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Thread: Studio shoot with DMR

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    Studio shoot with DMR

    From a shoot yesterday... DMR and 100 2.8 Apo Makro.

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    Sr. Administrator Jack's Avatar
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    Re: Studio shoot with DMR

    Perfect. What more could you want?
    Jack
    home: www.getdpi.com

    "Perfection is not attainable. But if we chase perfection, we can catch excellence."

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    Re: Studio shoot with DMR

    The bag be loaded with cash

    I saw American Gangster last night.
    Photography is all about experimentation and without it you will never learn art.

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    Re: Studio shoot with DMR

    Quote Originally Posted by Jack Flesher View Post
    Perfect. What more could you want?
    More? More resolution. More dynamic range. More tonal gradation. I'm relentlessly dogging Guy to get a MF digital system ... he needs one. He needs to step up his gear game to match his creative game. If he can squeeze all this quality from a crop frame sensor DSLR, just image what he'll do with a "big boys" camera ... LOL.

    Speaking of "more" ... an in-store poster for a Jewelry sale that I wrote, designed and shot with a 22 meg DB : -)
    Last edited by fotografz; 13th April 2008 at 15:04.

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    Re: Studio shoot with DMR

    Don’t get me wrong and its probably more the uploaded jpeg … but I’d like to see more definition in her hair. Though I suppose lighting or more to the point DR as marc suggests. The model’s jet black hair reminds me of my Black Labrador she had a deep velvety pelt that sucked in light like a black hole. Damn near impossible to photograph.

    Otherwise it’s a magic shot and has a real charm to it, no it exudes charm … I love it the skin tones and everything else is just gorgeous
    Last edited by workingcamera; 18th December 2007 at 05:56. Reason: Reason for edit?… Craig cannot type to save himself

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    Re: Studio shoot with DMR

    There's no question that a good MF back will give you more. The question is whether you need it. I started this shoot with the Aptus 75S and Contax 645 using the Zeiss 110 2.0 FE and brought along the DMR "just in case". Good thing I did because I ran out of batteries for the Aptus at the end. For the straight product shots (bag only) which are intended for the web with a popup of detail, MF is clearly the way to go.
    Last edited by David K; 18th December 2007 at 06:31.

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    Re: Studio shoot with DMR

    Here's a shot taken with the Aptus kit... and a crop

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    Re: Studio shoot with DMR

    Quote Originally Posted by Jack Flesher View Post
    Perfect. What more could you want?
    Quote Originally Posted by Guy Mancuso View Post
    The bag be loaded with cash
    I couldn't agree with you more. Florida Lotto is up to 38 million. If I win I'll send you one filled with Benjamins (unless you'd prefer Euros). You can give the bag to your wife

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    Re: Studio shoot with DMR

    David:

    I think your first shot is not in the sRGB colorspace.

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    Re: Studio shoot with DMR

    Quote Originally Posted by David K View Post
    I couldn't agree with you more. Florida Lotto is up to 38 million. If I win I'll send you one filled with Benjamins (unless you'd prefer Euros). You can give the bag to your wife

    I'll take the cash out first
    Photography is all about experimentation and without it you will never learn art.

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    Member Hank Graber's Avatar
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    Re: Studio shoot with DMR

    I have been considering what DSLR I should get to compliment my M8 since I sold my 1Ds. I'd like a lens along the lines of the Canon 90 TSE and I might buy that lens back if I go the Canon route. I've kicked around MF but I couldn't cost justify the expense of the higher end units and the truth is in CMYK print no one will see the difference.

    I thought this was an equipment hole I needed to fill quickly but now that I have shot about 400+ product/tabletop shots with the M8 and 90/4 Macro I'm not in such a hurry.

    These are composites. The products are shot individually with reflections and then composited on the created background in Photoshop. It's much faster then creating the whole shebang in camera and the client loves the flexibility of moving elements and tweaking the layout depending on their internal feedback. Final files are equivalent to what you would get from a 22MP file all shot with an M8 and 90/4 macro.

