Category: Kit/Equipment

Polaroid to discontinue 80-series peel-apart instant films

Nicolai Grossman Leave a comment

Fucking hell, Polaroid are killing yet another range of films! This time it’s the 80 series (84, 87, 88, and 89) 3.25 x 3.38-inch peel-apart pack film—the stuff you shoot in Holgaroids, supershooters, and squareshooters. Each product page bears the following message:

Please be advised that Polaroid will be discontinuing 8[x] film within the last 3 months of 2006 due to the phasing out of components used in the production of this film.

I guess it’s time to figure out how to hack a full-frame back as a Holgaroid replacement… hopefully the 3.25 x 4.25-inch 600 series pack film isn’t going anywhere for a while. Although, with Time-Zero and type 85 pos/neg discontinued, who the hell knows?

Zeiss Ikon SW superwide 35mm viewfinder camera

Nicolai Grossman 3 Comments

Carl Zeiss AG Press Release:

Oberkochen, August 15, 2006. The Zeiss Ikon SW is the 35mm precision camera for uncompromising superwide photographers. Its lens mount takes any lens with M bayonet, in particular the ZEISS high performance superwide-angle lenses Distagon T* 2,8/15mm ZM and the Biogon T* types from the ZEISS ZM range. An accessory shoe directly above the lens takes the corresponding superwide Viewfinder. A second shoe is built in to take a flash, a bubble level or other accessory. The electronically controlled metal focal plane shutter offers speeds ranging from 1/2000 sec. – 8 sec. in automatic mode (AE-lock is available) and 1/2000 – 1 sec. + B in manual mode. Fastest flash synchro speed is 1/125 sec.

The Zeiss Ikon SW offers the same extremely high image quality as the known Zeiss Ikon rangefinder camera: far above today’s digital cameras. It is fully integrated into the Zeiss Ikon system. The Zeiss Ikon SW comes without the complex rangefinder and is therefore considerably more affordable than the rangefinder camera.

The Zeiss Ikon SW will be available as of October 2006. List price is 799,00 € (without VAT)

Technical Data

Camera type: 35mm camera with focal plane shutter and TTL light metering.

Film format: 24 x 36mm on 35mm film

Lenses: Intended to be used with short focal length types of the Carl Zeiss T* ZM-mount lens family in combination with an external viewfinder. Other M-mount lenses, including M39 screw mount lenses with an M – mount adapter can be used.

Exposure metering: TTL center-weighted metering at working aperture.

Metering range at ISO 100 and f/2: EV0-EV19 (f/2-4 sec., f/16-1/2000 sec.)

Film speed range: ISO 25-3200 manually set in 1/3 f-stop increments.

Exposure modes: AE with aperture priority or manual; AE lock option for a single exposure or for a sequence of exposures; exposure compensation +/-2 f-stops in 1/3 stops set at shutter speed dial.

LED display: Combination of 3 LED indicates shutter speed setting situation.
Shutter and shutter speed: Vertical-travel metal focal-plane shutter with electronically controlled speeds accurate to 1/12 f-stop.

Range in Automatic mode: 8 sec. to 1/2000 sec.

Range in Manual mode: 1 sec. to 1/2000 sec. in 1-stop increments; B.

Flash synch: Synchronization at 1/125 sec. and longer shutter speeds

Film transport: Rapid-wind manual advance lever, with ratcheted partial advance

Camera body: One-piece aluminum base structure, external magnesium covers, tripod thread 1/4 inch in base, two accessory shoes for external viewfinder and flash

Batteries: One CR 1/3 Lithium or two 1.5 V cells type LR44 or SR44

Dimensions: 138mm W x 72.5mm H x 32mm D (5.4” W x 2.9” H x 1.3” D).

Weight: 395g (13.9 oz.)

