ted_brownle

The October 2000 issue of Outdoor Photographer has an article on page 80. Not being a canoeist or a kayaker I have not read it yet. I would think that for calm water (lakes) the method you're using is ok. Another option for more risky operations is a pelican case secured to the front deck where you can reach it, but where it's also safe.

Andy,

 

The California Photographer's Website has regular fall foliage updates as well a large amount of other information for photographers in California:

 

http://calphoto.com/

 

~Ted Brownlee

Livermore, CA

...I almost forgot, you can purchase the Prohood 84 from B&H Pboto

Video.

Louis:

 

<p>

 

I would second the advice for the Lee Prohood. I purchased the

Prohood 84 a couple months ago for my Bronica system and it has

worked out quite well. I use it with a Cokin P adapter. With an

adapter ring on each lens, I can swap the filter adapter (and any

installed filters) and lens hood from lens to lens very quickly.

Although this is a wonderful piece of equipment, there are a couple

things to be aware of.

 

<p>

 

There is no scale to measure how far you extend the shade against.

For each lens, install the shade & stop the lens down to the minimum

aperture. Sight backwards through the lens past a corner of the

shade. If you cannot see the corner of the ground glass frame in the

back of the camera, the shade will vignette the film. Compress the

shade until you can see the frame corner. I use my index finger as a

scale while I pull the shade out.

 

<p>

 

The second thing to be aware of, is that the shad will not index in

the Cokin filter adapter slot. There are mount rails on the back of

the shad to mount it in the front filter slot of the adapter. These

rails are slightly bent to provide frictional force so the shade

doesn't slip out of the holder. This works statically, ie, when

you've got the camera on a tripod, but when you start carrying the

camera around on the tripod over your shoulder, the shade will slip

off after 100 yards or so of walking. The lack of an index detent

also means you have to ensure that the shade is centered on the

filter adapter.

 

<p>

 

Having said this, I still like the Prohood. It works extremely well

with longer lenses in backlight situations. It's flexibility allows

me to shape the shade to suit the lighting conditions. On a recent

trip to the coast, I was shooting nearly directly into a sun that was

only 5-10 degrees above the horizon and just outside of my frame. I

was able to tweak the top edge of the shade downward to block the

flare.

 

<p>

 

Although I use large format, I have not tried this system on my 4 x 5

yet.

 

<p>

 

Good Luck!

 

<p>

 

~Ted

John,

 

<p>

 

The gasketing material is to provide a preload to the tripod screw to

keep it from loosening ~ sort of like a lockwasher. I removed the

soft stuff & installed a quick release plate using blue locktite on

the 1/4-20 screw. It never comes loose. My ArcaSwiss has a narrow

monorail & that also contributed to general sloppines on the tripod.

I made a rail stiffener out of a length of aluminum rectangular

tubing. It added about 12 oz. to the setup, but contributes greatly

to stiffness.

 

<p>

 

~Ted

I have two camera bags I use for my Bronica system (both Lowe-Pro). I have a Nova 5 and a Photo-Trekker. My Bronica system is a bit larger than your Hasselblad system (I have a flash system.) I bought the Nova 5 to accomodate a bit less gear - for when I want to scale down my load. I also have the backpack strap for it.

 

I am finding that no matter how I configure my system, I am always using the backpack. For weddings, I strap it to a luggage cart. For outdoor work (when I don't have the flash system), the extra space holds a jacket & food. When I work outdoors (hiking etc.) I just set the bag down. When I used the Nova bag with the shoulder strap, I still set the bag down to work from. I had the problem of stacking things in the Nova bag. I had to take the camera out before getting to my extension tube. Kind of a pain unless the camera was already on a tripod.

 

For weddings, I park the cart-mounted pack in an unobtrusive corner. I typically keep a second lens in one jacket pocket & a spare film back in the other.

 

In short, it depends on how you prefer working. If you work from your shoulder well, use a shoulder bag. If you constantly set the bag down & work out of it, a backpack has worked well for me. Everything is laid out in easy reach with nothing buried under anything else.

 

I'm a Lowe-pro fan, so that's the brand I recommend. A rougue wave at the beach one day surged up past me and my tripod-mounted camera. I turned around as this was happening & saw the wave float my Nova (& everything in it) further up the beach. The bag didn't leak & my gear was safe. Now that I use the backpack, it's on my back when I'm not reaching into it while photographing along the coast. The backpack with my full system in it took a long tumble down a rock face a few years back while hiking out from a near-inaccessible photo site. No damage, all my gear was happy.