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    Re: Studio shoot with DMR

    I'd like to see a bit more definition in the leather's grain.

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    Re: Studio shoot with DMR

    DMR enough? M8 enough? Canon 1Ds MK whatever enough?

    Not in my world.

    Case in point, I was supervising a Unilever food shoot in NYC using a Phase One P45+ on a Sinar with Digital glass ... and with factoring in all the publication crop factors the tech guy running the post work warned us that we were close to running out of resolution to maintain the food detail the stylist had spent hours on, and the photographer had spent even more hours lighting. CMYK conversion for publication is all the more reason to have more going in, not less.

    It's NEVER enough. More is always welcome. Product, fashion, food, etc.: the Devil is in in the details : -)

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    Re: Studio shoot with DMR

    Quote Originally Posted by robsteve View Post
    David:

    I think your first shot is not in the sRGB colorspace.
    Well it started in sRGB (double checked my original) but if I check the posted image it says no color space embedded. Not sure how that happened...

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    Member Hank Graber's Avatar
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    Re: Studio shoot with DMR

    Quote Originally Posted by fotografz View Post
    DMR enough? M8 enough? Canon 1Ds MK whatever enough?

    Not in my world.

    Case in point, I was supervising a Unilever food shoot in NYC using a Phase One P45+ on a Sinar with Digital glass ... and with factoring in all the publication crop factors the tech guy running the post work warned us that we were close to running out of resolution to maintain the food detail the stylist had spent hours on, and the photographer had spent even more hours lighting. CMYK conversion for publication is all the more reason to have more going in, not less.

    It's NEVER enough. More is always welcome. Product, fashion, food, etc.: the Devil is in in the details : -)
    It depends on what you are shooting and how it will be used. In business - you spend more then you make and you are out of business. Yes I'd rather shoot tabletop and some studio stuff with an MF back and there are jobs where it would be an absolute requirement but I am careful to distinguish between what gear I'd like to own and use and what will meet the clients requirements and I can make a profit on.

    So if you have the volume and type of work that will make a MF back a profitable investment go for it. But for lot's of corporate, wedding, event work , most catalog stuff, lower budget ad work or images destined for the web I don't think the added cost can be justified. I just chucked the Broncolor system I'd been using for years because adding grids, reflectors and additional lights was absurdly expensive, great system but the Hensel stuff I'm using now works flawlessly for a third the price.

    I'm using an M8 because of my personal work. I'd probably be squeezing another year out of the my old 1Ds if all I did was commercial work.

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    Re: Studio shoot with DMR

    I agree with both of you Marc you know how much i would love to move on a MF and Jack and I just let a nice Hassy 31 deal go through our fingers very reluctantly but like Hanks says that damn ROI comes to play games with you and depending on what your doing. Damn just got a gig that MF would be nice too. I can't win . LOL
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    Re: Studio shoot with DMR

    Don't get me wrong, I'm all about staying in business and making some money.

    And I most certainly would agree that for event work, weddings and most corporate stuff, a MFD kit is overkill. I use one for that kind of stuff, but only because I already have it, and pay for it via digital capture fees on commercial work.

    Yet, when I read and see the efforts to make the smaller formats act like MFD, it seems to indicate the desire or need for that level of image quality. Excellent MFD equipment is available for a lot less than most people think. It's just the cutting edge stuff that's really difficult on ROI.

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    Re: Studio shoot with DMR

    Ah, the Talking Heads....same as it ever was.

    That's a bit cryptic, but meant to be a joke. But really, it is the same as it ever was. 35mm is sufficient and excellent for most work, but other work requires medium or large format. The only difference is that medium and large format digital are proportionally much more expensive than they used to be, while the corresponding difference in quality is pretty much the same as it used to be.

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    Re: Studio shoot with DMR

    A simple and sober analysis Stuart. Welcome to the "Talking Heads" : -)

    However, I think the business model has changed on the MF side to defray the expense. And an in-depth study of the accounting can assure ROI is there.