Carl Zeiss is a leading international group of companies operating worldwide in the optical and opto-electronic industry. Carl Zeiss AG is headquartered in Oberkochen, Germany. The business groups, which each operate with sole responsibility, are generally ranked first or second in the strategic markets of biosciences and medical technology, system solutions for industry and optical consumer goods. They offer products and services for biomedical research and medical technology, system solutions for the semiconductor, automotive and mechanical engineering industries, as well as high-quality consumer goods such as camera lenses and binoculars. In fiscal year 2004/05 (ended 30 September) the Carl Zeiss Group generated sales totaling EUR 2,222 million. Carl Zeiss has 11,500 members of staff, including 3,300 outside Germany. The Carl Zeiss Group is directly represented in more than 30 countries and operates production facilities in Europe, America and Asia.

The eyeglass business now operates as Carl Zeiss Vision International GmbH and is the number two eyeglass provider in the world. This company is owned 50:50 by Carl Zeiss AG and a private equity company.

Via PhotographyBLOG

Next-gen fine art inkjet paper review

Nicolai Grossman Leave a comment

The introduction of new papers from Hahnemuhle, Innova, and Museo have everyone scrambling for these papers, as they are suppose to be the reason to finally come out of the darkroom. After all, B&W silver gelatin paper manufacturers are starting to disappear, causing more artists/photographers to convert to digital printing methods. This does not mean that we should start expecting these paper companies to create exact replicas of our favorite silver gelatin papers. We as a community, need to start suggesting what we would like them to change about their current papers rather than asking them to match paper that is oriented to a completely different process. These three papers are derived from exactly that, all three companies listened to the cries of those tired of RC semi-gloss or luster papers. The papers they produced are a tremendous accomplishment for the first generation of a new product, remember these papers are first generation.

…

I personally along with many other photographers have refused to print on so-called luster or semi-gloss papers due to their look. The next generation of paper’s large color gamut and DMax allows for a higher color saturation, which produces a look that creates images that have a similar image quality and feel as traditional photographic paper. These three papers are nothing like any paper I have ever used, digital or traditional, because they have their own image qualities. We finally have the technical tools, to create the imagery that we all have been waiting for with the advent of these papers.

Continue reading at Booksmart Studio

Via The Online Photographer

New large format P&S cameras

Nicolai Grossman Leave a comment

Oren Grad writes at The Online Photographer:

Check out the re-launched, much improved website of Fotoman Camera. This Hong Kong-based company is known for its well-made, (relatively) inexpensive, interchangeable lens, scale focusing, roll film panorama cameras in 6×12, 6×17 and 6×24 formats. A long-awaited second lineup of large format point-and-shoot cameras has now finally become available, including an ultralight 4×5, an 8×10 and—surprise!—a 4×10 panoramic P&S. Helical focus mounts, viewfinders, a comprehensive selection of regular and panoramic viewfinder masks and a dual-axis bubble level are now offered separately as well for users who would like to mix-and-match with their own equipment.

They actually are relatively reasonably priced. I’m not quite sure when $699 US because "reasonable" for a metal spacer with lens and film holder mounts, but it is compared to what else is out there (typically $1500 and up(!)). By Grapthar’s hammer… what a savings.

Check them out at Fotoman Camera

Horseman SW-D Pro super wide angle camera

Nicolai Grossman 4 Comments

Direct Source Marketing (DSM) Press Release:

CONCORD, CA, June 22, 2006 – A joint venture between Rolleiflex and Horseman today announced one of the widest angle cameras on the market, Horseman SW-D Pro, which accepts digital camera backs to give professional and high-end consumer photographers wide angle opportunities that weren’t available in the past for medium format digital photography. Some of the possibilities not generally accessible for medium format digital photography in the past include super wide angle lenses and bellows-like movements.

Super Wide Angle Lens

Super wide angle lenses were not commonly usable with digital camera backs in the past, because of physical limitations of the camera body. But now, with the Horseman’s new design, you can use a 24mm lens unit with any digital back equipped with a Hasselblad V® mount.

The 24mm lens unit in combination with a 38 x 48mm image sensor provides the same angle of view as a 17mm lens with the 35mm format. This super wide angle is especially useful in interior architecture and landscape photography, but there are many other applications.

