Ray S

Hi, I presume you are saying that you can't remove the magazine? The routine is to press in on the upper part of the dark slide - with perhaps several pounds of pressure you should feel it go in a little farther, perhaps an eighth of an inch or so. While holding it in, the top part of the magazine is released.

 

See this thread: Dark slide will not remove Bronica S2 back?

What Bill said. Opens fine when I do this on mine...

 

As a side note, here's a good portion of the line-up of Nikkor lenses for these cameras. Offhand, I'm missing the 40mm and the 200mm. But, right to left is the 150mm, 135mm, 75mm, and 50mm(with what I'm told is the rare original hood

Hi again all.

I've been shooting with my S2 for a few months now and absolutely love it.

I recently found a Nikkor 50mm f/3.5 lens for just $60 but alas it was sans hood.

I thought I found a hood for it for just $30 shipped but it was only ~82mm wide where it goes over the lens which if you've measured you know the lens is much bigger than that... so I'm still on the hunt for that rare hood you mentioned Ben.

Are there's any identifying markings on your hood Ben?

Also, any idea which lens this hood would be for?

TIA!

Thanks everyone for all the suggestions! You've been a great help with this and I have some solid ideas on how to progress.

So I've been thinking this through and a bigger problem has arisen... I think I'm going to need a meter that can meter the scene with the flash. My current analog meter does not allow me to do that so I'd need a newer digital one that does. Any suggestions on an inexpensive option for that?

Thanks for everyone's input! I really do appreciate it and am definitely learning as I go here.

First and foremost, I wanted to see how my macro shots would look using a flash and if it might brighten the image w/out using a higher ISO film (I want to use either Velvia, Ektar or Provia film at the lowest available ISO) so that I could use a smaller aperture to get better depth of field.

I was thinking what might work is a TTL hotshoe to PC Sync adapter, PC Sync Cable, & like the Pixel TF-322 I found on Amazon along with a PC sync cable to my S2.

One thing that I realize I'd need is a light meter that can read the exposure with a flash which I don't have and I know those are not inexpensive.

Since I rarely use a light meter with my normal photography, I may just forgo trying to do this for now. Instead I'll use constant lighting or reflectors to try to accomplish the same thing.

Thanks for everyone's input though.

Ray

I'm fairly ignorant when it comes to flashes since I prefer to use natural light if possible.

That said, will a Nikon SB600/700 flash work with a Bronica S2 if I just use a sync cable? I'm not familiar with the setup of a cabled flash (if required, I usually use the built in wireless feature on my Nikons) system especially with a Bronica S2.

TIA!

Ray

Well glad to hear I'm not the only who's getting that Andy!

BTW, based on the way the Shutter Speed Selector Dial is designed does anyone know what else connects to it?

Again, TIA!

Thanks all!

Ben, yes, I see how that works with the Kodak film. I'll still carry rubber bands just in case. As for the spools, I haven't tried any Fuji MF films yet but I'll keep your comments in mind for when I eventually do.

Andy so far, I've found the Bronica film back pretty straight forward to set up. I like the way the camera is set up. Externally I t is a copy of the Hasselblad, however, my understanding is, the internals are much improved and the available Nikkor lenses are pretty sharp.

Wil, to be frank, I had to do a bit of post processing to get them to look like this, but that may be because I need new chemistry. I've developed more than a dozen rolls of 35mm film with this batch which is when you should be considering replacing the chemistry, then I developed several rolls of 120 MF film. Because of this the images appear overexposed before being processed.

LOL... I just learned that it's a lick and stick end on Sunday. I was carrying rubber bands with me before I learned that.

Here's a pic from Sunday. (Using Kodak Ektar 100 @ 1/500 sec & f8, developed @ home, scanned then post processed in PS).

Hi Andy,

Yes it arrived yesterday! This camera came in truly mint condition!! There are no scratches or signs of wear/tear! It is literally in "like new" condition.

I already ran a roll through it and tried to develop it but discovered you have to be careful when you open it and use tape to secure the film so it doesn't unwind on you!

So that roll was nice and white LOL!

Makes perfect sense Ben. Yes, I saw they have both a Nikkor & Zenzanon option but didn't know those details on the Zenzanon version.

Do you have any insight on which version has better optics? Perhaps the Zenzanon based on cost/supply?

And this brings up another question... are the SQ, S2, & S2A lenses interchangeable on the other 6x6 Bronicas?

Thanks again everyone!

