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  1. #21
    Toffle's Avatar
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    Quote Originally Posted by lxdude View Post
    I assume you mean the mirror?
    You assume correctly. I misspoke. I stand corrected.
    Tom, on Point Pelee, Canada

    Ansel Adams had the Zone System... I'm working on the points system. First I points it here, and then I points it there...

    http://tom-overton-images.weebly.com


  2. #22

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    Quote Originally Posted by DanielStone View Post
    I sold my 645 system(Pentax 645nII) but have been shooting some 35mm recently, and in all honesty, there is a HUGE jump in the quality and "draw" compared to using 645, much less 6x7. Almost to the point that I've considered selling my Nikon system and going back to a Mamiya 645AF or something like that and leaving the "miniature format" stuff to the digit@l realm entirely...

    That said, I also use a GX680 kit, and despite it being heavy and bulky, the lenses are stupendous, and absurdly sharp even wide open.
    And the 3x4 ratio(same as 645) is nice too.

    -Dan
    I did that and don't regret it. I sold my pair of Contax 167 MT's and my 5 Zeiss lenses and put the money towards my 8x10 outfit since the 35mm outfit had sat unused for a couple years.

    I found that between my DSLR and my Hasselblad, I really don't need a 35mm camera.

  3. #23
    Klainmeister's Avatar
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    Quote Originally Posted by Thomas Bertilsson View Post
    Personally I don't see a need to get a bigger negative (and camera) if you print 16x20 or maybe even 20x24. If you stand more than three feet away from the print, you're not likely to spot much difference. It depends a little on what film you use.
    A properly exposed and processed negative in 645 format will yield a virtually grain free 16x20s. Heck, shooting Acros/Xtol in 35mm I get almost grain free 16x20s; you'd have to press your eye up against the print surface to see it.

    My advice - In interest of the pictures themselves, you're best off shooting the camera that feels the most natural in your hands and fits into your work flow best. Unless you like to look at your prints with a loupe. Those are my two cents.
    What he said. I develop 35mm Acros in Pyrocat and Xtol and so far 11x14 are sharp and without any grain...quite remarkable really. That being said, a MF neg has more fine details, which can have a dramatic effect on the overall image/composition.
    K.S. Klain

  4. #24

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    Quote Originally Posted by cliveh View Post
    Sorry to go off topic of original post, but the question made me think of it and perhaps also not applicable to APUG. But wouldn't a 35mm size d*g*t*l with a shift lens of the correct focal length be able to take multiple shots of a static subject and join them up to give a large format equivalent?
    Sigh... I suppose in the same way a synthesizer can be made to sound like a grand piano. It sounds fairly close to the average listener but is an entirely different experience for the musician.

  5. #25

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    This thread has me thinking that I should drop my lust for a Fuji GF670 and just shoot my GA645 happily.

  6. #26
    Photo Engineer's Avatar
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    Quote Originally Posted by lxdude View Post
    RE #1: A spart connection?

    RE #3: The ETR series did have a tilt/shift lens. Made by Schneider, it's named Zenzanon-PE Super Angulon 55mm f4.5 PCS. Not a lot of them out there. The same Schneider lens is in some other MF mounts also.
    BTW, which two of the four are the big differences?
    Re #1, SMART!!!!! Ok, so I spelled it wrong.

    Re #3. These may have existed but were in no catalog or literature that I ever found, and I amassed a lot of data on the entire Bronica series.

    The two most important? The weight and the weight!

    My wife and I carried an RB and lenses all over the place on hikes at one time. No more.

    I should also mention that the Bronica takes 2x more photos per roll, which gives me a lot of shots per shoot with that less weight.

    PE

  7. #27

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    Quote Originally Posted by Alan Gales View Post
    I did that and don't regret it. I sold my pair of Contax 167 MT's and my 5 Zeiss lenses and put the money towards my 8x10 outfit since the 35mm outfit had sat unused for a couple years.

    I found that between my DSLR and my Hasselblad, I really don't need a 35mm camera.

    Unfortunately true. The Nikon sits.
    Where ever you are, there you be.

  8. #28
    polyglot's Avatar
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    If you regularly shoot ISO400 on your 6x7, you'll probably find that you get the same quality from ISO100 on 645. But then, it's pretty damn hard to beat Acros or TMX in 6x7...

  9. #29
    David Nardi's Avatar
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    Quote Originally Posted by Thomas Bertilsson View Post
    Personally I don't see a need to get a bigger negative (and camera) if you print 16x20 or maybe even 20x24. If you stand more than three feet away from the print, you're not likely to spot much difference. It depends a little on what film you use.
    A properly exposed and processed negative in 645 format will yield a virtually grain free 16x20s. Heck, shooting Acros/Xtol in 35mm I get almost grain free 16x20s; you'd have to press your eye up against the print surface to see it.

    My advice - In interest of the pictures themselves, you're best off shooting the camera that feels the most natural in your hands and fits into your work flow best. Unless you like to look at your prints with a loupe. Those are my two cents.
    I agree with Thomas. 30x40 is about the limit I go with 645 so a 20x24 is no sweat for this format. I use a Mamiya 645E and use it when 4x5 or 8x10 is impractical.
    David S. Nardi Photography
    'preserving the beauty in nature'
    www.davidnardi.com

  10. #30
    David Brown's Avatar
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    I think there are other variables to be considered. I have and use the RB67, a Mamiya 645, a Fuji GS645, and the Mamiya TLR system. Prior to owning the RB, I used a Kowa 6.

    The RB is my "serious" camera. Always on a tripod, and with interchangeable backs, I use it much like others use sheet film. (other than the individual sheet development). Second, though, is the Fuji. Usually used handheld, it yields negatives very comparable in most prints from the RB. It just has a different "look". However, I'll take the Fuji places I won't bother with the RB.

    They are all tools, and you have to use the one that's comfortable for you to use and meets your needs. Size, weight, lens selection (or not - see: Fuji) and shooting style all figure in.

    A carefully exposed and processed negative from 645 can be beautiful. In fact, I am having good enough luck with T-grain films in 645, I've started to shoot some in 35mm just "to see"! YMMV
    David
    Taking pictures is easy. Making photographs is hard.

    http://www.behance.net/silverdarkroom
    http://silverdarkroom.wordpress.com

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