pop it on to

check focus in a complex image. But if it is more-or-less permanent,

then I would not recommend it.

Personally, I do not feel a need for an additional magnifier with the

45 degree prism. Its inbuilt 3x magnification seems to be enough for

accurate focusing in all my shooting situations (portraits, travel and

architecture). However, your photography work may require more

difficult focusing, in which case the magnifier might be justified. I

guess I have talked myself around to repeating my original suggestion:

Try both the finders both with and without magnifiers and see what

combination feels right for you.

Regards

Peter

Jerry,

I chose the 45 degree prism viewfinder because:

a. The 45 degree finder has larger magnification (x3) than the 90

degree (x2).

b. all the backs can still be used (with the 90 you can not use the

polaroid back and the 70mm film backs.

c. I do a lot of portrait work and feel that with the camera on a

tripod at the best height for a sitting portrait, the 45 degree finder

is right where it needs to be to look comfortably into the camera.

This is even more so, with the model closer to the ground (e.g.

sitting on the floor).

d. Before I purchased, I handled the camera with both and found that

the camera body sits better in my hands with the 45 degree finder. To

me, it felt that, with the 90 finder, the shutter release finger

position was not as natural.

My advice: Go to your favourite Hasselblad shop and try both finders

and see one works best for you. Shoot some shots with both finders,

simulating the kind of shooting environment / position that you

prefer. Buy the one that "feels right".

Regards

Peter

Geoff,

I have almost the same equipment as you describe (205FCC, Metz 40 MZ3i

(SCA390 adapter) and an 80mm FE lens or 150mm FE lens). My camera

behaves the same way you describe. I think that it is not a "problem"

- just the way the camera has been programmed.

Using the Z or D mode with TTL flash, you are letting the camera

control the shutter speed. It will use too slow a speed in some

low-light situations (eg 2 or 3 seconds), regardless of the setting on

the shutter speed ring. It works fine for low-light, fill-flash if

the camera is on a tripod and the subject is immobile. It does not

overexpose if the Pr Flash setting is set to a high-enough negative

number (eg -1).

But for most "normal" low-light flash photography (eg indoors at

night), I find that it is best to use the M metering mode.

Whenever I use the flash for low-light photography, I always switch

the metering mode to Manual (M). For most fill-flash situations, I

set the Pr Flash function to -3/4 or -1 and for low-light situations I

set the Pr Flash function to -1/4 or -1/2. I then find a shutter

speed / aperture combination within the flash synchronization range.

I often set the shutter speed at 1/60 or 1/90 and set a suitable

aperture for the flash range (as displayed on the flash display

panel). This seems to produce very reliable results.

Regards

Peter

-----

Rene,

You are quite right. I forgot to mention Shriro in my orginal post.

They have been quite helpful as well.

I am sure others will give you all the technical advice you need so

here is a couple of practical tips from me.

You need to control the mood of the group. This means that,

regardless of who is in the group, you establish control and

leadership from the beginning. Be decisive and directing. Practice

your deep, commanding voice beforehand. Show confidence, even if your

knees are shaking (wear baggy trousers).

Scout the location well ahead of time and study the lighting. If your

flash is not powerful enough use some open shade rather than direct

sunlight. If you do have enough flash power, then use the ambient

lighting for backlighting. Watch out for floresecent lights which

will cast a green light on the image. Make sure that you have enough

space for you to get back far enough from the group to get everyone in

the shot when using a normal or medium tele-photo lens (do not use a

wide angle lens or a wide setting on a zoom lens - very ugly in a

group portrait). Use a couple of chairs to mark the outer edge of the

planned group placement so you can check framing before the group gets

there. Look for distractions in the background (trees growing out of

people's heads is a no-no).

Set up before the group is in place. Get everything ready, camera on

tripod, exposure set, focused on the right place, check depth of field

from the front row to the back row, load film, etc, etc.

Then get the group into place. Take charge of the people placement.

Advise the group about the whole process and what they need to do:

"Nothing, just stand where you are told looking relaxed and happy".

If you do it in a cheerful manner, you can get away with being bossy

for a little while.

