timlayton

April 1, 2011

It is sprig time and I am starting to shoot a lot of slides with my 503CW kit. I am not aware of any 6x6 slide viewers or projectors in the USA so I was thinking about making something on my own other than the obvious loupe and lightbox.

I would be interested in any ideas from everyone on a home made project. I was thinking about maybe getting a used magnifier hood and just setting it on top of my light tablet. I have a small 4" x 5" portable light tablet that I use for viewing by eye right now, but I would like to view them larger somehow.

Thanks for any ideas or tips that you might have.

Tim

April 1, 2011

Edward does the PME45 auto compensate for filters and extension tubes or do you mean I just dial in the manual correction amount? I use extension tubes all the time and this would be an important feature for me. I went to Q.G.'s site and made a cheat cheat that I keep with me for all my compensation values.

I've been looking around for PME45's and the only Hasselblad part number I can come up with is 42297. Is that the part number of the latest model? I am trying to figure out if there are different part numbers for the PME45 or not?

March 30, 2011

I've been looking around the used market for a prism finder for my 503CW kit that I have been building out. It would be nice to have center and spot metering in the same prism, but if not I am probably more partial to spot metering because I would scan the scene and use AEL. I guess magnification and mat requirements are variables to consider as well. I would appreciate any suggestions for specific model numbers and things that you like or dislike about the model.

Thanks,

Tim

March 18, 2011

Get ready for a lot of replies and the short answer is it all depends on what you prefer and what variables are involved.

For example, I specialize in b/w fine art prints. My archival work is all created in the darkroom on silver gelatin fiber

from my MF or LF negatives. I custom mount all my work as well giving me total control over my final product from

capture to print.

For my lower cost or non-archival prints I scan my MF or LF and print on a LF Epson inkjet in advanced b/w mode. I

use a variety of fine art paper depending on what I am trying to achieve.

I prefer the look of my silver gelatin prints or even my AZO (silver chloride) contact prints over the inkjet version.

Just do what makes you happy and enjoy it.

Tim

March 16, 2011

FWIW, I can tell you that I have printed 7 and 8 foot canvas murals from my 8x10 Large Format negative at 300 dpi and could have printed even bigger if that is what the client needed. No stitching required, just endless details that were supremely sharp. Used 8x10 camera was $750, used lens from keh $290 and i sheet of film about $4 and self developed. Scanned at 2400 dpi making a 19,200 x 24,000 16-bit TIFF file. Could have scanned at 4000 dpi making a 20 foot print if that is what was needed. As I said in an earlier post, the vast majority of my prints are 8x10 or smaller, but since everyone is talking size I figured I would at least make sure the OP was aware of the possibilities of LF.

March 15, 2011

Kevin, thanks for the info... I read through that thread and you are correct... a lot of interesting info packed in there. I have an opportunity to pick up the 305mm F9 with a copal 1 and thought I better ask around before getting it. It sounds like if I can get it at a good price that it would be a good choice. In the mean time if you hear of any other 300mm lenses with a Copal 1 let me know. With my Shen-Hao I need to probably keep the lens at 300 since as you know the max bellows is 360. I currently have a 90mm Schneider, 120 Rodenstok Macro, 140 Rodenstok and 210 Nikon. The 300 would round out the set for this camera. Now if I can just get a camera with more bellows draw I can get some longer lenses...I am heading up to the Badlands and over to Yellowstone this summer so I would really benefit from those longer lenses.

Tim

March 15, 2011

Will, based on your requirements a field camera sounds like the best fit. I have personally bought a number of LF equipment from badgergraphic.com. For example, you can get a Shen-Hao 4x5 field camera with 360mm of bellows draw for $679 US. That should be about 500 Euro. Here is the link: https://www.badgergraphic.com/store/cart.php?m=product_detail&p=120

For lenses I would suggest keh.com. I've bought many of my LF lenses from them rated "BGN" bargain and they are always in beautiful condition. For example I just got a 210mm Nikon F5.6 for $215 US. You mention architecture and closeup work. With 360mm bellows draw you could use a 120mm macro lens with full movements and get excellent results up to and including 1:1. For macro you could use a +2 or +4 diopter for even great magnification. Just as a side note you will have to compensate for your bellows factor in closeup work. For architecture without getting wide angle bellows about 90mm would be about as wide as you would want to go. A standard lens of 180mm or even 210mm would probably work very nice for you.

I have a Flickr set of 4x5 LF with the above lenses if you want to look at them and get an idea. Here is the link: http://www.flickr.com/photos/timlaytonsr/sets/72157625467051385/

Best of luck,

Tim

March 15, 2011

Hi, I am looking at a Schneider 305mm F9 G-Claron lens (42 mount) for my 4x5 LF field camera. I am looking for comments from anyone that owns or has used the lens.

