kappel

I have the 135 and it is a very nice lens, but just like most other users of this lens I haven't used the defocus. Is there anyone out there who knows of a website with a good description of how to use the defocus control? I have been searching for it extensively without any success.

I bought the lens used and didn't get any users manual. If anyone has the users manual and is willing to scan and email it, I would be very grateful.

I have encountered problems in cold weather, but I also know how to solve it.

The problem: When the camera is used at low temperatures -15C to -30C, firing the shutter is not a problem, but there is a release for the film winding that doesn't release. When this happens you can hear that the clicking of the camera is more quiet than usual. This is a small release that only allows you to advance the film after the shutter has been fired. If it doesn't release, you can't advance the film. The release is pulled by a magnet, but the magnet may not be strong enough if the lubricants freeze up. I have changed that magnet once and it helped for a limited period of time, a year or two. This coming winter I will send my Mamiya 6 to the service center to have this fixed again, or maybe I will try to do it on my own. If this is something that has to be done every 2 or 3 years there is a lot of money that can be saved by doing it on my own.

 

If anyone knows more about that Nikon battery holder (model number), I'm curious about it.

There is also the Mamiya 6MF, which can take an adaptor of the same kind that the Mamiya 7 uses. The frame is 24x54mm. The Mamiya 6MF has been discontinued, but is easy to find used.

I am using a complete Mamiya 6 outfit (yes, the close-up attachment and the panoramic kit too). My main subject is landscapes, and I that this camera is a very good light-weight equpiment for this purpose. I am sure that you will get accustomed to visualizing your images. It is different from using a SLR, but once to get the hang of it, it may actually be a faster way of working. I don't think that it is very difficult to use ND grads on the M6. I just look in the viewfinder and estimate how the filter should be positioned. So far, I have never taken a photo, where the use of the filter can be clearly seen. Your idea of test-shooting and marking the filter holder seems like an overkill to me.

 

BTW, the close up attachment is not an extension tube, it is a dedicated close-up lens that is attached in front of the lens. It yields very sharp images, but it doesn't allow exact compositions to be made. Rangefinders are just not meant for close-up photography. In spite of this fact, I have shot a few very nice full face portraits with the close-up attachment.

 

You can find my user comments on the Mamiya 6, in your mothertoungue (not english), on my website.

I have been using two Kindermann projectors for two years; a 66T and a 66MPC. It is a great dissolve projection kit, well worth the price. The complete kit was cheaper than a Rollei 66 dual P. It sure gives justice to my slides (taken with mamiya 6 and Rollei 6008). The lens is sharp and the cooling is very efficient, there's probably no other MF slide projector that heats up your slides less than the Kindermann. On the downside: I've got to admit that two projectors make quite some noise. For dissolve projection it takes a screen that is 2,5 meters if you want the whole image to be sharp. If the screen is smaller, the angle between the projectors will be too large and the depth of field will not cover the whole screen. Thus the image will not be sharp at either the top or the bottom. This problem doesnt exist with Hasselblad projectors, since they have shift lenses. The problem is smaller with Rollei projectors since two Rollei projectors on top of each other will get closer together than the Kindermanns do.

 

It takes careful positioning of a medium format projector without shift capability in order to achieve good sharpness. The depth of field of a 150:3.0 is very narrow. For sharp projection the slide must be parallel to the screen, which leads to the conclusion that the projector must be positioned at the same height as the center of the projection screen. If one fails with that, Kindermanns and Rolleis will not be anywhere close to the sharpness of a Hasselblad projector.

I believe that Joel Collins got something mixed up when he wrote that the filter size of the 400:4.0 is 77mm, because it just doesn't make sense. A 400:4.0 must have a filter size no smaller than 100mm. 400 divided by 4 equals 100, right? Did Mr Collins read all the other data too from the wrong source? I don't know, because I have never ever used any Pentax equipment or even looked in a Pentax catalog. But I sure know that lenses usually don't defy the laws of physics.

Don:

Take a look at Sekonic meters. (www.sekonic.com) In my opinion they give you more bang for your bucks than Minolta does. Probably the Sekonic L408 or L508 suits your needs best. If you don't need the spot meter, the L328 is a better (cheaper) choice.