The Horseman SW-D Pro lens units come quipped with German Schneider and Rodenstock digital lenses. The shortest focal length, the Schneider Apo-Digitar XL24, is one of four available lens units that include Rodenstock Apo-Sironar digital lenses of 35, 45 and 55mm focal lengths. Horseman SW series (originally for film cameras) lenses can also be used.

All of the available lenses are optimized for digital demands, which mean a smaller image circle with high optical resolution and contrast. This is important because for digital photography, lenses are designed to provide optimum MTF at relatively wide apertures since resolution of the digital image drops visibly at stopped-down apertures (f-stops).

Control of Movement

The Horseman SW-D Pro gives you the freedom of bellows-like movements and adjustments for work that benefits from rise, fall or image plane shift… Maximum rise and fall are 17mm in either direction or (with a 24mm lens unit), 10mm. Sideward shift of the image plane is possible by 15mm in either left or right direction. By combining shift with several exposures, images can be "stitched", resulting in maximum image sizes of up to 48 x 66mm or 36 x 78mm (depending on image sensor orientation). For professionals, being able to manipulate camera movement can make all the difference in sharpness and photo quality.

Franke & Heidecke, manufacturer of the Rollei medium format camera in Germany, and Komamura (Horseman), a leading manufacturer of medium and large format cameras in Japan, announced in February their joint venture to distribute their medium and large format professional cameras in the U.S. through Komamura and doing business as Direct Source Marketing. DSM was created as a result of the joint venture between Komamura Corporation, a long time distributor of Rollei and Horseman products in Japan, and Franke & Heidecke, the Germany-based manufacturer of Rollei products.

The Horseman SW-D Pro is currently available from leading high-end retailers. For more information, go to www.dsmww.com

Suggested retail for the camera is $2,799. Lens pricing is $3,899 for the 24mm lens with APO-DIGITAR 24/5.6; $2,499 for the 35mm lens with the APO-SIRONAR-DIGITAL 35/4.5; $2,599.for the 45mm lens with the APO-SIRONAR-DIGITAL 45/4.5; and $2,599 for the 55MM lens with the APO-SIRONAR-DIGITAL 55/4.5.

Via PhotographyBLOG

Canon PROGRAPH iPF5000 printer review at The Luminous Landscape

Nicolai Grossman 1 Comment

Michael Reichmann at The Luminous Landscape has just posted a review of Canon’s new iPF5000 inkjet printer. This is of partcicluar interest because Epson has been the only game in town for fine art photographic printing until this March, when Canon and HP both announced their own offerings at this years PMA trade show. Now that there’s some competition, let’s see how they stack up!

Reichmann writes:

In May, 2006 Canon began shipping the iPF5000 printer. This is a 12 ink, pigment-based, 17″ carriage photographic printer capable of printing in 16 bit mode. It is physically large, moderately priced (for what it does), and, as will be seen, surpasses just about every other fine-art inkjet printer yet available, in terms of both image quality and convenience of features.

This review is based on three weeks of almost daily use of the iPF5000. By way of background, over the past 10 years I have been using a range of Epson printers, including, most recently, the Pro 5500, 4000, and 4800 models. These, especially the current Epson Pro 4800 model, will be my points of comparison.

Continue reading at The Luminous Landscape

Canon EF 24-105mm f/4L IS USM Lens review at CameraLabs

Nicolai Grossman 1 Comment

The lens performed well across its range, particularly in terms of corner sharpness at wide angle, while essentially matching our EF 85mm f1.8 prime in terms of resolving power. We were also impressed with the Image Stabilisation which allowed us to handhold at much slower shutter speeds than normal. Compared to lenses designed for bodies with smaller sensors though, it suffered from a worse degree of light fall-off, but this is par for the course for wide-angle lenses designed for full-frame bodies.

There’s an effective demonstration of Canon’s IS (Image Stabilisation) handheld at 1/13 second, too. (The shit works!)

