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09-25-2009, 04:20 PM   #31
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QuoteOriginally posted by surfotog Quote
Ron, Stop tempting me with your stories of the Zoerk MFS! Doing a lot of closeup/macro work this summer made me realize how much I could use tilt for that work.
But geez, I've spent enough this summer already. I suppose i could go the cheaper route and just buy the MFS w/o the 105 APO Rodagon and look for a cheaper used enlarger lens. I don't need infinity focus, it would strictly be for closeup work.

If you are doing Macro and has Rodagons or similiar in 105 to 150mm why not buy a old 4x5 camera and use that as you full tilt shift bellows?

09-25-2009, 05:07 PM   #32
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Sounds like a good idea, though you'd have to have more equipment with you on a trip to have the tilt/shift ability.
09-25-2009, 11:00 PM   #33
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Starting a collection of 67 glass so that in the future you can mount it on a used discontinued 67 body might not be as practical as buying 645 glass, using it with a 645 body now and possibly being able to use it on new future 645D camera.

The two things that stick out - 6x7 to 67 - a fully electromagnetic shutter and a powered as opposed to mechanical bulb mechanism.

I have heard multiple comments from wedding folk who feel the 67 is far too loud for weddings, also the slow flash sync speed, and manual film advance. Those are certainly not issues for everyone, none negatively impact my usage, but I never shoot candids or events which are continuous. I shoot multiple 67 bodies so the 10 shots per roll is less of an issue.

I started with the 67 format over 20 years ago, if I was to start from scratch today things might fly differently.
09-25-2009, 11:03 PM   #34
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Are both 6x7 and 67 noisy, or did you mean just the 67?

Starting on 645 because of the 645D is irrelevant for me, cause I won't be able to afford the 645D anyway

09-26-2009, 11:47 AM   #35
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There's no downside to buying 67 lenses, as they can easily be used on any future 645D. Buying 645 glass, great as it might be, limits one to use on the Pentax 645 or smaller formats. In fact one of the great advantages of the 67 lenses is that they are easily adaptable to any smaller format. I use mine for B&W work on the 67, and have a chipped adapter which allows me to use them on my Sony A900 which has in body stabilization. I can use my M* 800/6.7 for B&W work on the 67, and have more reach and a stabilized 800 on the Sony. If Pentax ever does come out with the 645D, I'm set on the longer end. If they don't, and I want to venture into MF digital, the 67 lenses can be used on virtually any MF body. One of the reasons I invested in the longer Pentax glass was it's unmatched versatility.
All of the 67's, including the 67II are noisy. It's primarily from the mirror returning to it's down position. I can see why this could cause a problem at weddings.
09-26-2009, 12:51 PM   #36
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Surfotog--don't skip the APO enlarger lens! The quality is just so stunning. In the B&H summer '09 catalog, they list the 105/4 APO for $875 and the "plain" 105/5.6 for $390, so sure you could save by going used non APO.

Another idea might be to try to find APO enlarger lens choices on the used market...I presume lots of darkrooms have been disassembled over the past 5 years of digital revolution. Somewhere in my research I found the thread requirements which would allow you to potentially fit a variety of used enlarger lenses on the MFS. This could be complicated by the fact that the MFS for the 105 and Pentax 67 has a slightly modified mount which may effect the use of other lenses. So I dropped the research unfinished. But if you bought the MFS intended for the 80mm APO Rodenstock you'd perhaps have more lens options because the mount is unmodified--I think they call the one for the 105 a "short mount" modification. (I'm looking at the B&H listing for the 50/2.8 APO Rodagon right now...geez wonder if that would work to create a wide angle with tilt/swing? Why doesn't Zork mention this lens? Image circle too small?)

Or you could do as I did and wait a few years until you find a Zork MFS on the used market. I had already decided I wanted one and decided I wasn't willing to pay the new price without lots of "thought time"...had spoken to the U.S. distributor out in OR on the phone and in emails on several occasions etc. And before I could finally snap and order a unit, the one I bought showed up at KEH and I bought it.
09-26-2009, 02:46 PM   #37
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Ron... I'm looking at the 80mm APO Rodagon. It would serve double duty, on the Zoerk MFS and in the darkroom. According to the guy at HP Marketing the 80 APO is the best enlarging lens for 6x7 format at magnifications up to 20x. They have them new at Tin Cheung for about $550. If I could find a used one that would be a bonus. I'm too old to wait a few years looking for a used Zoerk settup! I'll look for one over the winter, but if I can't find one 'll probably buy one in the spring.
09-26-2009, 04:18 PM   #38

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QuoteOriginally posted by k100d Quote
are you talking about this guy?
YouTube - Terry Richardson with Yashica T4
Nope, that's not him.

03-27-2011, 12:25 PM   #39
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Why not get both cameras! Looking in my old B&H catalog, I see the combined cost of my 67II and 645N, along FA45-85, FA 80-160mm lenses for 645N + 35mm, 45mm, 55mm, 75mm shift, 90mm, 105mm, 120mm SF, 135mm Macro, 165mm and 300mm primes for the 67II was once enormous! More than a new car!

In this digital daze you can get excellent gear for a small fraction of the original price, and you'll never find a better value anywhere in the universe of photography!!! The price I paid is less than 20 percent of retail back in the 90's, far less than production costs.

Last edited by rick_reddy; 03-27-2011 at 03:07 PM.
03-27-2011, 04:33 PM   #40
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I obtained some nice enlarger lenses from EP Levine, a reputable outfit in the Boston area. I think they're in Burlington. I bought a 90mm Apo Rodagon, and the 150 Rodagon (for 4x5 format). It's best to call and ask what they have on hand.
03-30-2011, 08:33 AM   #41
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QuoteOriginally posted by yurihuta Quote
An interesting link, thanks. Worth reading what uses Salgado makes of the 645 its versatility..

04-01-2011, 02:06 PM   #42
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Salgato does excellent work! I'm not surprised he uses a 645 rig--the camera is built like a tank and obviously designed for fast responses. When all is said and done it is always content that wins the day, so I have a 35mm body in my 645N bag.

I chose a Nikon F100 with the remarkable 14-24mm f/2.8G ED zoom lens. Radical! It doesn't take filters, and is optimized for digital bodies, but this lens really rocks. Often, the images I visualize incorporate extreme wide angles, so I like having this camera with me.

It's one of those situations where the net result is about the same, but I shoot an extra
roll of 35mm. My Pentax WA zoom, the FA 45-85mm f/4.5, is approximately equivalent to 27-51mm in 35mm format. The Pentax zoom picks-up where my Nikkor lens runs out of road, so this combination works very well.

In the same spirit, I bring my 67II rig + 75mm shift lens, when shooting architectural subjects. The 645 doesn't have a shift lens.

Last edited by rick_reddy; 04-01-2011 at 02:11 PM.

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