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  1. #31

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    i am very happy that your are also with tommy.

    2. the best lens-shade is a black cardboard on a long swan-neck.

    3. i would get that 6x17-multiformat-back from kt163. seagull has a similar one. i dont know the difference. i only remember the kt163-one(It has a different name) has more options.
    unfortuntately i will probably not check the fotoman at photokina. i have other plans. but you are right, there are a lot of chunck around. i once had a technar-like self-made camera here from a german friend with the same mamyia-press-mount that tommy 612 has. i have never seen before such a razorsharp MF lens like that old technikon100mm(linhof-lens). but the body had light-leaks....

  2. #32

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    Yes I thought of cardboard but the very unprofessional look stopped me! I would like to have something which is look pro! I have tried lens hood from Mamiya press the one they use on the 50 mm lens I even brought a Hasselblad and the Mamiya but they are a square like and donít work: Now Iím into learn how to fold bellows because probably this is the answer! Do something which is wider than the 120 degree and just as tall as the camera format! Than probably parts from those other lens shade would work but I got to fabricate a new front and the back out of aluminum! So letís see how it works! The lens shade is a must however some photographers donít understand the meaning behind it! Toy increase the contrast in your neg!

    Now any of you who reading this could help me with address to sites there I can learn how to design a bellows are welcome! The more different sites I got the better it is as there isnít anything we call perfect description but more reading gives more perfection!

    Finally I only have German lenses to all my cameras and I own a couple of those! :-) some Dagors some Apo Red Dotís, Voigtlander heliar and Universal, Schneiders of course and One big son of the bitch 1000mm Apo Ronny! Still I would like to get one 300 mm Lanthar but not for those Ebay prices!

  3. #33

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    Sep 2002
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    You're absolutely right that a lens shade is a must. And the best way to get it, is to make your own! If you are interested I could tell you the exact dimension of the lens shade exactly constructed for your film format and the lens in use. You would then need to make it yourself as I only make them for myself now. The use of these lens shades gives results going far beyond your expectations (99.9% of photographers are dudes when it comes to the knowledge of correct lens shades).

  4. #34
    trebor569's Avatar
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    Wide angle lense hoods

    I have been wondering what to do about a lense hood on the 6x24 do you think the wide angle lense hood from Lee's would work
    http://www.leefilters.com/CPTS4.asp?PageID=141
    [FONT=Palatino Linotype]Rob J-T[/FONT]

  5. #35

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    Sep 2002
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    It would but with MUCH less efficiency as it is not made for your format. I could give you dimensions that are the best suitable for your camera/lens combination.

  6. #36

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    the final sollution!

    Hello Cesar!

    I think I dissolve the problem! From now on this is a hand held camera and you operate the shutter with your thumb easy and trouble free! I have used a shoe from an old light for video and a piece of aluminium! I also got a cable release from an unknown manufacturer very thick and high recision probobly German made!. Tried and you can hold the camera stable as rock! Loaded with 400 ASA/ISO film and its ready for the job! I’m gonna try it on the street in next week! Put up some pics lather from the results! I’m very close to the final solution on the lens shade! You hear from me when it’s ready!
    Last edited by uraniumnitrate; 01-15-2007 at 02:47 PM. Click to view previous post history.

  7. #37

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    A reply from one of the "Ching Chong" manufacturers...

    your racial slur being set aside, our Fotoman cameras are manufactured to tolerances comperable to those of Linhof, Alpa and others, as we utilize the latest machine tools from Germany, the USA and Japan.

    Our cameras are copies of no one else... they are unique in many ways. Being manufactured in China simply lowers the selling price... opening up the joys of panoramic shooting to many who simply can't afford a Gilde or Linhof.

    In regards to your specific needs, questions and comments...

    Our Viewfinder has an internal bubble level, easily viewable while shooting. However for critical work we also include a precise dual axis bubble level as well.

    All of our cameras accept a shutter release cable that mounts in either handle, threading securely in place... ideal for hand held shooting. We even supply the cable with the camera. The cable can of course also be used unattached.

    We challenge any maker to demonstrate flatter film capability than that to be had on our panoramic cameras. We studied all of our competitors executions before designing our film transport system... and we got it right.

    Using Cones (rather than a bellows) is a design choice. Bellows have the advantage of being suitable to a range of focal lengths. If movements are designed in, that is a benefit as well... but the Art Pan doesn't. While a Cone system does require a unique cone for each focal length, the benefits include...