    We used to have a healthy line item for MF film, processing (usually rush premium), and boxes of Polaroid in each commercial bid that's now replaced with a digital capture fee/rental fee that helps pay for the more expensive digital backs. Mine is now $200. per day. After depreciation, and factoring in resale value, I need to get about 50 days of work to pay for a $20,000. MFD kit. I'm not full time, so it takes me about 1.5 years to pay that to zero. I would think a full time Pro should be able to do that in less than 1 year. Even paid to zero, the camera is still worth more than zero. I paid $12,000. for my first Kodak ProBack 645C, and sold it 3.5 years later for $6,500.

    Once in, the upgrade paths are often considerably less. For example, my upgrade from an Leaf Aptus 75 to a brand new replacement 75s was $3,000.

    I also disagree that MF digital has to be all that more expensive to enter. I sold a H2/CFH22 for $12,000. that was like new. That camera's real estate will still easily outperform an $8,000. Canon 1DsMKIII or anything Nikon or Leica makes. A 39 meg Phase One P-45 for a Hasselblad V system can easily be had for $17,000. with a 1 year warranty.

    I can be quite expensive if you go crazy ... which is exactly what I am about to do ... no more screwing around ... I'm going for the ultimate ... A H3D/39 Multishot.

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    Re: Studio shoot with DMR

    I think you are right, but the "price of entry" is still much more expensive than it ever was. 12,000 dollars is a good deal, but it is not something that you can find regularly at a store or something like that. You can find older, tethered 22mp backs for 7000+, a V96C in that range too. But in order to go medium format all you needed to do in the past was buy a Bronica, a Yashica TLR, etc for very little and then buy a roll of film. The absolute most expensive things were exotic cameras and lenses, and very few were above 5000 dollars. I think you said before that the a Hy6 kit now priced out to about 60,000 dollars. Entry level medium format digital is still around 12000-15000 for the back alone or a single body and lens. While you are saving a lot in film costs over the long run, the amount you save is only relevant if you have a very high turnover.

    As for upgrading, it may not be as expensive, but you have to do it much more often. How many times have you switched or updgraded camera systems in the past five years? There are still a bunch of people using 500c/m's, Pentax 67s and Mamiya RB67's that are over 20 years old. They have upgraded in a sense, in that as film emulsions have improved, they can use the newer films.

    Anyway, I think they are a great tool for the very busy pro, but I don't think it can really be argued that they are cheaper for anyone else...even professionals with lower volumes.

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    Member Hank Graber's Avatar
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    Re: Studio shoot with DMR

    When I was shooting film I was using a 20+ year old Plaubel 670 and a Hasselblad. If it wasn't for digital I'd still be shooting the same kit and probably continue to shoot it for another 20 years. Digital has really hiked the equipment cost side of the equation. True a busy studio spent a lot more on film/processing and later scanning but that was pay as you go and as you get the work not pay up front not knowing what next years billing might be.

    I do miss the Hassy and waist level finder and we shall see how the coming year shapes up. Things have been getting busier, if a recession doesn't put billings in the toilet there may be a MF kit in the cards next year instead of a 35mm DSLR.

    Let's see what the Mamiya/Phase deal will bring, what Leica has up their sleeve and where used/refurb prices wind up. I'd be looking at the lower end of new stuff or a used/refurb back. Buying back my 555ELD (or my 205 FE) and 2 Zeiss lenses would be pretty expensive so if I don't go with a new back I might go for a Mamiya RZ67 IID. The RZ lenses are down right cheap and really fantastic. I can get tilt shift, the bellows are great for table top and with a waist level finder and strobes it's not a problem to hand hold for me. With the big crop factor the standard 110/2.8 makes a great portrait/fashion lens. Finally if you want a rig that will impress the clients and can't be confused with their DSLR's the RZ is it.

    The top end of the 35 DSLR and bottom of the MF market now overlap and a lot of photographers who left MF film for Canon are now returning to the MF fold. I'd love to have a new toy but we'll see if the numbers add up in the next few months.

