As Jim noted, I am using the Cooke PS 945 Portrait lens on my 4x5/Betterlight.
FTR I just listed a 420mm (16-1/2 inch) Red Dot Artar on eBay if you are interested in something that long.
The Cooke is a dream lens -- in fact it's the only lens I've ever become emotionally attatched to But it has a distinct personality and takes some getting to know -- I am using it a lot now and learning more every day.
Once you get the hang of it, using the Betterlight in the field is not really much more problem in the field than using film -- certianly less of an issue than shooting 8x10. The biggest issue is carrying the extra paraphenalia -- laptop, battery for the BL USB box and cables. I needed to buy a larger 4x5 pack (the f64 XL) to hold everything. The good news is the BL hardware can all stay in the pack (top section) while you slip the scan-back in the camera.
Image quality from the back is superb, period. (Mine is the Super 6K HS model.) And the BL generates over 11 stops of usable DR. Fastest scans in 6000x8000 pixel mode are 35 seconds, so not too bad. However, in 9000x12000 pixel mode, scan times jump to nearly a minute and that resolution the outfit is very demanding of glass.
If you are interested, Bill Atkinson is selling his -- and I think it has been updated to current Super 6K HS specs. Email me if you want more info.
Here is my quick take on the current state of MF backs:
1) The P45 imparts a notable color-shift across the sensor when used on a view camera -- and it varies with the lens, focus distance and lens movements used. So for EVERY image you take with that back, you need to take a corresponding white-frame subtraction shot to process with the main file later if you want accurate colors. (Note, this even occurs on occasion when a wide lens like the 35 is used on the Hasselblad H2 camera.)
2) The Hasselblad Digital MF back uses the same chip as the P45 so will likely have the same color shift issues. And it isn't even out in 100% working fashion yet.
3) The Leaf Aptus 75 offers the greatest promise to me, but to use it tethered for live preview, you need to purchase (and hence carry) an additional $2000 box, AND power this box, so it isn't a viable field solution for a view camera IMO. Plus the software is currently MAC only and all my machines are PC's.
4) Next we get to diffraction limitations. ALL of the above high resolution digital backs have relatively small sensor sites, and hence are diffraction limited around f5.6, though remain very usable at f8. However, by f11 you have lost enough resolution to diffraction that you essentially trim them back to about what a 22 MP MF back generated(!) Extrapolate this along a normal use-path for field work and one needs to question the true added benefit of the newest high-resolution backs for field use. (Studio is another discussion.)
So for me, the Betterlight on my view camera remains the "best" large/medium format field alternative currently available -- though by no means am I implying it is not without its own set of limitations. FTR, I still carry and shoot (and then later scan) 4x5 film for the times the BL is not ideally suited.
Jack Flesher wrote:
3) The Leaf Aptus 75 offers the greatest promise to me, but to use it tethered for live preview, you need to purchase (and hence carry) an additional $2000 box, AND power this box, so it isn't a viable field solution for a view camera IMO. Plus the software is currently MAC only and all my machines are PC's.
Excellent Summery Jack. Your experience seems to match up with what I've been reading. It's nice to hear it all first hand from someone who's used this stuff.
Can you explain what you mean by a $2K box for live preview? Do you just mean a Mac laptop?
What's the best power source you've found to carry? I was thinking maybe just an Alien Bee Power Pack.
Any info on the live preview? Two Leaf sales reps told me in daylight they thought it would be useless even with a neutral density filter. I don't know if anyone has actually tried it outside in daylight. They said it was designed for interiors only.
Any pointers about which view cameras you're finding are either good enough for the new 33MP/39MP backs and which ones are falling short? i.e. stable and precise enough to manually focus at this level, etc.
Can you explain what you mean by a $2K box for live preview? Do you just mean a Mac laptop?
No, I mean there is a separate $2000 box required that attaches between the back and and your computer to utilize live preview.
What's the best power source you've found to carry? I was thinking maybe just an Alien Bee Power Pack.
I have found the NiMh "Digital Camera Battery" to be very good, but am looking into one of the new Lithium Polymer battery packs as a lighter-weight option.
Any info on the live preview? Two Leaf sales reps told me in daylight they thought it would be useless even with a neutral density filter. I don't know if anyone has actually tried it outside in daylight. They said it was designed for interiors only. I have only used it indoors on a demo unit and never even considered it would be an issue in outdoor light. If so, this makes it even less viable for my uses since the ability to use "live" focus is crucial in obtaining an optimum image quality with these high-res sensors on a view camera. Thanks for sharing this!
Any pointers about which view cameras you're finding are either good enough for the new 33MP/39MP backs and which ones are falling short? i.e. stable and precise enough to manually focus at this level, etc.
