rapfoto

Hi Adrian,

I'm not Mr. Hasselblad, but I have played him on a few holidays before. The kids just get a big kick out of it when on Holloween I give out lens cleaning paper and lapel pins. What a hoot!

Now, specific to your question, I have been known to use the hand engraver [you know the one, it's the one you use to put your drivers license and SSN on the lens with], well don't just stop there, after you get all of your personal info engraved on the outside of the barrel, go ahead and "etch" the painted on numerals as well. It may look like hell, but then, it ain't like it's a Leica or Nikon or anything!

I really would love to buy into the Rollei system, but THIS IS the #1 fear I have about them. NO U.S. customer service! Buy retail and your covered, but come on, we're in a world economy now...

I hope that they can sort their sea-bag out and get squared away, they offer some really unique and well thought out gear, but without the backend customer support, forget it.

WOW! Thanks everyone! This is the only way I know how to feel better from looking back at all of the crap I paid good money for that sucked!

Let me add:

Armitar 500w/s portable flash system, great idea, worked for the warranty period + 1 day

I'm with all of you regarding the POS tripod and heads I've been burned by through the years. IT IS WAY better to suck it up and but the 3xx + B1!

Did anyone mention camera bags? Uh, close to a grand on junk there too.

Hey, how about all of those "trick" filters you get when you're starting out..... yetch!

I'm starting to feel bad again, I better go through away all of those damn 35mm canisters I've been hoarding waiting for the "big one" to hit...

Just for fun, if you had to go back and build your current [or any I

guess] MF system again, what would you do differently, or change?

I'll start off by saying that in RZ's, I liked the 150 over the 180

[which I started with] for headshots and fashion work, and the 110

over the 90 as a normal lens. I wouldn't waste money on the AE prism,

but definitely would have the non-AE prism for sure.

With Hasselblads I like the 120 over the 150 because it focuses

closer with out accessories, and motor driven bodies [553] over

mechanical only [501]. I like my PME-51 but not the 90* prisms so

much, and really like using just the waist level finder too.

On P67's I really liked the 200/4 and the 45/4, but could never

really warm up to the 105/2.4. The thing handled well, but the slow

sync speed was a real killer for me. I would like to try the 55~100

zoom at some point.

So let down, and have at it. Let others know the pain you feel!

Well, since this thread has been dug up from the past, let me add a new film to the list of contenders.

Fuji's new NPC is quite nice. I like it rated at ei100 and processed normally. It has really good skin tones, and is contrasty enough as to NOT look like portrait film, but smooth enough as to have it's own unique look and feel.

I like it a lot, and you should try a few rolls for yourself.

I recently received info from Fuji that they are releasing two new scanners, called the FineScan 5000 and FineScan 2750. They claim four settings [through 4 lens sets?] with the 5000 of 762, 1666, 2743, and 5000 dpi. The 2750 is a two lens design and offers 762 and 2743 dpi. These sound really good to me, I have a new book project that will require scanning both prints and film [6x6 and 6x7 B/W negs] so the Polaroid may have some competition here for my $$$.

These are flatbed scanners, and have an 11x14 scanning bed, and have both SCSI and FireWire connectivity.

I just got this info from their ProNet flier that they send every couple of months. Can anyone more scanner literate please comment on these?

Hey Robert,<Moses>

Two things:

1. Who are you calling a MF'er ?!? Pretty rude dude.

<if the shoe fits>

2. Do you miss your RZ yet? Hee hee.

<Bronica huh?>

Love,

Sparky

<RA>

-- Moses Sparks, December 04, 2000; 01:35 P.M. Eastern

Guess those Barbie arms of yours are finally over powering that pea brain and having you look at an RZ alternative? Good for you!

Pay back's a bitch!

This one is simple! Don't feel bad, but it is right where you probably have looked 1000 times.