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    Re: Studio shoot with DMR

    The ZD back and RZ with a couple of lenses can be bought for not much more than the price of a Canon 1DS III. I've been more than satisfied with the IQ from this kit... it's not the Aptus 75S (or comparable from Hassy, Phase, Sinar) but it's relatively affordable.

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    Re: Studio shoot with DMR

    Stuart,

    The Mamiya 645ZD kit is $10K, including camera, 80mm lens, and 22MP 36x48 ZD back. The IQ is excellent. It is not as fast as some of the higher-end backs but the files deliver. Or, you can put the $7K ZD back on an RZ67 Pro IID.

    David

    Quote Originally Posted by Stuart Richardson View Post
    ...Entry level medium format digital is still around 12000-15000 for the back alone or a single body and lens. ...

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    Re: Studio shoot with DMR

    I stand corrected.

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    Re: Studio shoot with DMR

    Quote Originally Posted by David K View Post
    The ZD back and RZ with a couple of lenses can be bought for not much more than the price of a Canon 1DS III. I've been more than satisfied with the IQ from this kit... it's not the Aptus 75S (or comparable from Hassy, Phase, Sinar) but it's relatively affordable.
    I'm not so interested in the ZD back. I was thinking more of a refurb Leaf, Phase or Sinar or who knows maybe the new Phase/mamiya deal will bring a ZD priced Phase back.

    It was the current values of the RZ stuff that caught my eye. You can pick up just about any RZ lens on ebay for under $1,000 and a new RZ with 110mm lens goes for $3000. that's less then a Leica lens -body alone is around $2,000. For a while they were giving away used Hasselblad V stuff but prices of late have been quite a bit higher.

    A little more then half my billing is for design. But 99% of my equipment costs are for the photography side of my business. I bill enough photography to pay off a MF kit but I'd rather have the money in my pocket then give it to Phase One or Leaf. I have to know I'm going to actually make more money then I'm shelling out because of the investment for it to make sense to me whether it's for $5,000 or $50,000. It's always dangerous to let that gear acquisition genie out of the bottle as I'm sure Guy can tell you so I try and keep those impulses well contained

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    Re: Studio shoot with DMR

    Quote Originally Posted by dfarkas View Post
    Stuart,

    The Mamiya 645ZD kit is $10K, including camera, 80mm lens, and 22MP 36x48 ZD back. The IQ is excellent. It is not as fast as some of the higher-end backs but the files deliver. Or, you can put the $7K ZD back on an RZ67 Pro IID.

    David
    This one is driving me to go get a ski mask and visit a local bank. LOL
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    Re: Studio shoot with DMR

    Quote Originally Posted by Hank Graber View Post
    I'm not so interested in the ZD back. I was thinking more of a refurb Leaf, Phase or Sinar or who knows maybe the new Phase/mamiya deal will bring a ZD priced Phase back.

    It was the current values of the RZ stuff that caught my eye. You can pick up just about any RZ lens on ebay for under $1,000 and a new RZ with 110mm lens goes for $3000. that's less then a Leica lens -body alone is around $2,000. For a while they were giving away used Hasselblad V stuff but prices of late have been quite a bit higher.

    A little more then half my billing is for design. But 99% of my equipment costs are for the photography side of my business. I bill enough photography to pay off a MF kit but I'd rather have the money in my pocket then give it to Phase One or Leaf. I have to know I'm going to actually make more money then I'm shelling out because of the investment for it to make sense to me whether it's for $5,000 or $50,000. It's always dangerous to let that gear acquisition genie out of the bottle as I'm sure Guy can tell you so I try and keep those impulses well contained

    I'm going nuts, I want something bigger. But it has to pay itself in some fashion to justify in my head because my M8 produces very well for me.
    Photography is all about experimentation and without it you will never learn art.

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    Re: Studio shoot with DMR

    Quote Originally Posted by Guy Mancuso View Post
    I'm going nuts, I want something bigger. But it has to pay itself in some fashion to justify in my head because my M8 produces very well for me.
    I want lots of things, especially photographic things, the question is what do I really need? If I know my clients will continue to be happy with what I'm delivering no matter how much I spend on new toys it's time for a reality check. Now if I pick up an ongoing piece of work that requires some new gadget that's a whole other story. The work has to come in first, you can always rent for the odd job or the first few shoots.