I have a 75mm f/2.8 Nikkor P lens coming with a Bronica S2 I purchased recently. Hopefully it doesn't flare too much. :)

But I was curious about the H & O lenses because I wanted a wide angle lens for the S2 for landscapes.

Any preferences for that kind of shooting? Would the O being a later model be better?

TIA!

Ray

Thanks again everyone for their help answering all of my questions. Rather than buy something too expensive, I figured it would be better to buy inexpensive to get my feet wet then if I elect to really move forward full tilt, I can buy something better.

With that said, I went with a Bronica S2 with an included Nikkor 75mm f/2.8 lens (not the S2A with the newer & stronger winder mechanism). Now the long wait for my camera to arrive as it's shipping from Japan.

Can anyone shed some light on the main differences between the Nikkor-H & Nikkor-O lenses?

Just curious since they are both available in 50mm (Nikkor-H @ f/3.5 & Nikkor-O @ f/2.8) for the Bronica S2 and I'm wondering if there are other differences I should be aware of other than the obvious apertures.

Also what do the H/O letters actually denote?

TIA!

Ray

It very much was a dud in terms of sales since it never really found a home in the professional market relative to other brands and formats. It's a PITA to use without a rotary finder. Otherwise a nice camera with superb optics but probably the last MF system camera I'd chase after.

What's a rotary finder? I was thinking of just using a waist level finder myself...

So after using distilled water to mix the solution I no longer get the strange water spots but I am still getting annoying tiny, tiny white specks.

I'm thinking it's undissolved developer particles that are sticking to the emulsion, not allowing it to develop in that sport causing the emulsion to stay behind resulting in white spots.

So perhaps pre-mixed liquid developer is the answer?

Can I buy liquid c-41 developer kits instead of powder ones that I have to dissolve in water?

(Note: I'm located in California so our rigorous environmental laws do affect what can be sold here.)

TIA,

Ray

$300 for all of that?!? That's a deal of a lifetime!!

As for the availability of options for the GS1, I'm thinking of just needing the body, a wide lens and a possibly a macro lens but I'm only looking at that just to see what it would be like, and not somethign i'd used seriously.

For serious macro, I'll stick to my Nikon D500 and either my Sigma 150 macro or my Nikkor 70-180 macro with my macro flashes and possibly a flash rail if I'm doing any focus stacking.

Otherwise I want to keep my landscape use for the GS1 very simple... camera body, lens, meter, & film/film backs... oh, and a tripod.

Hi all,

Did a very cursory search for Android in the subjects of the first page of threads and didn't see anything on this... anyhow, I tried loading the forums on an Android phone and unfortunately it just keeps on trying to reload the page.

Any insights on how to best access the forums via an android phone?

FWIW, I'm currently running Marshmallow (v6.0.1) on a Motorola Droid Turbo.

TIA!

Ray

Again, thanks so much for everyone's insights.

Currently I'm looking at...

Hasselbald V-System w/ a 50mm wide angle lens and possibly a longer lens w/ extension tubes to focus more closely for any macro subjects.

Bronica GS-1 w/ a 50mm wide angle lens and a 110mm macro.

Alternatively I'm also considering...

Pentax 67 w/ a 40mm wide angle lens & a 135mm macro although this camera is both large & heavy

Mamiya RB67/RZ67 w/ a 45mm or 50mm wide angle & a 140mm macro although like the Pentax 67 these two are also large and heavy.

For developing MF film, I'll continue to use the Paterson tank system I already have as I'm quite happy with the results I've been getting so far.

So, that said, I'll mull this over a bit more over the next couple of weeks before I fully decide.

Thanks again for everyone's insights.

You can purchase developing tanks for 4x5 home use. Freestyle has one that requires 16 ounces of developer and will process 5 sheets of film. I think it's $85.00. Other tanks out there also. The V600 is not set up for 4x5 so a jump up would be required for a considerable cost. I am sticking with medium format myself. I can carry it around and shoot it economically as long as I do not shoot to often. Arista 400 in 120 film is $3.69 a roll. I just ordered 10 rolls of it from Freestyle and it should be around tomorrow I think.

Thanks Ross. I'd probably have them professionally scanned if I ever went to large format but it's good to know they can at least be developed in-home.

I shoot an RB67 and scan with a V600 but don't print much. I have a pro lab develop for me. You can get an RB67 setup pretty cheap, a few hundred dollars. I bought mine and my 4 lenses before digital so I lost about 95% of what I originally paid. If you don't like film, you can always resell it and it won't cost much. But it's heavy to carry. Also, you'll need a tripod. The rotating back is nice as you can quickly switch from landscape to portrait format. Here's some of my RB67 shots. Good luck.

