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  1. #11

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    Mamiya 6 is a great camera, which allows for fairly quick film changes - I have even done it while walking along (not tripped yet). A big Fuji GS690 or GSW690 (6x9) yield amazing results, but are huge and a bit slower to handle with film changes every 8 frames. I had reliabilty issues with the Bronica, so I do not feel that it is built to the same standards as a Mamiya or a Fuji, both of which are built like tanks. With any medium format system you stand out like the proverbial sore thumb. Leica may be smaller, but all are know to be expensive so theft may be a problem. The Nikon solution may be the best one - you will look like just anyone else with a Nikon, not worth bothering with.

  2. #12
    cliveh's Avatar
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    Smooth tones have nothing to do with format size. Stick with the Leica.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  3. #13
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    So welcome to APUG.

    With regard to your question, I have a question; what film have you been using in the Lieca? (The one that can't get you the tones you want.)
    Mark Barendt, Ignacio, CO

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

  4. #14
    markbarendt's Avatar
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    Quote Originally Posted by cliveh View Post
    Smooth tones have nothing to do with format size. Stick with the Leica.
    Clive, Clive, Clive.

    "Print" tone smoothness, resolution, grain size, and sharpness are all affected by film size.

    A given film, say Delta 100, has a given resolution "per square inch" expressed as xxx line pairs per millimeter.

    35mm film has roughly 1.5 square inches of area, the Hassy has about 5 square inches. So assuming both the Lieca and the Hassy have the same film inside, the Hassy negative can hold over three times as much data.

    The Hassy negative can define a lot more points in the print.
    Mark Barendt, Ignacio, CO

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

  5. #15
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    Quote Originally Posted by markbarendt View Post
    Clive, Clive, Clive.

    "Print" tone smoothness, resolution, grain size, and sharpness are all affected by film size.

    A given film, say Delta 100, has a given resolution "per square inch" expressed as xxx line pairs per millimeter.

    35mm film has roughly 1.5 square inches of area, the Hassy has about 5 square inches. So assuming both the Lieca and the Hassy have the same film inside, the Hassy negative can hold over three times as much data.

    The Hassy negative can define a lot more points in the print.
    It depends on the enlargement, but how is print tone smoothness affected by format size?

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  6. #16
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    If you had ever seen Denis Reggie with a Hasselblad 20+ years ago, you would soon realize that a Hasselblad is NOT inherently slooow!

  7. #17
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    Quote Originally Posted by cliveh View Post
    It depends on the enlargement, but how is print tone smoothness affected by format size?
    Simply put the larger film has more grains in relation to the scene and paper with which to define a tone change.

    The more steps you can define between any two points, the smother the transition (tone changes) can be between them.

    If you want a truly stark comparison of this idea, find somebody with say a 5x7 or 8x10 camera, use your Leica and the same film they use to take a photo of the same composition they do. Have them make a contact print and you print one at the same size.

    Even at 5x7 there will be a significant difference in the tonal changes, sharpness, detail, and grain.
    Mark Barendt, Ignacio, CO

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

  8. #18
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    Quote Originally Posted by abhoan View Post
    I need to travel and the place I'm working is known for theft. So I need to choose either the Hasselblad or the Leica


    Tmax 100 in 35mm used to yield excellent clarity and smoothness. I have not used the new formulation because I go to 8x10 now when I want those qualities

    You can get top of the line 35mm gear for less than $100. The last project I had involving travel I got a Nikon N75 with the 'kit' lens 28-80. For $35 I could have just left it at the scene when I was done.

  9. #19

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    With respect to the question of what film I'm using, I'm on Trix 400 and Tmax 400 or both the cameras. And yes wiltw, I am sure the camera is not the issue, its just that I can't work it quick yet..

  10. #20
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    Quote Originally Posted by abhoan View Post
    With respect to the question of what film I'm using, I'm on Trix 400 and Tmax 400 or both the cameras.
    Given that starting point, you have some interesting options.

    Simply switching to TMax 100 or FP4+ or even Pan F in your M3 could make a very significant difference in the clarity and smoothness of tones.

    I made a similar choice for my traditional b&w 35mm work.

    There are other good options too, XP2 Super and C41 color negative film. It is really fun to shoot actually because its flexibility.

    With C41 films, when you need an EI of 400 shoot it at 400. When you can go slower you can shoot it at EI 200, 100, or even 50, and that extra exposure actually reduces print grain.

    C41 films have a different look, tonality, you may or may not like it, but it is very much worth a try.

    C41 film development would be a change for you or that could be done by a lab.

    In printing, XP2 is designed to be used with normal b&w paper and I find that grade 3 settings on VC paper is normal for me instead of grade 2 for say FP4+.

    C41 color films can be printed on normal b&w papers too but it's hit and miss in my experience. The reason I mention them here is that even more than XP2, I find the sharpness and tones another step better. Whether they will work or not for you...?
    Mark Barendt, Ignacio, CO

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

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