eoinmurphy
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Posts posted by eoinmurphy
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<p>Do you use a tripod? If not, it might not be the fault of the lens. If so, and it is not sharp enough, especially stopped down a few stops, return it immediately. A macro of the same focal length may be sharper close up, as in portraits. You do not need both.</p>
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<p>For a 50" print you might consider 8x10" film instead of 6x7. Or one of those Leica S2s.</p>
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<p>Some of the best budget tripods & heads come from Giotto.</p>
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<p>9) Sales ability.</p>
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<p>The RB67 is a more reliable camera than the RZ overall. They are both a little heavy for carrying around and hand holding. The Hasselblad is lighter and more versatile and will probably be easier to service some years from now. The Hass is a clumsy shape for hand holding. So are the Rolleis. The Pentax 6x7 is easier to hand hold but kicks when you fire it and is hard to load. After trying these and many others I settled on an RB and a Rollei twin. Both used with a tripod only. For hand holding, a Leica.</p>
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<p>The best LF portrait camera already exists. It is a 16x20 mahogany view camera. I had one made by Wisner. Ebony makes one also. With a 550XXL or 480 apo symmar. If you have not worked with one of these, or a 14x17 or an 11x14, you have missed something.</p>
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<p>It takes a while to get used to the Leicas. Be especially careful loading the camera. If the rewind knob does not turn when you advance the film, it is not loaded right. Shooting is more difficult in the studio, tends to be easier on the street. I keep one Nikon for macro & studio portrait shoots, for both of which the Leica is not the best tool.</p>
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<p>If you use d76 and keep it in a full darkened jug, you may use the same gallon of developer for up to six months without replenisher. Just add 8 & 1/2 seconds for each roll or each four 4x5 sheets that have been done with that developer. In the event that you do 400 sheets in it, throw it away after that.</p>
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<p>Monorails are more cumbersome & heavier than wooden field cameras, some of which don't even require setting up, such as the Ebony 45s. I had one of those and was able to carry it, lens mounted and tripod ready in a shoulder bag, on a cross country trip. With several filmholders & a meter it was no heavier than a full frame dslr with a few lenses. </p>
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<p>Try an 8x10 camera.</p>
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<p>For a 55 or 58mm or longer, on a flat board, an Ebony 45S. For a 47mm on a flat board, an Ebony 45SU.</p>
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<p>Badger Graphic</p>
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<p>Some suggestions for budget tripods which are pretty good if not perfect: Giotto, Manfrotto, Berlebach.</p>
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<p>It sounds like you want to start with 8x10. May as well. I did. I made lots of mistakes in the beginning, but after a while it falls into place. It beats getting a 4x5 then selling it and getting an 8x10. I would be wary about 5x7. Great format but the film might become difficult to get at some time.</p>
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<p>Whenever possible the tripod is used to support the camera. The slightest motion degrades the picture quality. The tripod prevents that from happening. Use it all the time unless using it means you will miss the picture.</p>
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<p>Craft is very important. Yet I listened to the excellent piece that someone posted today about Diane Arbus. She only used two cameras in her brief career. A 35mm slr, I believe, and a Rolleiflex twin. In her case the camera did not matter much. In the case of Ansel Adams, his greatest pictures would not be as good if they were done with a 35mm. So it seems that there is no definite answer to the question. The camera matters to one person and not to another.</p>
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<p>If you cut off the top of the head, you can look inside.</p>
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<p>Thanks for posting this. I enjoyed it. Sisskind is not as well known as he should be.</p>
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