johnvanr wrote: KLaban wrote:
johnvanr, you haven't really told us what it is you are going to shoot and how you are going to shoot it.
The principle reason I can use the Z7 rather than something meatier is it's strictly very careful tripod work - almost like copy work - using exceptional lenses.
In an ideal world I'd be using a 907x/100c for my 'Dark Times' series but if I did I'd enter my own dark times and impending divorce.
That's because I don't really know yet. I'm thinking of building up a series of images of old bunkers and flak towers from WWII, now that I'm dividing my time between Vienna, where they have several flak towers and a part of Holland where there are still bunkers sitting in the landscape, including a few surrounding the house my mother grew up in. I could build from there, visiting other places in Europe. I have no clue how feasible this is, but if I do it, I want it all to have the same kind of feel and square B&W feels like a good way to go.
The other part is that I just like 6x6, but that I'm not sure the Mamiya 6 is a justified system in terms of how much use it would see. I sometimes put my low-res cameras on the square format, but you don't have much resolution left if you put a 20mp camera on a 1:1 crop.
But after reading these answers, it also seems my GFX 50R should be fine for the job. I was planning to sell that camera and the 63mm lens I have, but maybe I hold on to it and see how it works compared to the Mamiya, both in terms of output but also the joy of using it. And I could upgrade the 50R to the 100S next time I'm in the US, where used copies are much cheaper than here.
I could also use the R5, but then I lose more of the frame to the 1:1 crop.
I'd roll with the GFX 50R until it no longer fits your needs.
As much as I like the Hassy, the 50R has always caught my eye (never shot one, though) a bit. For adapting M-lenses onto a 4:3, it might make a nicer combo (focal plane shutter). Since, you're shooting mostly architectural, the electronic shutter (and leaf) wouldn't be a deal breaker, either.
Now, I'm a bit curious the diff's between the 50R vs. the 1XD II for use with my own M' lenses.
johnvanr wrote: KLaban wrote:
johnvanr, you haven't really told us what it is you are going to shoot and how you are going to shoot it.
The principle reason I can use the Z7 rather than something meatier is it's strictly very careful tripod work - almost like copy work - using exceptional lenses.
In an ideal world I'd be using a 907x/100c for my 'Dark Times' series but if I did I'd enter my own dark times and impending divorce.
That's because I don't really know yet. I'm thinking of building up a series of images of old bunkers and flak towers from WWII, now that I'm dividing my time between Vienna, where they have several flak towers and a part of Holland where there are still bunkers sitting in the landscape, including a few surrounding the house my mother grew up in. I could build from there, visiting other places in Europe. I have no clue how feasible this is, but if I do it, I want it all to have the same kind of feel and square B&W feels like a good way to go.
The other part is that I just like 6x6, but that I'm not sure the Mamiya 6 is a justified system in terms of how much use it would see. I sometimes put my low-res cameras on the square format, but you don't have much resolution left if you put a 20mp camera on a 1:1 crop.
But after reading these answers, it also seems my GFX 50R should be fine for the job. I was planning to sell that camera and the 63mm lens I have, but maybe I hold on to it and see how it works compared to the Mamiya, both in terms of output but also the joy of using it. And I could upgrade the 50R to the 100S next time I'm in the US, where used copies are much cheaper than here.
I could also use the R5, but then I lose more of the frame to the 1:1 crop.
I'd roll with the GFX 50R until it no longer fits your needs.
As much as I like the Hassy, the 50R has always caught my eye (never shot one, though) a bit. For adapting M-lenses onto a 4:3, it might make a nicer combo (focal plane shutter). Since, you're shooting mostly architectural, the electronic shutter (and leaf) wouldn't be a deal breaker, either.
Now, I'm a bit curious the diff's between the 50R vs. the 1D2 for use with my own M' lenses.
johnvanr wrote: KLaban wrote:
johnvanr, you haven't really told us what it is you are going to shoot and how you are going to shoot it.
The principle reason I can use the Z7 rather than something meatier is it's strictly very careful tripod work - almost like copy work - using exceptional lenses.
In an ideal world I'd be using a 907x/100c for my 'Dark Times' series but if I did I'd enter my own dark times and impending divorce.
That's because I don't really know yet. I'm thinking of building up a series of images of old bunkers and flak towers from WWII, now that I'm dividing my time between Vienna, where they have several flak towers and a part of Holland where there are still bunkers sitting in the landscape, including a few surrounding the house my mother grew up in. I could build from there, visiting other places in Europe. I have no clue how feasible this is, but if I do it, I want it all to have the same kind of feel and square B&W feels like a good way to go.
The other part is that I just like 6x6, but that I'm not sure the Mamiya 6 is a justified system in terms of how much use it would see. I sometimes put my low-res cameras on the square format, but you don't have much resolution left if you put a 20mp camera on a 1:1 crop.
But after reading these answers, it also seems my GFX 50R should be fine for the job. I was planning to sell that camera and the 63mm lens I have, but maybe I hold on to it and see how it works compared to the Mamiya, both in terms of output but also the joy of using it. And I could upgrade the 50R to the 100S next time I'm in the US, where used copies are much cheaper than here.
I could also use the R5, but then I lose more of the frame to the 1:1 crop.
I'd roll with the GFX 50R until it no longer fits your needs.
As much as I like the Hassy, the 50R has always caught my eye (never shot one, though) a bit. For adapting M-lenses onto a 4:3, it might make a nicer combo (focal plane shutter). Since, you're shooting mostly architectural, the electronic shutter (and leaf) wouldn't be a deal breaker, either.