 

Search: rb67 | Flickr

Thanks Alan! I read about the RB/RZ-67's size and weight with lens & film back. In fact the Bronica GS-1 I'm considering is touted as being both smaller and lighter but from what I can see only marginally so. So all of that said, I've decided that carrying a tripod (and a good one at that) will become mandatory which is no problem as I already have several Manfrotto tripods all in good condition which I've purchased & userd over the years.

The Hasselblad V-System (500, 503c/m, etc.) is the other camera I'm seriously considering. It's 6x6 which is fine but it's also lighter and of course has a future option for a digital back should I have a few thousand burning a hole in my pocket! ;)

It's what i was originally leaning to early on before I went gung-ho with my research into every major size, brand, & lens available for each.

As for price, Hasselblads I'm looking at are only marginally more expensive unless I go with their 30mm or 40mm lenses which are $2-3k each.

There are a couple of different 4x5 daylight tanks around. Yankee makes one, although I've heard not so good thinks about it. I started developing with a Yankee Clipper, and while it's a decent enough tank that I actually still use occasionally(like when I was processing E6 this weekend), it has its quirks. One of the big issues with both the Clipper and the 4x5 tank is that they can't be agitated by inversion-on the Clipper you spin the reel, while I think you have to just slosh the 4x5 tank back and forth.

 

If I can draw a parallel to another hobby, reloading ammunition, Yankee products are a lot like Lee reloading equipment. They are inexpensive and will get the job done, but have their quirks and sometimes go about it in unusual ways.

 

One of the other daylight tanks on the market is a Patterson reel designed to take 4x5 sheets. It fits in what would conventionally be called a 4 roll tank(4 rolls of 35mm), so needs a full 32oz of chemistry.

 

The "new kid on the block" so to speed is the SP-455. It's about the same price as a Patterson tank. It is all plastic, but quite durable. There are two hangers in it, each of which will hold two sheets of 4x5. It's incredibly easy to load and is water tight so can be be inverted. It's what I use, and I've been extremely happy.

 

I've become really fond of the RB67 over the past few weeks. I've made a couple of purchases in the system:

 

1. Pro-SD with two Pro-S 6x7 backs and a 65mm K/L for $350(bought on the LFP forum)

2. Pro-S that I unearthed in a local camera shop(Where'd that come from?). I'd gone in to buy a 127mm pre-C lens, and dug up this camera. I bought the camera with the metering prism attached, the 127mm, and a 645 Pro-SD back for $200. The Pro-SD backs are desirable because they use a labyrinth rather than foam as light seals.

3. A 90mm K/L and 250mm C for $240 from KEH(they ran a 1-day 20% sale on all Mamiya stuff last week)

4. When I get around to buying it, the local shop has a 150mm soft focus for $100.

 

I did buy foam kits from Jon Goodman to redo the mirror dampers, RB seals, and back seals. I bought a bunch of stuff from him, but I think the mirror dampers are $15, the RB is $10, and the film backs $12

 

All told, that's a pretty comprehensive system that I've assembled in about a month and for less than $1K. The RB67 truly is a special camera and probably the most versatile you can get(aside from the great lens selection available for the Hasselblad). It's even moderately hand-holdable although even with a good strap it gets HEAVY pretty quickly. Focusing close is a bit awkward handheld doe to the bellows.

Thanks for the additional Insights Ben. The speed at which you've acquired your kit is impressive.

As for the weight issues you mentioned, they are something I'm keenly aware of as I may want to bring it on a long-ish hike. While it won't necessarily be strapped around my neck while hiking, it may likely be in a backpack so the weight is still a very real factor as is the size of either the RB67 or RZ67 as I understand they're both pretty large and hefty.

It's another reason (albeit, not that much so) that I'm also considering a Hasselblad V-System.

Ray S

Re: The comment on lens range. Have a look at the RB67. The lens range is from 37mm-500mm and includes fisheye, macro, and soft focus models, along with excellent prime lenses.

 

For lenses longer than 500mm on 6x7, I can't recall ever seeing an image captured with such a focal length on this film format.

 

This is a great landscape, portrait, nature and still life camera. I take it anywhere without hesitation. Lots of accessories and solid build quality. Good used market.

 

Take a look at the Pro SD model, it is the most recent and has a few nice upgrades from the earlier models.

Thanks William. I gotcha on that. I have been as I noted a bit earlier.