Thanks

Tim

March 15, 2011

Susan, the other thing I would mention is that maybe consider keeping and using both systems. Digital has no room in my fine art black and white print work, but I use a Canon S95 for personal snapshots, family vacations, etc and I absolutely love it. I think the point is that it is easy to get caught up in the technology and equipment and we lose sight of our art. When I see a print that moves me I could care less of how it was captured or what process was used to make it. It either "works" in my mind or it doesn't. Of course there are always limitations in any tool that we select but I am hopeful that modern day photographers stay close to the art of photography and not worry so much about the tools and process to create it so much. With that being said we all have our biases, just like a painter prefers a certain type of brush, paints and canvas over another. Good luck in your journey and let us know what you end up deciding.

Tim

March 15, 2011

Thanks for commenting everyone, I appreciate it very much. I do have a question about filters now that I think about it. Since I am just building out my kit I haven't needed any filters yet, but I know that is only a matter of time. All of my lenses have the Bay 60 mount so that makes it easy for me. I was wondering if anyone has used the Pro series Cokin filters? I have a full series of ND and B/W filters that I could use. I searched on B&H and found Bay 60 to 72 or 77 adapters that would work. My only concern is that if I go the route with the Cokin filters that I will lose my lens hood. I assume I could buy individual screw on filters that would not interfere with the lens hood, but I would like to know everyone's experience before I order anything else.

Thanks,

Tim

March 15, 2011

Some of the most famous prints in the world are very small whether they were contact or enlargements made in the darkroom. I have no idea why there is such a fascination with huge prints and how that correlates to quality or value. I am not against large prints by any means. If the image is best presented at 40", then great. We have to keep in mind that the ultimate goal of any serious photographer is to make a print, whether it is very small or extremely large. I shoot a lot of large format and the bulk of my prints are silver gelatin contact prints of the negative. That doesn't mean my approach is acceptable to any other photographer and I respect that. Some of the greatest photographers have been quoted as saying that the image determines the size of the print. Trying to produce or sell prints by the square yard is a silly notion. If we as photographers spent more time on visualization, composition and proper presentation of our photographs the rest of the photographic process just becomes a means to get there. Producing large prints just for the sake of it is an illogical goal in my humble opinion.

March 14, 2011

Hi, I wanted to check back with the group here about the 250mm F5.6 CF T* lens. I've been building out my 503CW kit and to date I've got the 80mm CF, 40mm CFi and 150mm CF lens so far. I am getting ready to travel soon where there are some vast open spaces where I know I will want more focal length. I've read a lot of pros and cons about the 250 around the web and wanted to query the group here and get comments from anyone that owns the lens. I would be interested in your opinion of the optical quality and how you use the lens.

Thanks,

Tim

March 14, 2011

There are a lot of quality and lengthy comments and input. I have a couple comments that mirror many of the others in one form or another but also have some experience that you may be able to benefit from. In the end, it is your journey that only you can decide.

I own a Mamiya 7 with the 43mm, 80mm, and 150mm lenses and an Epson V750 scanner. I also send out for super high res drum scans if needed. I find the V750 scanner when optimally calibrated meets my expectation the vast majority of the time no matter if I am scanning MF or LF film.

I owned a Nikon D3X which is the flagship 24MP DLSR.

After shooting both I sold the D3X.

I personally don't enlarge many photos beyond 8x10 no matter the format. I shoot 4x5 LF along with other MF cameras (Hasselblad 503CW, RZ67 Pro II, Pentax 645, etc). Many of these prints are contact prints and only a few are enlarged.

For my fine art prints I choose to print darkroom archival gelatin silver prints on fiber paper because I think they are the only prints that meet the expectation that I have in my minds eye. I've printed on the latest and greatest Epson LF printers with many different fine art papers with the source image coming from film and digital and the b/w darkroom prints win hands down. Are they are a pain in the butt to create at times, yes..., but the rewards are so sweet. I actually love the challenge and process.

The last thing I would say about the Rangefinder vs a DSLR is that you are giving yourself the opportunity for a parallel workflow. Meaning you could shoot film and never touch a computer and print in the darkroom or you could scan in your negatives and print on an inkjet printer. You will find tons of people that do one or the other or even both. That decision is ultimately up to you and my best advice to is explore as much of it as your wallet will allow and your future direction should be clear.

Best of luck.

Tim

February 18, 2011

Q.G., thanks for keeping me on track... I appreciate it!

Tim

February 18, 2011

Thanks everyone for your help and comments. I went with the 150 CF lens. I've got the 50 CFi, 80 CF and now 150 CF. I am on the hunt for a 120 Makro next and that should round out my glass. I am guessing based on everything I read about the 120, the results optically should be the same on a CF, CFi or CFE. If I remember right I think I would have to go with a CFi or CFE to get FLE. Is that correct?

Thanks,

Tim

February 14, 2011

Q.B., thanks again for your fast response. Your advice has been spot on for me and I really appreciate your insights and help.

Tim

February 14, 2011

I am looking at different lenses for my 503CW as I start to build out my kit and the 150mm focal length should work well for some of my work, but the wide angle lenses will get more use from me. Based on a review of the used market I have found that I can get a CF version in excellent condition (keh.com standards) for about $400 and the CFi in the same condition is twice the cost or even more. Is there any reason to spend the extra money on the CFi for this lens?