 

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Ravi Kappel

The difference between enlargements from 4x5" and 6x7cm is almost impossible to see in prints smaller than 16x20", and it takes a very careful look to see it in a 16x20". My experience of printing is limited to Ilfochrome prints from Fuji Provia and Velvia.

The main reason why I use Large format is not the tonal gradations, but the ability to tilt and shift with all lenses.

Think twice before you rush off to buy a large format camera.

Recently I got a few rolls from the lab (a Kodak Q-lab). I had taken similar pictures on both Astia and Provia. I believe that they were processed in the same batch. The difference is quite small, but clearly visible when the chromes are placed side by side on the lightbox. There wasn't any cast in the Astia, but the contrast and the color saturation was lower. This is something i find useful in certain situations and i will continue to use Astia, especially for photographing people in direct sunlight. I can't think of a better slide film for that application.

I really recommend a look at the linhof cameras if you want a real good MF view camera. (www.linhof.net).

If price isn't an issue, get a linhof Technikardan 23S. It can do anything a view camera can do. Lenses from 47mm to 360mm are usable. A better and more portable view camera just isn't possible to find. That's why they charge almost $4000 for only the camera body.

If your budget is limited, get a used Technika. You could probably find a nice body, lens and roll film holder for approx. $1000. It is a very robust and reliable camera. It doesn't have all the tilts and swings you might ask for, but I believe that the newer Technikas are better than the old ones.

 

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If you're gonna use the tilts and swings a lot, you'd better get a right angle reflex viewfinder. It makes work a lot easier.

 

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When buying large format lenses, don't buy anything that doesn't come from Fuji, Nikon, Rodenstock or Schneider. For photographing buildings on 2 1/4"x 3 1/4" you will probably want to have a 65mm lens as your wideangle choice, or perhaps even shorter. I can't tell whether a 90mm or a 105mm will serve you better as a normal lens.

 

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I used to have an old Technika and a Schneider 65mm:6.8 from the mid-sixties. To my dissapointment, I don't get sharper images from my Mamiya 6 with its 50mm lens. The larger image size of the Technika outweighs that the lenses are slightly less sharp.

With the profiflash, you can measure the flash output and determine the right exposure settings when running your flash in manual mode.

The Agfa Ultra 50 is not a very fine grained film. It is in no way a good substitute for Ektar 25, since the contrast and the color saturation is too high for most applications. Instead you should try the Konica Impresa 50, a very fine grained film with normal color saturation and fairly low contrast. The problem is to find a dealer that have them in stock in 120 size.

 

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(http://www.konica.com/products/35mm/film/film.htm#i50)

 

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Fuji reala 100 is another very good film, but I have heard that there have been problems finding it in 120 size in the US. In Europe the availability is good.

You can purchase a profiflash, the flash metering accessory for the

profisix. It is not very expensive if you buy it used. This is probably the best and the cheapest solution for you.

Try www.voxon.se . That's in Gothenburg. Follow the link to "begagnat"

That's "used" in Swedish.

The Mamiya 6 is an excellent camera. I am very satisfied with it, even though it has some limitations, which you seems to be aware of. I have a camera body, all three lenses and all accessories. I use it very much. I've stopped using my Nikons for everything but long telephoto shots. I've also reduced my use of 4x5", since I bought the Mamiya 6.

Full face photos seem to be what most people miss, but there is a fairly good solution available to that problem. The minimum focusing distance can be reduced to 50cm by using the close up adapter for the 75mm lens. I've used it extensively; the image quality is real good.

 

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If you want to use fast film, you'll find nothing faster than 400iso in 120 size. Solution: use the Panoramic kit and shoot 24x54mm images on 35mm film. It's a compromise and you have to decide yourself whether it is good enough for you.

 

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A word of wisdom could be to try to find a new camera and not buy a used one. Many pros using these cameras, always carry them wherever they go, which means that the cameras are exposed to considerable wear. If you buy a used camera, buy one that looks like new. The same goes for the lenses.

There are duping films available in 70mm. Some brands, Rollei, Hasselblad, Linhof, have 70mm backs.

If you still want to do contact printing, why not do it on 70mm? It will be way cheaper than 4x5".

The switch is for choosing type of flash. In the old days there were several types in use, with different synchronization. Nowadays we only use electronic flash, which means that you set the switch to X.