    Precise helical focusing.
    Usage of a far wider range of lenses... currently 23 for our 624 camera... and still counting.
    Rock solid stablity... they shrug off wind with a chuckle.
    Easy Set-Up... there is none.

    Lastly, we will soon (90 days) offer a Shift Adapter with +/- 25mm of vertical movement, and an auxiliary rangefinder for precise distance guaging.

    In the end, we simply want people to be shooting pano's. We love to, and encourage every photographer to try their hand at it.

  8. #38

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    Okay!

    Iím not a racist and never will be one and I havenít got any problem with the Chinese people but the products they letting out to the market! Iím just a little bit tired of the towels says ďMade in China and 100% cottonĒ than the thing just wonít dry the moisture off my body! You right itís cheap to produce it and itís cheap to buy it but than I got to by a new one which works because this one wonít do the job! And of course it cost me more in the long run!
    There are some political reasons too but it does not belong in this site!

    You wrote
    ďOur cameras are copies of no one else... they are unique in many waysĒ
    Be careful with statements of this kind because the format is already a copy of others as you wasnít the first!

    You also wrote

    ďWe studied all of our competitorís executions before designing our film transport system... and we got it right.Ē

    You maybe right here but no way of telling it as long as I havenít try one of yours! I know that I havenít got problem with mine and than yours is not better!

    No you havenít copy anything you just use the best of all others you have studied!
    Now I really donít wanna go into this discussions but the point is this! You missed one of the main goal with the bellows which Tomiyama have understand very well and constructed a camera with this reason in mind!

    The fast cone is sharpness in one point if I understand it right a 120 mm on the 120 mm lens at infinity! For example if you say I use the f stop for increase the dept of field itís okay but at the same time you loose much value of it as the dept of the field works as I described on page two!! If you go back to that page there you might understand what I mean!

    Now of course if you think using the smallest aperture solve the problem you are wrong. It wonít as all lenses have the best working aria which is in modern large format lenses are on f22. That means the lens giving its absolute best performance on just that or very close f stops! All other f stop use is resulting poorer image quality!

    And if I understand right than I need to have a bag with lots of gadgets to get the same job done which I do with the single Tomiyama camera and you still havenít got any solution when it comes to lens shade!

    As I have explained before Iím only registered to get info of my camera of people who owns one and nothing else.

  9. #39

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    Sep 2002
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    Quote Originally Posted by uraniumnitrate View Post
    Okay!


    You wrote
    ďOur cameras are copies of no one else... they are unique in many waysĒ
    Be careful with statements of this kind because the format is already a copy of others as you wasnít the first!
    Lol. You clearly show you don't know what you're talking about. Do you think that manufactures of 617 or whatever format cameras copy each other because they're not the first to make cameras in those formats? Lol. All car manufactures copy the first car? Lol. This could fill a whole sea with stupidity alone. lol

  10. #40

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    Dearest Uraniumnitrate,

    you wrote....

    "The fast cone is sharpness in one point if I understand it right a 120 mm on the 120 mm lens at infinity! For example if you say I use the f stop for increase the dept of field it’s okay but at the same time you loose much value of it as the dept of the field works as I described on page two!! If you go back to that page there you might understand what I mean!

    Now of course if you think using the smallest aperture solve the problem you are wrong. It won’t as all lenses have the best working aria which is in modern large format lenses are on f22. That means the lens giving its absolute best performance on just that or very close f stops! All other f stop use is resulting poorer image quality!"

    Well... frankly, I don't know what you mean... perhaps there is a communication problem. Going back through this thread, there IS a reference to the 1/3 - 2/3 general rule for DOF (which isn't imperically true BTW), however the use of a calibrated DOF scale on a precision Helical Focus Mount in no way forces one to choose ANY specific aperture. What it does, is provide one with precise information from which an evaluative decision can be made.

    In an earlier posting, you also wrote...

    "Do you wanna help? Than give me some ideas how to create a good shade for a lens which is a 100 something degree with out vignette my neg and how to attach that to the camera! For the time being this is the only reason I’m here and nothing else!"

    So Be It... I would suggest you contact the following company, who can build you a bellows lens shade to any dimension you provide them with...

    Camera Bellows (http://www.camerabellows.com) Tony Eaton is the Works Director, and a very knowledgable fellow (teaton@camerabellows.com). I'm sure he can resolve this singular issue.

    [Inappropriate link deleted--d.g.]
    Last edited by David A. Goldfarb; 11-18-2006 at 03:42 PM. Click to view previous post history.

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