Hold the prism with the front towards you, cold shoe up, and the battery cover will be on the right side of the recess found on the flat front panel of the prism. See it? It has a chrome button [the smaller button of the two found on the front] that serves as a lock. You simply push the button in, and slide the door/cover to the left. The battery is under spring tension, so get ready to catch it as it will come flying out once the door is fully open.

Now, getting the winding handle off of my ELM is a little more difficult.....

Michael,

Get a second 120 back. There is no provision to do mid-roll rewinding being as the "wind-on" mechanism is one directional.

120 is relatively cheap, so either blow the rest of the roll by bracketing your shots, or just leave them unexposed.

Thank you! This is the type of info I was looking for��.. well most of it anyway!

I have considered the Rollei, but I'm put off by their lack of commitment in this market [uS]. If they aren't willing to do what ever it takes to set up shop here -- like establishing a dealer network with rental equipment beyond NYC-- then it will never be a logical choice IMO for commercial photography.

Rollei does have two things that weigh heavy on my mind though, the first is the leaf shuttered 110/2, and the second are those 645 mag.s. If I hit the lottery --or make half of what Moses claims to make-- I'll live large and buy into Rollei because of those items alone.

I really do not miss my RZ; it is good for what it is --that being a studio/portrait camera-- but it is in no stretch of the imagination even close to a Blad for fashion work. The Hasselblads are damn near perfect for shooting fast, hand-held, on location model work. I'm just trying to squeak out the final 2% of usability by looking at the 503CW rig.

Thanks again folks, and Moses, you're getting a "Life-Call" from me for the holidays this year, so when that boat anchor that you call a camera finally falls on you, you can push a button to call someone WHO CARES, and who will pull your scrawny ass out from under it for a small fee.

Right, I understand the Polaroid shortcomings. What I'm really curious about are your thoughts on the 503 CW as a 645 camera. Do you like how it feels? Are there any shortcomings that you found after living with it for a while? Like how an RZ is hard to follow focus on a fast moving model [iMO], or how a P67's 1/30 sync speed really is a hindrance [iMO].

Know what I mean?

Hey MFer�s,

I'm thinking about adding some new gear to my Hassy system, and would

like some first hand experience from any users of this configuration.

I�ve played with the configuration at a camera store, but you never

really know how something fits/works until you live with it for a

while. That�s where you come in � I hope.

I shoot commercial fashion and advertising stuff for a living, and

while I'm quite happy with my current system of paraphernalia, I'm

eager to add [gulp] a 503 CW, Winder, PME 90 and a couple of A32's

for use during extended fashion shoots [24 frames from my A24�s just

seems to blow by too fast at times]. I'm interested in knowing your

thoughts on the ergonomics of this set up [i currently shoot with two

ELM's, that for 6x6 work are stellar, but for 645 work with A32�s

would be awkward at best] during long shoots. But please do not add

to the format debate. I�m looking for feedback on the handling of the

503+winder+90*finder+645 backs [basically, using the system in

portrait orientation for extended lengths of time].

At the same time I was looking at the 503 set up, I also kicked the

tires on the Contax 645 and the Mamiya 645AF. Since the financial

commitment is about he same, I thought I should at least look. But I

think I�m better off adding to an existing system rather than having

two divergent ones.

Thanks in advance, and I like the new order of things here Andrew!

Hi David,

it is indeed routinely refered to as 'seamless'.

try this B&H link, it should put you close to what you are looking for:

http://www01.bhphotovideo.com/default.sph/FrameWork.class?FNC=CatalogActivator__Acatalog_html___1395___SID=E31FC30AD20

I have owned and shot a few rolls with both. Sharpness is not the issue between the two, it is more a matter of how each renders the relationship between your subject and the scene/back ground. I started with the 180, a very nice lens -- I expect Moses Sparks to stop by here and plug it's use for portraiture-- but I fell in love with the 150 for environmental portrait use and fashion. The 150 fit my vision, the 180 always seemed too flat to me.

Also, if you have to haul your own equipment, the 150 is quite a bit smaller than the 180, and as we all know, every little bit helps when we're talking about an RZ system!

