If the format is not 4X5 or 5X7, Ilford is running their annual Ultra Large Format release which includes a variety of smaller, hard to find sizes. If it is a standard large format film. sheets are available but keep a paper bag nearby for hyperventilating when you see the price.
I sent the 50 Anniversary M4 to DAG for service. During the first outing, the controls were stiff and rewinding was difficult. It wasn't quite as unused as I originally thought. He replaced the intermediate film take up gear due to wear. I suspect the camera was used for a while then put away for several decades. Everything is smooth and it's loaded with cheap Arista Pan 100 to check the speeds and if there is any shutter bounce.
My oldest brother (who is 77 and still working as a software developer) is into AI and uses it a lot in his work. He asked Gemini what his dog would look like if it were a human, and sent that photo to my other siblings and me. When I received it I responded to my brother, "fine, but how would you look if you were a dog?" He sent this photo in response. That's me on the left with my Canon P, and him on the right with his Nikon digital camera.
bjhurley wrote:
My oldest brother (who is 77 and still working as a software developer) is into AI and uses it a lot in his work. He asked Gemini what his dog would look like if it were a human, and sent that photo to my other siblings and me. When I received it I responded to my brother, "fine, but how would you look if you were a dog?" He sent this photo in response. That's me on the left with my Canon P, and him on the right with his Nikon digital camera.
Here's a new one for me, a Fuji GSW690III. Total impulse buy, but I couldn't say no to the price. M2 for scale.
This thing is pretty sweet. It's light, but feels sturdy. Plasticky, but not slippery. A brick, but with just enough sculpting around the gripping surfaces to feel like it's meant for a human hand. The patch is easy to see, the frame lines are clear with plenty of space around them, and I really like the exposure controls all being on the lens. Surprisingly sleek system considering it's a plastic brick.
I only have small lab scans from my test rolls to judge IQ, but results so far are very promising. Feels like a nice sweet spot between camera size, negative size, and number of exposures.
I got one of the early GSW690III cameras in spring 1992. Eventually I replaced it with a full Mamiya M7 system, but used the Fuji quite a bit. Back then I mostly used 220 to get 16 frames. It was still a bit of pain reloading all the time. The lens is quite good since back then there were no computer corrections. Two main negatives were that the RF viewfinder was partly cut off by the lens and the mechanical shutter and release were rather violent. At slow shutter speeds I'd use a spring driven self timer or cable release. I assume you have some kind of light meter or another camera to meter. I used a 10x Schneider Kreuznach Lupe to view the film at detail level.
IIRC the lens shutter is supposed to be serviced every time the 3-digit counter increments to 500. I have no idea how well they hold up over time. Good luck with it.
EB-1 wrote:
I got one of the early GSW690III cameras in spring 1992. Eventually I replaced it with a full Mamiya M7 system, but used the Fuji quite a bit. Back then I mostly used 220 to get 16 frames. It was still a bit of pain reloading all the time. The lens is quite good since back then there were no computer corrections. Two main negatives were that the RF viewfinder was partly cut off by the lens and the mechanical shutter and release were rather violent. At slow shutter speeds I'd use a spring driven self timer or cable release. I assume you have some kind of light meter or another camera to meter. I used a 10x Schneider Kreuznach Lupe to view the film at detail level.
IIRC the lens shutter is supposed to be serviced every time the 3-digit counter increments to 500. I have no idea how well they hold up over time. Good luck with it.
And yes, I've read about the recommended service. I burned a roll on a bracketed series of exposures to work through the shutter speeds and everything looks good. If I find anyone who does CLA's on these, I might send it in just to make sure everything will continue working well. This one is around 300 and doesn't look too used, but who knows if that's been reset or rolled over or something.
For metering, I mainly use sunny 16, but if I need a reference point I'll use a phone meter. The apps I've got generally agree with my actual cameras, so the phone is a good safety net.
EB-1 wrote:
IIRC the lens shutter is supposed to be serviced every time the 3-digit counter increments to 500. I have no idea how well they hold up over time. Good luck with it.
Any idea who can provide this servicing nowadays? My lens shutter jammed shortly after I purchased one of these and my local shop has been holding on to it since, but it's been long enough now I expect it's beyond their capability.
Unfortunately not. I sold mine before it was needed.
The lack of metering was a big hassle in the film era. You had to carry a light meter around.
But the whole point of 6x9 was to get better IQ than 135.
OffTrail wrote:
Thanks. Wish we still had 220 options!
We do!
Reflx Lab currently sells four films in 220:
Kodak Aerocolor IV 2460 (they brand it as Pro100)
Vision3 500T (ECN-2)
Agfa Aviphot 200 (they brand it as Pan 200)
Fortuna SHD 400 B&W film
Paterson reels are designed to accommodate 220 film so if you home-develop there's no difference. Some labs will do 220 film but usually at an extra cost.
Paterson reels are designed to accommodate 220 film so if you home-develop there's no difference. Some labs will do 220 film but usually at an extra cost.
Had no idea these were on the table. I'm not sure if my lab would do 220 color, but I'll have to try some B&W since I do have Paterson reels here. And I've been meaning to try Vision 3, and if I'm mailing out for ECN, well, go big or go home, right?
OffTrail wrote:
Had no idea these were on the table. I'm not sure if my lab would do 220 color, but I'll have to try some B&W since I do have Paterson reels here. And I've been meaning to try Vision 3, and if I'm mailing out for ECN, well, go big or go home, right?
Yes, I've thought about the Vision3 as well; the total cost per frame would be lower. My lab here in Montréal charges $5 CAD extra for 220, and they charge $20 CAD for ECN-2. They charge $5 per roll for scanning (regardless of whether it's 120 or 220) but I'll leave that out of the equation in the cost comparison below.
2 rolls of 120 Vision 3 500T at $16 CAD per roll = $32 plus $50 CAD processing for the two rolls; total cost for two rolls of 120 is $82 CAD, or about $3.40 per frame.
1 roll of 220 Vision 3 at $32 CAD per roll plus $25 CAD processing comes to $57, or about $2.40 per frame. Still not cheap, but maybe worth a try. The costs look better in US dollars.
This thing is pretty sweet. It's light, but feels sturdy. Plasticky, but not slippery. A brick, but with just enough sculpting around the gripping surfaces to feel like it's meant for a human hand. The patch is easy to see, the frame lines are clear with plenty of space around them, and I really like the exposure controls all being on the lens. Surprisingly sleek system considering it's a plastic brick.
I only have small lab scans from my test rolls to judge IQ, but results so far are very promising. Feels like a nice sweet spot between camera size, negative size, and number of exposures. ...Show more →
Size comparison of my Fuji vs Agfa 35mm RF vs Rollei A110
This is the second time around with Hasselblad. The first one was 503CW that I had trouble focusing with because of the stiffness in Hasselblad lenses and the long focus throw. This 510CM has the newer lens and the Acutte-Matte D focus screen and seems much easier to focus. Also oddly enough I don't have to wear my cheaters to focus.