Now, I'm a bit curious the diff's between the 50R vs. the 1D2 for use with my own M' lenses.
johnvanr wrote: KLaban wrote:
johnvanr, you haven't really told us what it is you are going to shoot and how you are going to shoot it.
The principle reason I can use the Z7 rather than something meatier is it's strictly very careful tripod work - almost like copy work - using exceptional lenses.
In an ideal world I'd be using a 907x/100c for my 'Dark Times' series but if I did I'd enter my own dark times and impending divorce.
That's because I don't really know yet. I'm thinking of building up a series of images of old bunkers and flak towers from WWII, now that I'm dividing my time between Vienna, where they have several flak towers and a part of Holland where there are still bunkers sitting in the landscape, including a few surrounding the house my mother grew up in. I could build from there, visiting other places in Europe. I have no clue how feasible this is, but if I do it, I want it all to have the same kind of feel and square B&W feels like a good way to go.
The other part is that I just like 6x6, but that I'm not sure the Mamiya 6 is a justified system in terms of how much use it would see. I sometimes put my low-res cameras on the square format, but you don't have much resolution left if you put a 20mp camera on a 1:1 crop.
But after reading these answers, it also seems my GFX 50R should be fine for the job. I was planning to sell that camera and the 63mm lens I have, but maybe I hold on to it and see how it works compared to the Mamiya, both in terms of output but also the joy of using it. And I could upgrade the 50R to the 100S next time I'm in the US, where used copies are much cheaper than here.
I could also use the R5, but then I lose more of the frame to the 1:1 crop.
I'd roll with the GFX 50R until it no longer fits your needs.
As much as I like the Hassy, the 50R has always caught my eye (never shot one, though) a bit. For adapting M-lenses onto a 4:3, it might make a nicer combo (focal plane shutter). Since, you're shooting mostly architectural, the electronic shutter (and leaf) wouldn't be a deal breaker, either.
Now, I'm a bit curious the diff's between the 50R vs. the 1D2 for use with my own M' lenses. Hmmm ...
johnvanr wrote: KLaban wrote:
johnvanr, you haven't really told us what it is you are going to shoot and how you are going to shoot it.
The principle reason I can use the Z7 rather than something meatier is it's strictly very careful tripod work - almost like copy work - using exceptional lenses.
In an ideal world I'd be using a 907x/100c for my 'Dark Times' series but if I did I'd enter my own dark times and impending divorce.
That's because I don't really know yet. I'm thinking of building up a series of images of old bunkers and flak towers from WWII, now that I'm dividing my time between Vienna, where they have several flak towers and a part of Holland where there are still bunkers sitting in the landscape, including a few surrounding the house my mother grew up in. I could build from there, visiting other places in Europe. I have no clue how feasible this is, but if I do it, I want it all to have the same kind of feel and square B&W feels like a good way to go.
The other part is that I just like 6x6, but that I'm not sure the Mamiya 6 is a justified system in terms of how much use it would see. I sometimes put my low-res cameras on the square format, but you don't have much resolution left if you put a 20mp camera on a 1:1 crop.
But after reading these answers, it also seems my GFX 50R should be fine for the job. I was planning to sell that camera and the 63mm lens I have, but maybe I hold on to it and see how it works compared to the Mamiya, both in terms of output but also the joy of using it. And I could upgrade the 50R to the 100S next time I'm in the US, where used copies are much cheaper than here.
I could also use the R5, but then I lose more of the frame to the 1:1 crop.
I'd roll with the GFX 50R until it no longer fits your needs.
As much as I like the Hassy, the 50R has always caught my eye (never shot one, though) a bit. For adapting M-lenses onto a 4:3, it might make a nicer combo (focal plane shutter). Since, you're shooting mostly architectural, the electronic shutter (and leaf) wouldn't be a deal breaker, either.
Now, I'm a bit curious the diff's between the 50R vs. the 1D2 for use with my own M' lenses. Hmmm ...
johnvanr wrote: KLaban wrote:
johnvanr, you haven't really told us what it is you are going to shoot and how you are going to shoot it.
The principle reason I can use the Z7 rather than something meatier is it's strictly very careful tripod work - almost like copy work - using exceptional lenses.
In an ideal world I'd be using a 907x/100c for my 'Dark Times' series but if I did I'd enter my own dark times and impending divorce.
That's because I don't really know yet. I'm thinking of building up a series of images of old bunkers and flak towers from WWII, now that I'm dividing my time between Vienna, where they have several flak towers and a part of Holland where there are still bunkers sitting in the landscape, including a few surrounding the house my mother grew up in. I could build from there, visiting other places in Europe. I have no clue how feasible this is, but if I do it, I want it all to have the same kind of feel and square B&W feels like a good way to go.
The other part is that I just like 6x6, but that I'm not sure the Mamiya 6 is a justified system in terms of how much use it would see. I sometimes put my low-res cameras on the square format, but you don't have much resolution left if you put a 20mp camera on a 1:1 crop.
But after reading these answers, it also seems my GFX 50R should be fine for the job. I was planning to sell that camera and the 63mm lens I have, but maybe I hold on to it and see how it works compared to the Mamiya, both in terms of output but also the joy of using it. And I could upgrade the 50R to the 100S next time I'm in the US, where used copies are much cheaper than here.
I could also use the R5, but then I lose more of the frame to the 1:1 crop.
I'd roll with the GFX 50R until it no longer fits your needs.
As much as I like the Hassy, the 50R has always caught my eye (never shot one, though) a bit. For adapting M-lenses onto a 4:3, it might make a nicer combo (focal plane shutter). Since, you're shooting mostly architectural, the electronic shutter (and leaf) wouldn't be a deal breaker, either.
Aug 11, 2024 at 07:08 AM
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