 

Hopefully, this will give you some insights to two styles of bag from which you can draw your own conclusions.

Louis,

 

<p>

 

Depending on the camera you have, you may be able to purchase a back

entension, which is a set of rails that screw into the back end of

the camera. This extension has bellows for focusing but I'm not sure

about movements. This will give you the extension to focus closer

than infinity & still retain at least lens board movements. This is

definitely more expensive than an extended lensboard. Check out Wista

& Horseman's websites.

 

<p>

 

~Ted

Diego,

 

The F/4 MC is older. Beyond that, the shutter is slightly different. I have learned while researching a repair that all of the shutters from the earliest version of a lens to the most recent are different, as are the shutters in each focal length within the same design generation. I believe the lens coatings are different and the barrel engraving that identifies the focal length is colored in the F/4 MC. It is white in the F/3.5.

 

~Ted

Jeff,

 

<p>

 

I think the models you're talking about are the Basic A (axis tilts),

and the Basic Double Pivot (axis & base tilts). I have the Basic B,

which is base tilts only. Axis tilts are easier to use in that they

tilt about the lens' nodal point, or close to it, minimizing the need

to refocus as you tilt. As a longtime user of the basic B, I have

learned to focus & tilt at the same time, making the base tilt

drawback almost non-existant to me. Axis tilts will give you

a "yawing" distortion under certain combinations of tilts & swings.

the base tilt and double pivot models will provide yaw-free motion if

the entire camera is tilted on its side. I don't know if the axis

tilt model does this too.

 

<p>

 

None of the Arca Swiss Basic series of cameras have revolving backs

or Graphloc backs. I think there was an international back available

as an option, but I don't really remember. Graphloc backs will allow

you to use a compatible roll film holder that's too thick to fit

behind a standard spring back. Graphloc and Graflex backs are not

interchangeable.

 

<p>

 

Hope this helps clarify things a bit.

 

<p>

 

~Ted

You may be pushing it to use the Lee hood with a 47mm lens with 6x9

format. the Lee attaches to the outer slot of the Cokin filter

holder, so it's a ways out from the lens. I use this setup primarily

on my Bronica system, where my widest lens is 50mm on 645 format. I

have a Busch Pressman 6x9, but haven't used it in quite awhile. A Lee

filter holder my work if you only use one set of slots to keep the

profile low. the new Cokin X-pro size may also work, but I don't know

if Lee has built a shade to fit it yet.

 

<p>

 

Now that you've got my curiosity up, I am going to find the specs. on

the 47mm lens & compare the angle of view with my setup. I do know

that there's a bit more room to fiddle with.

After facing a similar dilemma myself I purchased a Lee Proshade 84.

This is a self-supporting bellows shade designed to fit into the

Cokin P adapter. It has it's pro's and con's:

 

<p>

 

I cannot use a standard threaded filter with the cokin filter

adapter attached.

 

<p>

 

Although it adjusts quickly, there's no scale for each focal length.

I set the lens to the smallest aperture I sighted backwards through

the lens along a corner of the lens shade. I then collapsed the shade

until I could see the ground glass corner. As I extend out the shade

after attaching on a lens, I "measure" extension along my index

finger.

 

<p>

 

With an adapter ring on each lens in my kit, I can swap the shade,

filter adapter & any "P"-compatible filters all at once.

 

<p>

 

One of the best features is the price. They can be had for about $65

from B&H.

 

<p>

 

An aside: Since I am an engineer in my "day job", I designed a rail-

mounted compendium hood for my 4x5 Arca Swiss for about $60 in parts.

A kindly machine shop made the parts au gratis. I personally think

bellows lens shades are grossly overpriced for what you get.

Alex,

 

I have a Bronica ETRSi that I have used for everything from nature to weddings and commercial. I own a wide strap & use it most of the time.

 

I do not use it while photographing weddings. I have the camera mounted to a Stroboframe. Power and synch cords would otherwise get hopelessly tangled with a strap making me crazy when I need to have it together.

 

I do not use it for commercial work with the camera mounted to a tripod, or moving around in a small area. Again, the strap gets easily tangled with power cords. I also usually have a place to set the camera down.

 

I definitely use the strap when doing nature photography which is exclusively on a tripod. When I carry camera & tripod over my shoulder, I've got ahold of the strap in case the camera unlatches from the tripod. (Fortunately, that has never happened.) When the camera and tripod are strapped to the back of my camera pack, the strap is run through the pack's sternum strap for security. On the other hand, I've had wind blowing the strap ruin a long time exposure. I normally don't extend the center post of the tripod. That one time I did, and noticed camera shake as the strap flopped around. (The moral? wrap the strap around the tripod so it doesn't flap around.)