Read review at Camera Labs

Via PhotographyBLOG

See also: Bill Caulfeild-Browne’s A Comparison of the new Canon 24-105 mm f4 L IS lens with the Canon 24-70 mm f2.8 L and Mark D. Segal’s How I Decided to Up-Grade From a Canon 28~135 IS to a Canon 24~105 F/4L IS at Luminous Landscape

Leica M lenses coding for digital

Nicolai Grossman 3 Comments

Digital Photography Review write:

Leica has announced that all new M system lenses will carry a new 6-bit code (painted in black/white dots) which will allow the upcoming digital M camera to identify which len is being used (up to 64 in 6-bit coding) and also to store this information in image metadata. As well as applying this coding to new lenses Leica has announced an upgrade service which allows owners of existing M series lenses to have the coding written onto each lens at a cost of 95 EUROs. The press release also hints that the new M series digital will appear in the second half of 2006 (at Photokina no doubt).

Wow, only 95 EUR (US $120 as of today) for six dots of paint? That’s a mere 16 EUR/US $20 each! It must be because they "are fabricated with unequaled mechanical and optical precision" and "have an extraordinary aura that can evoke feelings and emotions" like the rest of their range. (Sorry, but how seriously can you really take a company that have a "Leica Mythology" section on their web site?)

Here’s the press release (PDF):

Leica Camera AG, Solms will be giving the lenses of the Leica rangefinder system a new code on the bayonet ring in future to enable the planned digital Leica M camera to recognize the lens type. The information on the lens that is being used helps the camera to optimize image quality. All lenses leaving the factory from July 1st, 2006 onwards will have the new coding, although they can still be fully used with the current analog cameras LEICA MP and LEICA M7 as well as classic models built after 1954. Lenses in the current range as well as many earlier models can be retrofitted at the cost of the owner to benefit from the image optimization in the camera. The lenses are compatible with the planned digital M camera even without retrofitting, except that the additional features cannot be used.

The lens coding is called ‘6-bit coding’ because six fields in the bayonet ring are marked in black or white to represent a number from 1 to 64 in binary code. The planned digital M camera reads this information optically and can identify the lens on the basis of this code. Apart from the improvement in image quality, this information is also written into the EXIF image file.

"On account of their legendary quality, nearly all Leica M lenses are ideal for digital use. However, the new 6-bit coding also uses the performance reserves in the image processing of the camera to give our customers the excellent image result they expect from Leica," says Rainer Bültert, product manager for the M system at Leica Camera AG.

Lenses bought in the past will be converted at the request of the customer for 95 euros at the Customer Service of Leica Camera AG in Solms or the Leica agencies of other countries.

Many of the lenses made from 1963 onwards can be converted. A list of such models is available on the following pages or from the Leica Info-Service (Tel. 06442/208-111). The only lens in the current range that will not be given a 6-bit coding is the LEICA APO-TELYT-M 135 mm f/3.4. It is not codable later, either, as its extension factor of 1.33 makes it unsuitable for use on the planned digital M camera. The launch of the digital Leica rangefinder camera is planned for the second half of 2006.

List of present lenses that can be updated

Name Color Order no. Delivered from
Elmarit-M 21mm f/2.8 ASPH. Black 11135 1997
Summicron-M 28mm f/2 ASPH. Black 11604 2000
Summilux-M 35mm f/1.4 ASPH. Black 11874 1994
Summicron-M 35mm f/2 ASPH. Silver 11882 1996
Summilux-M 50mm f/1.4 ASPH. Black 11891 2004
Summicron-M 50mm f/2 Black 11826 1994
Elmar-M 50mm f/2.8 Black 11831 1995
Summilux-M 75mm f/1.4 Black 11810 1998
Apo-Summicron-M 90mm f/2 ASPH. Black 11884 1998
Macro-Elmar-M 90mm f/4 Black 11633 2002
Macro-Adapter M Black 14409 2002

Discontinued lenses that can be updated

Besides those presently available, even lenses that were discontinued quite a while ago can be updated (see list below). Since Leica Camera AG regards system compatibility as a vital virtue, many lenses introduced as long ago as 1963 can be updated.

