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07-29-2017, 06:03 PM   #16
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I prefer, quite strongly, photographing in enclosed or semi-enclosed rainforest situations when there is diffuse light. All planning takes advantage of when and where this is going to occur (e.g in places much colder and unwelcoming than this cosy studio!!) This means it's either overcast (or raining!), foggy or all three. Fog and overcast conditions make focusing a pain ,which is where the centre-spot magnifier is brought out to help with the 67, or the POL is removed.

If I went into any of the RF environments today I would be defeated stepping out: clear blue skies, bright sun, wild winds and not enough water to wet a baby's bum.


QuoteOriginally posted by CreationBear Quote
At any rate, I actually saw The Man from Snowy River here in the States when it came out--at a drive-in, no less. (It's perhaps no coincidence that the future Mrs. Bear bore more than a passing resemblance to a young Sigrid Thornton
ST! Sigrid is a friend I meet sometimes in the city (actors have specific haunts they hang out, be seen in). True dinks, she's a social butterfly like no other. I think she has a Mamiya C330 (?) for snaps. She kicked off in 1983 with "All The Rivers Run" filmed on the Murray up at Echuca (270km or so from here). You might remember this film as it took the US by storm when it was released there.


Last edited by Silent Street; 07-30-2017 at 03:34 PM.
07-30-2017, 07:41 AM   #17
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QuoteOriginally posted by Silent Street Quote
foggy or all three

That is hilarious--my wife and I have been married going on 30 years, so please convey to la Thornton my thanks, if only for "proof of concept."


At any rate, I was laughing yesterday morning at daybreak when I was out on the trail to test my recently repaired P67--we'd had three inches of rain the night before, and I ended up soaked to the skin by virtue of merely stopping. Hope your forests bounce back soon--we had a severe drought last summer and fall (and deadly fires here in the Southern Highlands) so I know it can seem downright eerie moving through that kind of landscape.
12-27-2017, 12:22 PM   #18
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Hey guys,

A little late, but I thought I'd throw in some input. I was having serious focusing issues (more so due to the installation of my first screen by probably a previous owner), so I also reached out to Bill. I did find the price a bit steep, but I was blowing shot after shot due to missed focus. I deemed it worth the cost to purchase his screen, as I do routinely shoot at f/2.4 on my 105mm. I did find the screen brighter, but more so the contrast was much more apparent. This really made that last bit of focus easier to nail.

Also, someone previously made a comment that this would affect the TTL meter, if using one. The TTL meter can be adjusted and dialed in so account for it.

Here's a shot of two 6x7s side-by-side (photoshop). Exposure identical, lens identical, focus a bit off due to distance. Bill Maxwell's matte brightscreen on the left, stock focusing screen on the right.
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12-27-2017, 11:23 PM   #19
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QuoteOriginally posted by peterncsu Quote
I deemed it worth the cost to purchase his screen, as I do routinely shoot at f/2.4 on my 105mm.
The native Pentax 67 screen has a fine matte background. This is very easy to focus with if the central area is too much of a challenge. The perceived difficulty and/or awkwardness of the P67 screen is frequently overstated by people first becoming accustomed to this camera. In actual long-term experience, it is not a problem and like all MF cameras, focusing requires care.

In any case, I am mystified how you could say the view is better when you are routinely shooting with the 105mm f2.4: I shoot a lot of landscape and scenic work in low light with the native screen and the 75mm f2.8AL , often again with a KSM C-POL (ff= +1.5 to 2.0), and I have never had cause nor reason to quibble with the native screen unless I am working in very low light, in which case the difficulties introduced by reciprocity far outweigh focusing foibles and I would (as I often do) abdandon there and then and plan a return trip.

It is not necessary (nor recommended) to internally modify or tamper with the TTL meter, unless there is marked derangement caused by advanced age or trauma. Even then, TTL meter adjustment, like the collimator adjustment for the focusing screen, is a service tech job, not DIY. The positioning of the needle above or below by "just so much" is quite sufficient when adjusting a non-standard exposure. I do this with the tight latitude of transparency film.

12-28-2017, 07:03 PM - 1 Like   #20
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QuoteOriginally posted by Silent Street Quote
The native Pentax 67 screen has a fine matte background. This is very easy to focus with if the central area is too much of a challenge. The perceived difficulty and/or awkwardness of the P67 screen is frequently overstated by people first becoming accustomed to this camera. In actual long-term experience, it is not a problem and like all MF cameras, focusing requires care.

In any case, I am mystified how you could say the view is better when you are routinely shooting with the 105mm f2.4: I shoot a lot of landscape and scenic work in low light with the native screen and the 75mm f2.8AL , often again with a KSM C-POL (ff= +1.5 to 2.0), and I have never had cause nor reason to quibble with the native screen unless I am working in very low light, in which case the difficulties introduced by reciprocity far outweigh focusing foibles and I would (as I often do) abdandon there and then and plan a return trip.

It is not necessary (nor recommended) to internally modify or tamper with the TTL meter, unless there is marked derangement caused by advanced age or trauma. Even then, TTL meter adjustment, like the collimator adjustment for the focusing screen, is a service tech job, not DIY. The positioning of the needle above or below by "just so much" is quite sufficient when adjusting a non-standard exposure. I do this with the tight latitude of transparency film.
If I shot only landscapes with a wider angle I probably wouldn’t have bothered. I keep my 55mm f/4 on my body with the stock screen (I’ve actually since replaced it with a split screen as I think the matte background is clearer). But I do like to shoot families and portraits with a shallow depth of field. Everyone needs to weigh the costs to their specific needs. I was missing critical shots. Shots you don’t get to shoot again. I find these more valuable than a $400 screen over its lifetime.

In regards to the meter, mine was more than 3 stops overexposed. This prevented me from using higher ASA values on the meter. I wasn’t going to pay a shop to do what I deemed a simple repair as there is a very good step-by-step guide on the web.
12-29-2017, 10:08 AM   #21
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QuoteOriginally posted by peterncsu Quote
If I shot only landscapes with a wider angle I probably wouldn’t have bothered. I keep my 55mm f/4 on my body with the stock screen (I’ve actually since replaced it with a split screen as I think the matte background is clearer). But I do like to shoot families and portraits with a shallow depth of field. Everyone needs to weigh the costs to their specific needs. I was missing critical shots. Shots you don’t get to shoot again. I find these more valuable than a $400 screen over its lifetime.

In regards to the meter, mine was more than 3 stops overexposed. This prevented me from using higher ASA values on the meter. I wasn’t going to pay a shop to do what I deemed a simple repair as there is a very good step-by-step guide on the web.
If you like using different focusing screens for different shooting scenarios, then getting a Pentax 67ii would be your best bet. There are a dozen screens for all kinds of shooting, including grid ones I find really handy for landscape or architecture. These screens are not too hard to find, even NOS and take seconds to swap out.

Phil.
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