kenneth_smith7

<p>OP here. I'm sorry if I confused two issues. Sharp is always the goal, unless we intend otherwise. An argument against sharpness to defend sub par images would be ridiculous and was nowhere in my post. However many images often are quite valuable despite perfect sharpness, but that opinion about aesthetics was not my primary statement which was simply one of anti-consumerism. My thoughts had nothing to do with what amount of sharpness was OK, passable, aesthetically pleasing, historically visited, artistically manipulated, etc. I merely had dismay at my stupidly pouring over masses of internetted blather about minutia regarding sensors and lenses promising incremental improvements in sharpness, when after all that quality was already obtainable to a high degree with what I owned. Not to mention what a supremely lazy pretense of research when there are dozens more important things to bring to image creation. I do not give in to sub par image making. I'm currently shooting with a 240mm Fuji-A on a 5x7, and Pentax 6x7's, but I'm not about to toss a perfectly good 50mm Nikkor out the window for a Sigma, or drop thousands on an FX. That's all this OP meant. </p>

<p>My initial post was for the most part a self criticism against my gear acquisition tendency. Within the context of actual image creating the factors are all over the map, subjective needs and preferences. I love sharpness, and have always been a fan of that very quality of photography. But it gets out of hand when you're tossing 4x5 chromes because of a little wind shake, or great 35mm black and white street photos, because of a little back focus. Editing is one thing, but that absolute sharp thing is not number one, to me. Also, my gear is astounding and capable of all that photography offers. I've had my fill of shelving good gear just because of the next generation blah blah blah. Enough is enough. No $900.00 normal primes for me. Or $900.00 anything for that matter. And not even an FX. This D7000 is astounding. My darling, you will not suffer the indignity of being sold, or put on a shelf. I commit myself to living up to you, not forever glancing around at all the other girls.</p>

<p>The sharpness obsession had me in it's grips. Despite my knowing better, I had to check it out anyway, and hopefully bury it forever, so even though this post smacks of time wasting, its dedicated to the end of the year, end of sharpness worries and end of comparing cameras for that inadequate reason. <br> I am forty years in, and have done medium and large format for most of it. The first digital was as late as 2011, amazing in and of itself, with the D7000. I have since tested a D7100 and found no reason to upgrade. Point being, neither is the D750, or even the D810. The quality difference is just not that big a deal. High ISO, sure, focus in dark, buffers, etc. All the other reasons, sure, but splitting hairs over sharpness, no, not really.<br> Regards dynamic range and shadow detail, my D7000 shines, and post processing NEF's, are you kidding me? Many here probably know what slides required.<br> So with good lens quality and good technique I'm as sharp as need be, for me, to my eyes, non professional and likely never about to print beyond 30 inches. It is after all the image itself that counts the most. I don't think I've ever seen good pictures and thought, ohh, if only that were taken with a 4x5.<br> And yet the nagging mind that knows better is still peaking in at senseless tests and discussions wondering, is there a sharper camera sensor? Now unlike the rather dull Rockwell conclusion that "real" photographers don't worry about sharpness, of course they do, in a hundred circumstances, the real question should be, why should that be so important? It concerns one to not fumble the instruments capability, with poor focus and shake, but beyond that, why would it be so important to see more and more detail, because that seems to be where so called improvements are continuing to head. While it would be scientifically useful, aesthetically it's kind of absurd. It improves nothing to count eyelashes on a leopard. In fact they become fake looking. As bad as those dreadful every pore mug shots on the cover of Time that make a person look worse than they ever have in their life. <br> So is there a question? No not, really, but I would be interested in hearing about how possessed others might be, how they place this attribute on their scale of importance, and maybe even how they dispense with it altogether. </p>

The lever at the right hand side that moves upwards when a 220 is inserted, is in the correct position for 120, and is flexible. The camera still continues to cock instead of wind through. One thing I did notice was that when the camera back was popped open, there is another lever where the light seal is on the bottom right side, and when it moves out, then the crank continues to wind. As long as the door is closed and this lever is pressed inwards, the crank cocks shutter. That is the only part whose function seems to affect this, though this is merely doing what it should do, I'll assume, whenever the door is open. Perhaps there is some link though. Bravo Mr. Butler on your very considerable effort and presentation. Much thanks sir. <img src="https://ssl.gstatic.com/ui/v1/icons/mail/images/cleardot.gif" alt="" />

<p>Just to follow up. It still does this. All the gears in the camera, and the film spools look practically new, and I don't see signs of tampering. Hmmm... oh well, at least there is no overlapping. It shoots the 15th, and cranks for the next shot without a problem, I just need to be aware that there is no next shot. </p>

<p>Thank You Cory, and Ray Charles. Stuart... <br /> The counter does read 15, so the gear inside the camera and on the insert will get a look at, as soon as I finish this roll. <br /> Wonderful, wonderful cameras. I picked up these two as a Xmas gift to myself and am having a ball. Always had the bigger medium formats, but not these. They make stunning 11x14's.</p>

<p>I picked up a Mamiya 645 1000S recently, and was surprised that after 15 shots the camera still cocked the shutter, instead of winding the film up. I have to wind and fire the shutter all the way until the film is completely spooled. The multi exposure function switch is not in use.<br> I have an 645 where as it should, after 15 shots the winder then continues thru until the film is completely wound. Am I overlooking a setting somewhere.? I am using 120 film cartridges, not 220. This is also just a hand winding crank, not a motor. Is there a 220 setting that I need to undo, I wonder?</p>

<p>I don't know if I'll sell them anytime soon. They're so pretty, and hold in your hand like a Rolex. But they ain't as sharp. The 24mm f/2.8 AIS can't beat my kit 18-55mm. Same for all the rest, except maybe that 105mm f/2.5 P, crazy thing.<br> So who want's them? I heard once that cine guys have an appreciation for the "look". If that's true I'll put them up for sale with that cavet. I don't want to sell these to anyone hoping they're sharp, and as far as I can tell, that's what people look for. Bourgeois as that may be, Henri. </p>