Finally, in every group there will be some jokers - you know the type

- hold their fingers behind someones else's head as rabbit ears, pull

a funny face etc. Here is what I do. I tell them up-front that the

first 2 shots are just "test shots" so they should just stand there

normally whilst I get the camera adjusted. I tell them that the next

2 shots will be the "serious ones" so they should put on their best

"portrait face". And I tell them that, at the end, for the last two

shots they should be as silly as they can be, all pulling silly faces,

jumping, yelling, whatever. The anticipation of these last two shots

is enough to keep the jokers under control for the first four shots.

Six shots is about all a group of people can stand before they get

bored with the whole exercise.

I do not "count down" for the first two shots, just pretend to fiddle

with the camera (do not actually change any of the carefully preset

settings) and hit the shutter cable when everyone has settled. Then

do the old "watch the birdie, 3 - 2 - 1 - Flash" shots. Then tell

everyone to be as silly as possible and snap away a couple more shots.

Usually one of the first two shots is the best, because the "portrait

face" ones are too starchy. Nearly always, everyone wants a print of

one of the last two shots as well.

Others might do this differently but this approach works for me.

Regards

Peter

This is not a question but I do invite comments.

Nine months ago, I bought a brand new Hasselblad 205FCC with a couple

of lenses. I have been into photography for over 20 years and have

used many cameras including 35mm, Underwater and Medium Format

cameras, some of which have been good and some not-so-good.

When I bought the Hasselblad a number of people, including a couple on

this forum, said that I was crazy for spending so much on a camera.

At the time I did not react to the nayasayers, on the basis that the

camera was still new and I was not 100% sure that my money had been

well spent.

Well, after nine months, I just have to say this, "the camera is worth

every cent that I spent on it". It has worked perfectly, is very

logical in its operation, and is a joy to handle. Although the

camera is only the tool with which we take photographs ( you can see

some of mine at http://www.peterwalker.com ), having a good piece of

equipment can so enhance the photographic experience that the user is

free to focus their attention on the photograph not the camera. I

particulary find the built-in "zone system" spot metering very

intuitive, removing doubts about exposure, especially when using color

transparency film.

But the clincher for me has been Hasselblad's after-sales service.

Early on I had a problem with one component - probably due to me

mishandling it rather than a manufacturing fault. Without hesitation,

Hasselblad quickly replaced the component. Also, being a novice to

this camera, I have had questions about certain features. I been able

to communicate via email directly with the engineering department who

immediately came up with a solution for what I was trying to do.

In summary, the 205FCC is an excellent camera backed up by excellent

service. It is without doubt the best camera that I have ever used.

When it comes to fulfilling my goals as a photographer, the price of

the camera does not even come into consideration.

NB. This viewpoint is totally unsolicitated - I just wanted to share

it.

Regards

Peter

Martin,

I too have often dreamed about taking a medium format camera underwater - but I have never let my dream turn to reality for a couple of reasons:

1. An MF camera in a housing is going to be very bulky and cumbersome. Occassionally I enjoy a dive without my Nikonos V and SB102 strobe just for the shear pleasure of not having to hang on to a camera ("Heresay!", I hear you all hiss...)

2. I have enough problems getting a couple of decent shots from 36 frames so reducing the number of available frames per dive does not seem like a good idea (of course 70mm roll film could solve this problem).

3. Underwater you need a fast, wide lens like the Nikonos 20mm. I doubt if the Kiev lenses will be fast enough or wide emough.

But, if you decide to make a project out of your dream, I would be interested in hearing about the results.

Regards

Peter

Last week at 4am, a fire broke out in the apartment below ours. The

fire alarm woke us. When I looked out the bathroom window I saw

flames flicking out of the window below and up the side of the

building. I called the fire brigade but, as we live on the 22nd

floor, I knew that it would be some time before the firefighters could

get to the fire with their equipment. Of course, my first

consideration was to get my family to safety. We dressed quickly,

grabbed our passports, and closed all the windows and doors. But, as

I left the apartment, one thought crossed my mind: "Should I take my

photographic originals with me?" I have over 20,000 negatives and

transparencies taken over 20 years across many countries. I chose

not to take them because they are heavy and cumbersome and I thought

that my young son might need some help getting down the emergency

stairs.

The good news is the that Singapore fire brigade managed to put out

the fire before it spread to our apartment, although the apartment

below is gutted. Our apartment smells of smoke but we suffered no

other damage.