I have one each of a Pro S and Pro SD, and honestly in real-world use I don't use the added features of the Pro-SD. One of the biggest changes was widening the throat to the same size as the RZ67, something which allows you to mount a couple of lenses that won't fit on earlier bodies.

 

 

It's also worth mentioned that there's an adapter ring which takes up this extra space in the throat.

 

[ATTACH=full]1186606[/ATTACH]

 

 

All K/L lenses originally came with it, and it's one of the things I make sure is included if I buy a K/L lens. As you can see, it's really a pretty simple part and I suspect that you could turn one out if you have a lathe(I'm going to give it a shot when I get a chance). I've not gone looking for them, but presumably you can get them separately from the lenses if you want to use a pre-K/L lens on a Pro-SD. The ring also has to be removed to mount on a Pro-S or earlier.

 

 

In the real world, I've not had any issues with not using the ring on a Pro-SD, but it's something to keep in mind. Since I only have two K/L lenses and two adapter rings, if I'm out with the camera and carting multiple lenses I will often carry the Pro-S so that I don't have to mess with them. I guess I should get some more of them so that I have one for every lens and don't have to worry about swapping them in the field. Granted it's not a huge deal, but it's also a bit of annoyance and can be a three handed job if you don't have something on which to set the lenses down.

 

Of course, I also often pick my lenses and will either only have one mounted on the camera or will just carry one additional one. Even the 90mm and 127mm are huge(without putting them on a scale, I'd say as heavy as something like a Nikon F2 or Canon F-1 with a 50mm 1.4) and they only get heavier past those focal lengths. I could lift weights with the 250mm sitting on my desk now. The bodies weigh plenty also, and the metered prism I have is right at 2lbs on its own. I can travel lighter with my Speed Graphic, a couple of lenses, a half dozen film holders, and Tiltall tripod.

Hi Ben, That's pretty interesting. I wonder if it may also be 3d printable as there are quite a few online 3d printer houses that can print in metal. Just not sure how well it would hold up to being used for this application. May be worth exploring?

Well there's pros and cons to every camera, format etc. - that's why most people who get deep into MF usually have 2 or more cameras. In any event, personally I would choose one based on condition and easy of operation in the field.

Concerning 4x5, a couple of years ago I switched from trays to the MOD54. Will process up to 6 sheets and is as easy to use as processing 120 film.

Thanks Richard. I'm definitely considering all options. I may eventually have multiple systems as you suggests although my next camera may be a 6x12 or wider if I can find one that's "affordable." as that format sounds very intriguing.

...Unfortunately, I can't remove my film back now as I don't have a dark slide-...

Please excuse my ignorance but are these not readily available or easily made?

The P suffix has nothing to do with the Bronica mount. For their early camera lenses, Nikon used a series of letter suffixes to signify the number of elements used in the design.

T = 3

Q = 4

P = 5

H = 6

S = 7

O = 8

N = 9

D = 10

Beyond that combinations of D and other letters were used, although those early lenses rarely went beyond 10 elements. The letters were derived from the initial letter of the Latin word for the relevant number.

 

Therefore any Nikkor-P lens has 5 elements in its design. Regardless of whether it fits a 35mm camera or the Bronica. The additional "C" suffix indicates a multicoated lens.

 

There are S-2 fit 50mm Nikkor-O and 135mm Nikkor-Q lenses as well. See this page.

 

Incidentally, Nikon LF lenses were not just "SW", which stands for Super Wide. They produced a "W" (wide), "M" (medium) and "T" (telephoto) series as well. The W series were actually the standard LF lenses, since LF use requires a wide image circle to allow lens movements - rise, tilt, etc. The range covered 65mm to 600mm IIRC.

Ah, I see. I wasn’t sure how they designated which mount a lens is for. So I'm still not clear how I can id a Nikkor lens that will fit the Bronica or other body mount?

On an S2a, remove the film back and then you can cock and fire the shutter (and watch the shutter). Unlike later leaf-shutter Bronicas you can remove the back whether or not the shutter is cocked. The body/film back interface mechanism on an S2a can detect the film advanced/shutter cocked state of the two pieces and then only perform the required action when the winding knob is wound. For example, if a back with unadvanced film is mounted on a body with a cocked shutter, winding the knob will only advance the film. Likewise, if a back with film advanced to the next unexposed frame is mounted on a body with an uncocked shutter, winding the knob will only cock the shutter.

Interesting to know should I end up buying an S2a. :)