Name Color Order No. Delivered from-until
Elmarit-M 21mm f/2.8 Black 11134 1980-1997
Elmarit-M 21mm f/2.8 ASPH. Silver 11897 1997-2004
Elmarit-M 24mm f/2.8 ASPH. Silver 11898 1996-2005
Elmarit-M 28mm f/2.8 Black 11804 1979-1992
Elmarit-M 28mm f/2.8 Black 11809 1992-2005
Tri-Elmar-M 28-35-50mm f/4 ASPH. Black 11890 1998-2000
Tri-Elmar-M 28-35-50mm f/4 ASPH. Silver 11894 1999-2000
Summilux-M 35mm f/1.4 ASPH. Silver 11883 1994-2004
Summicron-M 35mm f/2 Black 11310 1979-1996
Summicron-M 35mm f/2 Silver 11311 1993-1996
Noctilux-M 50mm f/1.0 Black 11821 1975-1994
Summilux-M 50mm f/1.4 Black 11868 1992-2004
Summilux-M 50mm f/1.4 Silver 11856 1992-2004
Summicron-M 50mm f/2 Black 11817 1969-1979
Summicron-M 50mm f/2 Black 11819 1979-1994
Summicron-M 50mm f/2 Silver 11825 1992-1994
Summilux-M 75mm f/1.4 Black 11814 1980-1982
Summilux-M 75mm f/1.4 Black 11815 1982-1998
Summicron-M 90mm f/2 Black 11136 1980-1989
Summicron-M 90mm f/2 Silver 11137 1993-1989
Apo-Summicron-M 90mm f/2 ASPH. Silver 11885 2002-2004
Tele-Elmarit-M 90mm f/2.8 Black 11800 1973-1989
Elmarit-M 90mm f/2.8 Silver 11808 1997-2004
Elmarit-M 135mm f/2.8 Black 11829 1963-1997

Please ask either your authorized Leica dealer or Customer Service in Solms to perform the update. The latter will be happy to inform you on this subject. Customer Service is available under the phone number +49 (0)6442 208-189.

Via Digital Photography Review

Adjustable height medium format scanner film holder

Nicolai Grossman Leave a comment

BetterScanning.com, maker of the well-received "MF Film Holderä" medium format film holder for flatbed scanners, has just released an adjustable height version.

Why adjustable height? The focus of most flatbeds (the Epson Rs, anyway) is supposed to be set at 1mm above the glass for scanning transparencies, but in reality, the true focal point can be off by as much as 250% or more, which means that depending on your scanner, you can get blurry scans with Epson’s crappy stock film holders no matter what you do. "Variable Height Versions allow you to customize the film suspension height to best match your scanner’s particular optics for better focus. It is like adding a focus adjustment function to your scanner."

I had the pleasure of beta testing the dual channel model for Epson 4870 and 4990s, and the difference was substantial. First, it actually holds the film flat, unlike Epson’s holders; second, by following the simple calibration instructions, I discovered that the focus point of my scanner is at 1.8mm, not 1mm, and that my 4990 is capable of better scans with a properly adjusted Better Scanning holder than I was getting with the Epson holder.

I’m travelling right now and will post a detailed review when I get home, but the bottom line is that this is a well designed, well built, fairly priced holder that does what it says, and is sold by a company that stands behind its products. I’m buying the unit I was sent for testing—there’s no way I’m going back to Epson’s junk holder now—and I enthusiastically recommend it.

Check it out at BetterScanning.com

Canon to halt development of film cameras

Nicolai Grossman Leave a comment

TOKYO (Reuters) – Japan’s Canon Inc. said on Thursday that it would halt development of new film cameras to focus resources on digital models, the latest sign of the rapidly fading role of film in photography.

A spokesman at Canon, the world’s largest maker of digital cameras, said it made the decision to freeze development of both compact and single lens reflex (SLR) film models because the markets for both are shrinking.

Canon said it would continue to produce and sell existing models and make a final judgment on the business in the future while monitoring market demand.

Continue reading at Reuters

This is becoming a familiar story. It sucks, but I can’t say I’m surprised. At least they’re keeping the current models around, which IMO is a very good thing. If you’ve already got money in Canon EOS glass for digital, US $300 for an Elan 7N body is one hell of a value if you want to shoot film.

Via Plaid Jello