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10-29-2008, 07:29 PM   #1
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panoramic kit for 67

Hi All,
Anyone used a 67 with the panoramic kit that converts the 67 to 35mm and wide frame ?
You can see the kit on ebay.

Anybody tried, good /bad?

cheers Neil

10-29-2008, 09:10 PM   #2
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I thought about it for a second when I discovered them. But then it occurred to me that the camera had to by unloaded in total darkness, with that big cloth shutter sitting there waiting to get damaged.
Not to mention the inconvenience of it all.

Stick to 120 or 220 film, and if you happen to want to do a panoramic, you will have huge cropping options.
10-29-2008, 10:04 PM   #3
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QuoteOriginally posted by Wheatfield Quote
I thought about it for a second when I discovered them. But then it occurred to me that the camera had to by unloaded in total darkness, with that big cloth shutter sitting there waiting to get damaged.
Not to mention the inconvenience of it all.

Stick to 120 or 220 film, and if you happen to want to do a panoramic, you will have huge cropping options.
Sounds fair.
One question on the kit and the operation of the 67 in general not having used one, but what happens when you get to the end of a roll of film ?

On 35mm it stops and you have to wind it back on the opposite way until it is fully back on the roll again. Is this not the same as the 67? Please excuse the ignorance i havent shot film for a long (almost 10years) time.

I am really wanting to do panoramas and i hoped this would be a good option or i was thinking of getting say something like a 617 da yi or fotoman camera in 617.
I have a K20d and while it is a great camera it doesnt (like any digital on the market) have the detail of a large flat film camera and will always have distortions.
I am just not quite sure which way to go at the moment. I was hoping to buy a 67ii but ... not sure or spend double and get a 617 format.
Any opinions would be greatly appreciated.

Thanks Neil
10-29-2008, 10:59 PM   #4
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Roll film (120/220) comes off the supply spool at the end of the roll and the entire film ends up on the take up spool. When you load a new film, the old supply spool is transfered to the take up, a new film is put into the supply slot, pulled across the camera and fed into the take up, then the film is advanced until the stop arrows line up with the corresponding marks on the camera, the back is then closed and the film advance is used to take the film up to the first frame.
Download the 67II manual from here:
http://www.pentaximaging.com/files/manual/67II_Eng.pdf
It has pictures, which are helpful.

We have a similar issue with digital it seems. I come from the world of 4x5 sheet film, and also find the DSLR format wanting in terms of detail.
To that end, I researched image stitching, where many exposures are used to cover the area being photographed, and then the images are "stitched" together to form one, very high resolution file.

This picture:
Arch1Panorama1
comes from a dozen exposures made with the 31mm LTD lens, and then stitched. The screen resolution image is nice, the 16x24 that is on my wall is drop dead gorgeous. I actually had to res down the final file somewhat to print the image.

This technique works very well for panoramics as well, and actually tends to reduce short lens distortions, since longer lenses are used.
I tried to shoot that arch years ago on the 4x5 from approximately the same position. I didn't have a lens wide enough, my wide angle at the time was a 90mm. I have since bought a 65mm lens, which I am certain would do the job. To get this wide a FOV on the DSLR would require something in the vicinity of the 14mm.
By shooting with the 31 instead, I gave myself a number of advantages. I got a much higher IQ simply because the 31 is a far better lens than the 14, plus I got the added advantage of a 50mp or better "out of camera" file to work with.

10-29-2008, 11:33 PM   #5
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Thanks and sure i do panos in Digital on a regular basis as well, so i understand what you getting at and for anything that is distant, it will no be an issue.
One thing though is that once you start looking up and around lines will no longer be vertical. They will go to a perspective line. You can un distort these in photoshop on an individual basis but on a flat film plane this wouldnt happen. I know, i am being pedantic here and i will probably end up sticking to digital all the way, but i reckon there is probably something still left in hi-res film yet and i love the panoramic perspective, so i keep wondering, maybe i should go this way. FWIW i would sell the K20D to do this. It is far too nice a camera.
Cheers Neil


QuoteOriginally posted by Wheatfield Quote
Roll film (120/220) comes off the supply spool at the end of the roll and the entire film ends up on the take up spool. When you load a new film, the old supply spool is transfered to the take up, a new film is put into the supply slot, pulled across the camera and fed into the take up, then the film is advanced until the stop arrows line up with the corresponding marks on the camera, the back is then closed and the film advance is used to take the film up to the first frame.
Download the 67II manual from here:
http://www.pentaximaging.com/files/manual/67II_Eng.pdf
It has pictures, which are helpful.

We have a similar issue with digital it seems. I come from the world of 4x5 sheet film, and also find the DSLR format wanting in terms of detail.
To that end, I researched image stitching, where many exposures are used to cover the area being photographed, and then the images are "stitched" together to form one, very high resolution file.

This picture:
Arch1Panorama1
comes from a dozen exposures made with the 31mm LTD lens, and then stitched. The screen resolution image is nice, the 16x24 that is on my wall is drop dead gorgeous. I actually had to res down the final file somewhat to print the image.

This technique works very well for panoramics as well, and actually tends to reduce short lens distortions, since longer lenses are used.
I tried to shoot that arch years ago on the 4x5 from approximately the same position. I didn't have a lens wide enough, my wide angle at the time was a 90mm. I have since bought a 65mm lens, which I am certain would do the job. To get this wide a FOV on the DSLR would require something in the vicinity of the 14mm.
By shooting with the 31 instead, I gave myself a number of advantages. I got a much higher IQ simply because the 31 is a far better lens than the 14, plus I got the added advantage of a 50mp or better "out of camera" file to work with.
10-30-2008, 12:26 AM   #6
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QuoteOriginally posted by knumbnutz Quote
Thanks and sure i do panos in Digital on a regular basis as well, so i understand what you getting at and for anything that is distant, it will no be an issue.
One thing though is that once you start looking up and around lines will no longer be vertical. They will go to a perspective line. You can un distort these in photoshop on an individual basis but on a flat film plane this wouldnt happen. I know, i am being pedantic here and i will probably end up sticking to digital all the way, but i reckon there is probably something still left in hi-res film yet and i love the panoramic perspective, so i keep wondering, maybe i should go this way. FWIW i would sell the K20D to do this. It is far too nice a camera.
Cheers Neil
All things are a compromise. With a view camera, we tilt the film to increase depth of field. While we fix one problem, we create another, as size relationships are no longer accurate to the scene. Most times it is OK, sometimes it matters, and is not OK.
I've found with stitching that most of the time it is OK, sometimes things just go wonky and it doesn't work.
I haven't shot a frame of film in six or so years other than some interiors that I needed very wide angle to do (the A15/3.5 on film still is useful).
I do miss the 4x5, but I am finding that just about everything I used the 6x7 for is doable on the digital, especially with the very good imaging of the K20 at lower ISOs and with good lenses.
I also don't have to deal with the very real and sometimes insurmountable depth of field issues that come along for the ride with medium format.
Again, less of an issue with pans, as you are using much less of the negative, but something else to consider.
I have no plans to let the 4x5 go, I just need to build myself another darkroom so I have a place to print.
For me, the 6x7 has become redundant though.
It should be a good camera for what you want, but I wouldn't bother with the film adapter, I'd just shoot 120 film and crop the negs down to panos after the fact. If you are planning to scan, I suppose the 35mm film might be better, just because of scanner availability, but make sure your scanner will accept a single 70mm long 35mm negative.
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