But, of course, an incident like this leads one to thinking about fire

safety. Particularly, I have been thinking about the safety of my

photographs. I recall that Ansell Adams lost a lot of his earlier

work in a fire. I am not comparing my work to his but, if I lost all

my photographs, it would be a major tragedy in my life.

Because of the humidity in Singapore, I store my originals in a "Auto

Dry" cabinet which has a small electronic device to keep the humidity

inside below 50%. This cabinet is built like a small refrigerator

with a glass door and metal body. The fact that the whole cabinet is

sealed from the outside air would protect the photographs from smoke

damage and water damage. But of course, these cabinets are not heat

resistant so, if the fire came close enough, the heat would destroy

the photographs.

I wonder if any of the members of this BBS have thought about this

topic. Are there any solutions? Does anyone use fireproof safes?

Or underground storage in a fire and storm-proof cellar? What about

duplicating a set of the important originals and storing them

somewhere else? Is this very expensive? Any thoughts or suggested

solutions will be gratefully received.

Richard,

I think that Ivo Wennekes has had the best two suggestions to date and

I like his first one the best.

1. Move your shutter speed ring to 'C'. Or:

2. Press the orange metering button for about 15 seconds. This will

shut down the power. To turn it on again, you can push the release

button half.

I guess that, I am so pleased with the camera that I do not mind

changing the battery every 50 to 60 rolls (although it would be nice

to get it up to 100 rolls per battery). Now I carry two spare

batteries with me so that I can survive on a long trip.

Having bought such an expensive camera, one can not grumble about

having to buy new batteries regularly. I just did not like the idea

of the battery being wasted in my camera bag by accidently switching

on the meter as I carried the bag.

Rega

Girard,

Thanks for your quick response and your useful suggestion. I am sure

that you are on to the right solution.

But rather than use cardboard, I might try to do your idea with camera

bag padding. I have some spare camera bag padding lying around my

office somewhere (you know how they always give you more pads, slots

and compartments than necessary). I could cut some shapes out of

these. The whole point is to ensure the side of camera bumps against

the bag and not the protruding AE Lock button.

Regards

I have been using my new Hasselblad 205FCC for about 6 months. I has

been a great experience. But, during that time I have been through 3

lithium batteries. This seems a bit excessive as, previously, my

Bronica GS/1, which uses the same battery for the same metering

function, used to last at least a year of heavy use.

One problem that I suspect is that the "Meter on / AE lock" button is

being accudently activated whilst in my camera bag. The "Meter on / AE

lock" button sticks out on the left-hand-side of the camera body and

would be the first thing to touch the rear camera bag padded wall as

the bags moves around. I suspect that, as the bag bumps against my

hip, the button gets pressed and the meter switches on for 16 seconds.

If this happens regularly, then the battery would run down quickly.

Especially as, being inside the dark camera bag with a lens cap on,

the underexposure light would be flashing. On P16 of the manual it

says that I should "keep the magazine slide inserted ... to avoid

increased battery power consumption". Well, I have played with the

slide and it seems to have no affect on this button - I can switch the

meter on with the "Meter on / AE lock" button whether the slide is

inserted or not.

Does anyone have any experience with this problem? Are there any

techniques that can minimise battery use? I guess I could try to

place the camera differently in my camera bag but it is most handy the

way I do it now.

All comments g

Gerald,

Do not be put off in your pursuit of the zone system for color. A

system is a system and if it can be adapted to another purpose then

this is more useful than worrying about preserving the purity of the

original concept. I have been using a zone system approach (I will

not call it "The Zone System") for some months for my color

transparency work. I have no control over the processing steps so

those aspects of the original "System" do not apply. However, more so

than in any other style of photography, it is important to get

exposure correct on color transparencies. And I find that using a

zone approach is very useful. With a spot meter, I can place

critical features in their appropriate zone and then see where the

others will fall. If you keep critical shadows above zone 3 and

critical highlights under zone 8, I find that I have a well-balanced

transparency that prints well. My quest for better exposure was

aided by purchasing a Hasselblad 205FCC with its built in zone

metering and spot-meter. I apologise in advance if my methods upset

Zone System purists but it works for me. I do not think that Ansel

would mind.

Fabio,

<p>

I do not know why your friends say that the 205FCC is difficult to

use. I enjoy using mine. The "Z" or Zone metering is wonderful -

the most logical way of getting the exposure that you want.