You're going to get an ear full of "go rent them, then decide" and that is exactly what you should do. This is a subjective decision and only you know what you like.

This is to Jim.

I have to believe that you do not have the tension adjusted correctly on your B1. I've used a RZ PII, winder, AE, 120, and 350 APO on a Gitzo 320 + A/S B1 with NO MOVEMENT at all. I would suggest adjusting the tensioning screw 'in' when the large locking knob is in the loosest position.

Now, not holding pan-rotation is another issue, but I feel that also can be accomplished with a big enough pair of pliers! The pan locking screw IS irritatingly small!

Stuart, go for it without worries!

I have used the G-3. While it is the ultimate in lens shading for a multiple lens system, I found it performed marginally with my 50mm. It has a hard time getting "small" enough. I found it to be too slow for fashion work, each lens change requires a lens shade adjustment, and unlike its Hasselblad cousin, The G-3 has no adjustment markings, so you either use their cute little ruler that comes with the shade, or guess.

After using it for over a year, I wish I had opted for the G-2. The G-2 is a lot cheaper, and for the few times that a compendium is required, it would serve just as well. Personally, unless you have 4 or more lenses in the +65mm range, I don't see the advantage of using anything other than the rubber hoods. The rubber hoods roll back over the lens, and if you pack them vertically in the case, they help keep the lens cushioned.

Bottom line, the G-3 slows you down, does not pack well [it is somewhat fragile], in real world shooting probably provides better shading in extreme situations involving hair/back lighting, and God help you if you lose that stupid little ruler!

...telling an engineer to RTFM or get a bigger hammer is an insult...

Geeze, sorry DT, but given your post heading, I thought you were up for some fun, sorry about the terse reply.

FWIW, I have found that simply throwing it on the ground saves on having to haul around any ancillary tools. And it works on A/S view cameras as well!

Glad to hear you got it off without having to send it in. BTW, welcome to the club, Blad's are really a lot of fun to use, and they possess a certain mystique, don't you think, over any other system out there.

Scott,

You're so right! Blindly repeating someone else�s dogma is crap. Do you have direct experience beyond being a vendor? Have you shot a subject side by side with both systems? If so, what did you find? Have you shot commercially, packed and unpacked you equipment time after time day after day and witnessed first hand the wear imparted from regular use? When is the last time you subjected a camera to +100 rolls in a day? I did this morning.

I have done a side-by-side comparison, and I did it for 18 months before I jumped the RZ ship. It is VERY expensive to change systems mid stream, especially a full compliment of gear. I did not jump into it, making rash decisions, or emotional judgments. I found that there existed enough of a difference in mechanical reliability, ergonomics, and other factors to bight the $$$ bullet and move to Blad. If you for some reason don�t like what I experienced, tough shit. Mamiya lenses are not built to the same standards as Zeiss. I did not say optically, but mechanically. They did not withstand my use. Hasselblad has.

I know that my RZ�s ended up loose, sloppy, and irreparable after 2 ½ years of commercial use. My two +15 year old Hasselblads were right there, and still have the same tolerances as the day I bought them. I find that the RZ is a mass produced system, and like the majority of new cameras now days, are built to be replaced, not repaired. Mamiya glass may be world class, but their craftsmanship and Q.C. sucks. Again, maybe I had a long string of bad luck, but come on�.

I stand by my statement, and my own empirical evidence. If you love your RZ, more power to you. I know you're a knowledgeable photographer/technician, so I'm surprised by your accusation counter to my post. I stated my post as such

Let�s put it this way, if you and I go to breakfast every day for a week at IHOP, where you order pancakes while I order toast. Then on Saturday I see the chef clearing his nose into the pancake batter and wait to tell you until after you�ve eaten them, would they still taste the same in hindsight?

Two RZ PII's, bought new. Body #1: recurring intermittent electrical problems over two year period, no answers, no reliable repair ever done, and over $650 invested in trying to keep it running. Body #2: plastic-focusing gears worn out from regular use, rendering camera useless after 2 1/2 years commercial work. Cost of repair +$700.