 

When I do macro work, I've had the strap get in the way. My foot has caught on it while moving around the setup. Again, wrap the strap.

 

The bottom line is, it's a security device. Use it as frequently as its practical to & be aware of when it can cause problems. I have a plain black strap made with nylon coated neoprene. I inspect it regularly for wear.

 

~Ted

Earl,

 

Instead of arguing which film you should be shooting, I'll try to answer your question. Your film is not getting enough light (you knew that). As mentioned above, the problem could be one of many. Start troubleshooting by isolating each factor that contributes to a proper exposure:

 

1. The light meter. Check the batteries. Try a different light meter or the film's instruction sheet (or sunny 16). Check the ISO setting on the meter.

 

2. Lens aperture. These don't usually go wrong, but flip the stop-down lever on the back of the lens anyway.

 

3. Shutter. Do you have leaf shutters in your lenses? If so, check a different lens on the same exposure setting. Focal plane shutter? You can time a 1 second exposure on your watch if your carefull, maybe a good guess at 1/2 a second. Shoot several frames of the same subject at different shutter speed and aperture settings (same basic exposure). Are the exposures consistent? Have the shutter tested.

 

4. Processing. Does the lab have proper control of their process? Most pro labs do, but maybe changing labs will correct the problem.

 

This sounds like a bit of effort, but it will help you find possible causes to your underexposure problem. You don't say how dark or how consistently they're underexposed, so I can only provide a rough guideline of how to solve it.

 

Good luck,

 

~Ted

Jon,

 

<p>

 

The Ebony will work fine for what you're using it for. If you stick

with large format photography, your needs will develop with your

style. Since I don't know what lens you bought, all I can say is that

if you're getting what you want & you're happy with it, then it's a

good buy. Don't fully give up on 35mm photography. I too started into

large format & completely chucked the 35mm system. I bought another

seveeral years later when I wanted the spontaniety that it provides.

I started with an Arca Swiss basic B and a Congo 180mm lens. I still

have that setup (and then some), but I also use 645 medilum format &

35mm.

 

<p>

 

Enjoy your "new" gear & learn what you can. You've started a great

jorney.

 

<p>

 

~Ted

The Cambo ballheads are distributed by Calumet at www.calumetphoto.com

 

I cannot speak for CBH-5's ridgidity when compared to more well known ballheads, but the websit should give you some info.

 

~Ted

...On the other hand, I was shooting along the coast not too long ago

when my Lowepro bag had it's maiden voyage. My practice is to set my

camera bag further up the beach from where I'm shooting. The logic

being that the rouge wave will get to me before the camera bag,

giving me enough warning to run back & move it. In reality, that

rouge wave happened while I was under the dark cloth. I looked over

my shoulder to see my "pesky" Lowepro bag floating further up the

beach with my medium format gear aboard. The surprise? No leaks!

Michael,

 

<p>

 

I use an Arca Swiss 4 x 5 for outdoor work & am fairly happy with it.

I have an older Basic "B", with base tilts, and a 40cm monorail. I

use a Zone VI tripod with a Kirk Enterprises ball head. The main

thing that I notice is that the monorail allows some twist flexing.

It has a shorter profile than the newer ones and is therefore, more

flexible. I have been looking at upgrading, but I'm also an engineer

& can design modifications for far less than replacement cost.

 

<p>

 

I have made a rail support from a length of rectangular tube 3/4" x 1

1/2" that seems to stiffen up the rail without adding a lot of

weight. The newer designs have a taller monorail that may improve the

stiffness. Other than my previous comments, I am very much a fan of

Arca Swiss cameras and would not hesitate to buy another.

 

<p>

 

~Ted

Livermore, CA

Congo & Osaka lenses are 4 element 3 group tessar type lenses. It's a

classic lens formula & fairly sharp. They don't have as much covering

power as some other lens formulas, so if you buy one, look carefully

at the coverage. I have an older 180 f/6.3 Congo that I'm quite happy

with. I use it on 4x5 and 6x9. I tried it on my Grandfather's 5 x 7 &

it worked ok, as long as I limited my tilts.

Shannon:

 

<p>

 

This is the lens list on their

http://www.cosmonet.org/~congo/spec_e.htm

 

<p>

 

~Ted

Shannon,

 

<p>

 

The Bogen Arcar is made by Yamazaki Optical Company in Japan. Their

trade name is "Congo". They have a website, but it will take some

digging for me to find it. They specialize in 4 element tessar type

lenses.