With the Betterlight you need a camera that is rigid laterally -- meaning side-to-side torsionally between the front and rear standard -- since the back itself is pretty hefty relative to a film back.
The best field options currently seem to be the Arca-Swiss F-line and the Ebony wooden cameras -- and the Ebony cameras made from actual ebony are rumored to be more rigid than the mahogany versions. While I have not tried them, I suspect the metal folders like the Linhof Tech and Toyo AII/AX would be good also.
I loved my Toyo VX 125 for film, but I felt it lacked enough torsional rigidity once the base rail was fully extended for use with the Betterlight. Replacing the base rail with a rail from a studio Toyo solves this problem though makes the package larger and less convenient in the field. The lighter-weight wood folders are not rigid enough.
Obviously any of the full-size studio cameras -- Toyo, Sinar, Arca -- will be rigid enough, but they are not going to be viable field options.
The MF backs can additionally be used on dedicated 6x9 (MF) view cameras like those from Linhof, Sinar and Rollei. Whle smaller in size, the majority of these are based on studio monorail designs and are thus heavier than the Arca or Ebony cameras mentioned above. Also they do not collapse for storage as well and are less flexible (won't allow the use of 4x5 film or the scanning back) so IMO these would not be as desireable a choice for me.
~~~
I should add that currently Arca is offering adapter backs to adapt the current line of H or M backs to their 6x9 and 4x5 view cameras. I have not done complete reseach on this, but I think Sinar does the same as does Calumet for many of their cameras. I am also pretty sure Linhof only offers them for their 6x9 camera, though third-party manufacturers offer more generic "Graflok" adapters.
A good quality sliding back would be my choice for using an MF back on a view camera, though they add significant size and weight to the field outfit -- chalk up another convenience plus for the Betterlight since it slips into the camera just like a regular film holder
Duncan,
are you using a MFDB on your Blad?
From the test I've seen the MFDB are much better in controlling the highlight shadow details.
One thing to remember,if it's not there(highlight blow-out)it's not there!
Even colorneg won't hold !
Cheers,
Willem.
Yes it is the Ixpress 528C (22mp). I will be shooting some images in the helicopter this week with both H1D and 1DS (same subjects) and will post those samples side by side. I will also do some more structured testing on the ground.
Willem,
I've been finding the same with the P25 as far as highlight exposure. If it's blown it's gone, period. Even if the majority of the information is on the left side of the histogram, there is still more than enough there to prevent banding, and other things I would see with the Canon's. It's been quite the adjustment coming from the "expose to the left" ideology to "nail the highlights", but when done so, the files are very sweet indeed.
Duncan, I can't wait for the comparison, as I believe you and I both have the 1Ds and V series glass...am I correct? I'm finding my 80mm and 150mm CF glass doing better than I expected with their 20+ old design...
My tests were done using the HC lenses 80mm and 50-100mm.
I will be testing against the 1DS using both primes and L zooms. I will post later this week. I have a P25 test scheduled in a couple of weeks in adition to the Aptus 22.
I may try to get a V series back and try that with my V series gear just for comparison.
EZepeda wrote:
I'm finding my 80mm and 150mm CF glass doing better than I expected with their 20+ old design...
Same here. Some quick tests on the 80mm CF against the 85mm f1.2L on my 1Ds2 showed that they're pretty well equal for resolution in the centre at any stop or across the field anywhere past f8. The 1.2L is significantly better on the edges at f2.8 or f5.6. I need to set up a test between V and H glass with a P30 or P45 ....
ajmichael wrote:
I need to set up a test between V and H glass with a P30 or P45 ....
Recently saw a beauty shoot where they used an H2/P45 with the 50-110mm and the detail was so fine they actually had the model shave her face...boy was she ticked. The retouchers were complaining because all that extra detail just made more work for them. I was thinking that for architecture, this would be heaven.
I'm picking up the stitching back today to start testing my LF setup with the P25...have tried before and found focusing really difficult even with recessed lensboards, etc. so am now thinking of trying around 55mm and stitching until I can get into the Cambo or Alpa systems...what's the Lotto up to this week?
EZepeda wrote:
Recently saw a beauty shoot where they used an H2/P45 with the 50-110mm and the detail was so fine they actually had the model shave her face...boy was she ticked.
Not much of an advert - my 1Ds2 with the 85L will already do that quite happily! It's amazing just how much fine hair there is on a woman's face if you look that closely ...
You're right, and as Duncan pointed out also, MFDB's are better, but 20K worth of better? I must admit there's times when I'm looking at the back and thinking I could've had the 35 DSLR kit of my dreams...but I've already slid down the slope with no rope.
But it has a distinct personality and takes some getting to know -- I am using it a lot now and learning more every day. 