Don't get me started on the damn 110 lens fiasco!

I�ve been a devoted Elenchrom fan since my first EL 500 purchase in 1994. I have three of them now, and quite frankly believe them to be some of the best purchases I have ever made.

They have been put through everything, even being knocked over, and still keep on putting out great light. I particularly like the fact that you can replace the flash tube yourself, not having to send it back to the factory.

All in all, they have been extremely rugged and reliable, the accessories are very reasonably priced [compared to Profoto, my other sickness] and availability seems better in the past few years.

The only problem I have had has been with their proprietary sync cords. When I first started using them, I went through a sync cord every 4~6 months, and at $45 each, it wasn't cheap. Since then I have gone to radio slaves and have eliminated the problem by using after market cords. The problem was in the camera termination end of the cords, who knows; maybe they have redesigned them since then.

Buy Elenchrom with confidence, its good stuff!

I had a very complete RZ system in the recent past. I shoot professionally, and use my equipment daily. I do not expect my camera to drive nails, but I do expect it to work flawlessly under long and strenuous conditions. I expect to have an annual maintenance expenditure, thats all part of the game.

To that end, the RZ failed, and failed often. I had two separate bodies [both, and as a matter of fact ALL of my RZ equipment, was purchased new, from U.S. distributors]. It was a good camera until the PLASTIC focusing gears wore out on one, and the continual electronics crapping out on my back up drove me to auction. Once bitten, twice shy. The cost of rebuilding my 2 1/2 year old bodies was more than they was worth [thanks to MACs inflated pricing, and rebate program that undermines the resale value of their equipment! Ever wonder what happens to that $1800 lens when they throw in a "free" $650 back? Try unloading it and you'll find out. If you do buy Mamiya, get it from Robert White in G.B., not from MAC!]. While the RZs lenses are quite sharp and contrasty, they are not built to the same standard as the Zeiss glass, and in B/W the German stuff yields observably better tonality IMO. Of the 5 RZ lenses I owned, all went back to N.J. at one time or another to get bugs fixed. It is a tweaky system, and NOT as reliable or proven as Hasselblad.

I have jumped the RZ ship, and now have ALL of my money in Hasselblad [$350 bucks, big deal!]. I thought I would miss the big 6x7 chromes, but I don't. I also don't miss the fact that the RZ was just as expensive as Hasselblad to own/maintain, was considerably more unwieldy [im big enough to scare little kids and women when I need to, but the RZ gets mighty old real quick if you hold it more than 20 minutes or so, and the 100 feet from the car = photogenic rule is in effect here as well], and the RZ broke down more often than either of my +15 year old Hassy bodies! Specific sample problems, I dont care, if it dont work, sell it! I found Mamiyas Q.C. very spotty, some new lenses had crap on internal elements, you know the stuff, that fly speck smudge that all the die-hard fans yell out as �it wont effect the image quality�, well good for them, I dont want it in my $1950 lens thank you very much!

I made the decision to switch based on long-term economic factors. I wanted a camera system that didnt hinder my style [like being able to shoot hand held ALL DAY LONG], that had a lot of used/rental options, and most importantly, that was worth fixing if broken. I would look long and hard at the used value of RZ items vs. that of Hasselblad. I think there is a clue there.

So take this for the embittered ramblings of a broken man with a jaundiced eye; they can have my Hassy when they pry my cold dead fingers from it���.. [music fades in as hero salutes into setting sun and lone tear runs down his cheek]

Paul,

I'll be up front and tell you that I do not own a 6008, but it would be my guess that the batteries in the back are probably dead. That would explain the camera reverting back to a default. It is my understanding that the 4560 back uses some sort of button cell, which is ancillary to the cameras main battery.

I hope that a 6008 user will post/correct me if wrong, but I wanted to give you a starting point A.S.A.P.

Good luck!