 

<p>

 

I've had the 180 f/6.3 for about 22 years now, & i've been quite

happy with it.

 

<p>

 

If I find their website, I'll post it here.

 

<p>

 

~Ted

Jared,

 

I have a 42mm extension tube that I use on 50, 75 and 200mm lenses. On the 50mm, I can get right around 1:1 (the number escapes me now), but my working distance is very short.

 

An extension tube is less versatile than a bellows, but more compact. It's best used with a metered prism so you don't have to calculate exposure compensation for bellows extension.

 

An extension tube does not introduce any abberations, but at the extreme end it will exacerbate existing abberations based on close focusing a lens optimized for "regular" shooting. Point to consider: The Rollie SL-66 has a built-in bellows and you can adapt the lens to mount backwards on the lens board. Reversing a lens is one way to get better sharpness. (the back-focus side is optimized to be sharpest at the distance between it and the film.)

 

Having said that, you should not run into any such loss of sharpness problems with any of the Bronica extension tubes. I don't think you can stack them though.

 

Visit the Bronica website at www.tamron.com. They should have magnification numbers for all of their lens/extension tube combinations. this is also listed in the ETRSi brochure.

 

The 42mm size has been a good one for me for flowers & other nature close-ups.

 

Good luck!

 

~Ted

Jennie,

 

The ETRS does not have any sort of TTL connection. The Sunpak Bronica module connects to a special 4-pin socket on the left side of the ETRSi forward of the film back release button. There is no way to connect the Bronica TTL module to the speedgrip. Using the speedgrip E gives you a standard hot shoe. I believe Sunpak has a manual hotshoe module that will allow auto thrystor flash control (like the Vivitar 283)via the hothsoe.

 

I use the Sunpak 120J TTL with an ETRSi on a Stoboframe bracket. I have not tried using the Sunpak directly on my speedgrip (funny shadows with vertical compositions.)

 

I hope this answers your question. (PS, Sunpak's website is not too helpful in this regard.)

 

~Ted

Deanna,

 

<p>

 

The most important qualification you already have; you love to take

pictures. Second, you need to know exactly what kind of photography

you like to do. This is more important than it sounds. If you have a

passion for what you're doing, it will reflect in your work.

 

<p>

 

With that out of the way, you need a solid grasp of the mechanics of

photography. Most certainly camera controls, but also composition.

Some knowlegde of how lenses work is good too. What kind of work you

plan to do depends on how you educate yourself. Some people are

entirely self-taught. Many photographers have a mix of college and

experience, while others have a degree. There are numerous schools

that have fine photography programs, and your research should include

them. Brooks Institute in Santa Barbara, CA is a fine school

dedicated to photography. Also look at the Maine Photographic

Workshop, and NY Institute of photography. Arizona State (or U of A?)

in Tucson has a fine program too. Reviewing their cirriculum will

give you some idea of what you need to know.

 

<p>

 

Just as important as your knowledge in photography is your business

acumen. In addition to photography coursework, you will need business

courses, especially if you plan on being self employed. If you plan

on working for a company, those business skills will help you market

your ideas to your boss & your customers.

 

<p>

 

A lot of experience comes from just shooting. Go out and experiment.

Give yourself assignments & see where it leads you. This will also

help you learn your equipment so you can spend your energies thinking

creatively & translating ideas to film, not trying to find the

aperture ring.

 

<p>

 

This is a long-winded answer, but it gives you some leads on what

next to research.

 

<p>

 

Good luck!

 

<p>

 

~Ted

Both Osaka and Congo (Yamazaki Optical Co.) lenses are tessar type

lenses. I have a Congo 180 f/6.3 in a seiko shutter & it's fairly

sharp. If you are considering a tessar lens, watch the coverage ~

that's the main drawback. I don't believe they are both from the same

manufacturer in Japan.

Joel,

 

I have had my ETRSi system now for 4 1/2 years, and have had no problems at all. I do primarily nature photography with a little industrial and portrait work for variety. I have used my system in the winter, in the rain and at the beach in a storm. Buy the most recent, the ETRSi, because it has a number of improvements over the ETRS. I am using both PE and MC (older) lenses. The PE lenses are superb. The MC lenses are quite good too, but lack the latest multi-coating technology. I shoot with a 200mm MC lens a lot, and am quite satisfied with it's performance.

 

My system gets hard use in the field, then pampered when I get home. This had paid off in the long run with no failures.

 

Good luck!

 

~Ted