Thanks in advance for your help.

Tim

February 13, 2011

Thanks everyone for your help and images... this is all good info.

Tim

February 13, 2011

Tim, thanks for commenting. That is awesome that you have both lenses. I am guessing the angle of view increase from 75 to 89 is what is contributing to the significant increase. Thanks for letting me know and hopefully someone will have some photos online of the two compared.

Tim

February 13, 2011

Thanks everyone for the info. I am on flickr all the time and wasn't aware of the 40mm group, so thanks for that tip. Does anyone know of any examples of the same photo taken with the 50mm and 40mm lenses? I just got the 50CFi but haven't used it yet and don't have access to a 40. Independent of the technical specs (angle of view, f/stop range, etc), my gut tells me the 40 is worth going after even though I have the 50. Any ideas or thoughts?

Thanks,

Tim

February 12, 2011

Hello, I am now on to selecting a super wide angle lens for my new 503CW. I have the 80mm CF and the 50 CFi and now looking for the widest option without being fisheye. My gut tells me it is the 40mm because the 30mm is a 180 degree fisheye which is not what I want. I haven't been able to find much used stock on 40mm lenses other than a 40 F4 C which is not ideal for me. I would like to either stay with CFi or CFE lenses.

Any tips or advice is appreciated.

Thanks,

Tim

February 12, 2011

Thanks to everyone for their help and input... I always learn something here.. so thank you. I circled back to keh today and put the 8mm tube on order to give me the full set. Kent, good tip on the calculator. I will look for it. I just got back from shooting 3 rolls today (2 closeups and 1 landscape/architecture). I haven't developed them yet but I did find out from a practical perspective that the 32mm tube wasn't the best fit for the Orchid show today. They have a no tripod policy and so all you are left with is hand holding. It is never ideal but it is either that or no photos. I found that the 16 and 21 worked best for this venue with the slight edge going to the 21. I shot some Tri-X at EI 1250 and I had shutter speeds consistently at 1/250 so I should be okay from that perspective but have no idea on DOF until I look at the negatives. I played around since this was the first official outing with the 80mm CF F2.8. I did everything from f/2.8 to f/11. I also shot a roll of Provia 400X but I will have to send that to the lab on Monday. I will let you know if anything is worthy of posting and if so I will post a couple.

On another note I went to the Cathedral Basilica today to practice on some architecture type images. The 80 was way too long for my typical style of photography in this type of venue so I am going to start a new thread about wide angle lenses since that will be my next purchase.

Thanks,

Tim

February 12, 2011

Q.B. Thank you so much for taking the time to create those tables. I truly appreciate it and I am grateful. I am headed

out the door to my local botanical garden to put this information to use. I got my first two rolls of tri-x through the new

camera yesterday and I absolutely loved the results and the camera is like a piece of art itself. I am going to shoot

some Fuji Provia 400X at the garden today and then hoping to find some architecture for more tri-x. Thanks again.

February 11, 2011

Thanks for the responses everyone. Edward you make a good point about Automatic mode on the SB-900's. I didn't think of that. I don't normally use these flashes that often and haven't used them in automatic mode. I want to run a couple of assumptions by you and make sure my thinking is correct.

I assume that the auto mode works best with a single flash setup? When I use two or more flashes does the automatic mode still apply to the other flashes as long as they have line of sight to the subject and are in slave mode?

For my secondary flashes and fill lights many times they are on the floor or pointing backwards at a wall or something so I normally have just put them in manual mode and controlled the output that way. I am always open to learning new techniques so let me know if there are additional ways to leverage these SB-900's with my 503CW. BTW, I only use the WLF with the 503CW.

Thanks,

Tim

February 11, 2011

As I continue to think through how to leverage my existing gear with my new 503CW I am now thinking about flashes. I have several Nikon Speedlights (e.g, SB-900's, SB-400's, etc) that I can use. In most of my scenes I end up using two or more flashes to achieve the lighting that I want. I understand that I can't use the flashes in TTL mode on the 503CW and that is of no concern to me because I meter all my scenes anyway. I would likely just run the flashes in manual mode and control their output levels individually.

I was thinking of picking up some <a href="http://www.bhphotovideo.com/c/product/441353-REG/PocketWizard_801_125_Plus_II_Transceiver_Radio.html">PocketWizard Plus II</a> radios to use. I can hook one of the radios up to my lens via the pc cable as expected and then use a radio on each of my subsequent flashes. I have verified the radios will sync for leaf shutters up to 1/500th. 95% of my photography is tripod based so I am looking for the best way to secure the radio either to the camera or tripod. I am not sure how long the pc cable is that ships with the PocketWizard so this may have some impact on choices. I was thinking of Velcro or something like this. If you are using this configuration, let me know what works best for you.

Before I pull that trigger and go down the path of buying the PocketWizards does anyone here have any input, comments or suggestions regarding this solution?

Thanks,

Tim

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