<p>

Regards

Peter

(Singapor

I am fascinated by the FE110 lens for the Hasselblad 200 series camera and am considering buying one. It seems to be an unusual lens, almost like looking through a pipe with glass at both ends. This lens is ALL glass. As a result it is very fast for a MF lens - f2 wide open. One reveiwer wrote that, if he was allowed to own only one lens in his life, this would be it. The downside seems to be lack of depth of field. Judging by the DoF scale on the lens barrel, this lens has very little depth of field, even when stopped down to f5.6 or f8.

<p>

Has anyone in the forum had any experience with this lens? Is the limited DoF a problem? Or an advantage? How sharp are the results? What is this lens good at? Portrait? Landscape? General Purpose? Could you use a FE110 on the camera all the time like a FE80 2.8?

<p>

All responses appreciated.

<p>

Regards

Peter

Jason,

<p>

My first MF camera was a Bronica GS/1. I used it excelusively for 10

years and am just in the process of selling it.

<p>

I found it to be a great camera. Very reliable, sharp results and,

with the AE Finder, very accurate on exposure. The 6x7 transparencies

are a joy to handle and print from. I could handhold it down to

1/30s - because I added the speed grip and AE Finder. It is a bit

heavy but not too hard to lug around. I have carried my all over the

world. Naturally, as with ALL cameras, it is better on a tripod.

<p>

The only reason that I am selling it is that I fell in love with a

Hasselblad 205FCC and emptied my bank account to buy it.

<p>

Anyway, for what its worth, I would recommend the GS/1 to anyone.

<p>

Regards

Peter

http://www.peterwal

Hi! Does anyone know of a small photo studio for hire in Hong Kong. I

only need it for half a day and do not want to pay too much as the

shoot is to be very low cost. I do not need any equipment except

a backdrop. I have all the lights etc.

<p>

If anyone knows of such a place could you drop me an email with some

contact details.

<p>

I guess the other choices are to:

<p>

a) hire a empty warehouse / shop and jury-rig some backdrops

b) borrow a studio from a commercial photographer (out of hours for a

small fee)

<p>

Appreciate any help. I need to get this set up by the middle of

December.

<p>

Regards

Peter

Singapore

Fabrice,

<p>

Some things transcend the value of money...

Robert,

<p>

Thanks for the welcome. It is superb piece of equipment. I am now

anxiously awaiting the results of my first few rolls....

<p>

Regards

Peter

Your both right.

<p>

Handing out Tri-X rolls would be more appropriate than cigars.

<p>

And, after buying the camera, I can only afford one roll of film and I

want to use that in my new toy.

<p>

Regards

Peter

This is not a question...

<p>

More a shout of jubulation...

<p>

Today I brought home my new Hasselblad!

<p>

After 10 years of use, my Bronica GS/1 had started to look a little

worse for wear. So I want out shopping for a camera. Unfortunately

I had a bit of money due to a recent contract win, so I decided to

treat myself.

<p>

I bought a 205FCC with a couple of lens (80 amd 150), a 45 degree

finder, motor winder and some filters. I am now completely broke...

<p>

But happy...

<p>

After a few hours of playing, I can tell you that this is a superb

piece of equipment. I am looking forward to many creative hours in

the field and studio.

<p>

Just thought I'd say something on this forum - just like announcing a

new baby...

<p>

Regards

Peter

(Singapore)

I am about to buy a Hasselblad 205FCC. In Singapore, where I live, I

have been quoted the following prices:

<p>

Body $7,700 Singapore Dollars

80mm $2,100 Singapore Dollars

Prism Finder 90: $850 Singapore Dollars

6x6 Back: $1,350 Singapore Dollars

<p>

At today's exchange rate these prices in US Dollar are:

<p>

Body $4,500 US Dollars

80mm $1,220 US Dollars

Prism Finder 90: $500 US Dollars

6x6 Back: $780 US Dollars

<p>

I travel a lot, so I have the option of buying this equipment,

sometime during the remainder of this year in Australia, US, Japan, or

Hong Kong.

<p>

My question: Does anyone know if these Singapore prices are

reasonable? Can someone tell me if I should buy here and now at

these prices or wait until one of my trips to the places mentioned

above and buy it cheaper. If I could save over 500 dollars I might be

prepared to wait.

<p>

Regards

Peter

Email: pwalker@singnet.com.sg

URL: http://www.peterwalker.com