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    Re: Studio shoot with DMR

    Quote Originally Posted by Hank Graber View Post
    ... you can always rent for the odd job or the first few shoots.
    Oh yeah... forgot to mention we rent the 645ZD kit for $200 for a weekend, including lens.

    David

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    Re: Studio shoot with DMR

    That maybe worth trying David before putting money out for one. Really you just don't know until you try these out
    Photography is all about experimentation and without it you will never learn art.

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    Re: Studio shoot with DMR

    Quote Originally Posted by dfarkas View Post
    Oh yeah... forgot to mention we rent the 645ZD kit for $200 for a weekend, including lens.

    David
    That sounds like a great deal David. Do you have a pdf or web page of your rental list?

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    Re: Studio shoot with DMR

    Quote Originally Posted by dfarkas View Post
    Stuart,

    The Mamiya 645ZD kit is $10K, including camera, 80mm lens, and 22MP 36x48 ZD back. The IQ is excellent. It is not as fast as some of the higher-end backs but the files deliver. Or, you can put the $7K ZD back on an RZ67 Pro IID.

    David
    David, does the ZD back mount directly on the RZ Pro IID without an adapter?

    And I presume you still need a need a sync cord running from the lens to the back ... or is that incorrect?

    The RZ is still an awesome kit ... just wish they'd have brought out that 43mm for it. The Mamiya RZ lenses seem to perform very well with digital backs for some reason. I use an Aptus 75s on one and love it for product work in studio. Lots of cool special application lenses and adapters in that system.

    Another question: will you eventually be renting the new 28mm and new "digital" zoom for the Mamiya 645AFD-II? At those prices I'd like to test it before committing.

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    Re: Studio shoot with DMR

    Maybe we need a group buy for the 645AFD ZD kit?

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    Re: Studio shoot with DMR

    Quote Originally Posted by Jan Brittenson View Post
    Maybe we need a group buy for the 645AFD ZD kit?
    I can make that happen, a regional rep is my long time Mamiya pusher : -)

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    Re: Studio shoot with DMR

    Quote Originally Posted by Hank Graber View Post
    That sounds like a great deal David. Do you have a pdf or web page of your rental list?
    Hank,

    I'll send you a list in Excel.

    David

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    Re: Studio shoot with DMR

    Quote Originally Posted by fotografz View Post
    David, does the ZD back mount directly on the RZ Pro IID without an adapter?

    And I presume you still need a need a sync cord running from the lens to the back ... or is that incorrect?
    The ZD back needs the RZ adapter. With the adapter you do not need a PC cord. All the communication is electronic.

    Quote Originally Posted by fotografz View Post
    Another question: will you eventually be renting the new 28mm and new "digital" zoom for the Mamiya 645AFD-II? At those prices I'd like to test it before committing.
    I do rent the new 75-150 "digital" zoom. I haven't yet put the 28mm into rental. It is a bit pricey. If there was enough interest in it, I might.

    David

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    Re: Studio shoot with DMR

    David I may rent this for a gig on the 3rd of January. I will shoot the M8 as primary but would love to run it next to it and maybe I can do a nice test with it to post here. Seems like a lot of interest here in the MF forum.
    Photography is all about experimentation and without it you will never learn art.

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    Re: Studio shoot with DMR

    I'll get the battery charged for you Guy.

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    Re: Studio shoot with DMR

    Quote Originally Posted by Hank Graber View Post
    Buying back my 555ELD (or my 205 FE) and 2 Zeiss lenses would be pretty expensive so if I don't go with a new back I might go for a Mamiya RZ67 IID. The RZ lenses are down right cheap and really fantastic. I can get tilt shift, the bellows are great for table top and with a waist level finder and strobes it's not a problem to hand hold for me. With the big crop factor the standard 110/2.8 makes a great portrait/fashion lens. Finally if you want a rig that will impress the clients and can't be confused with their DSLR's the RZ is it.
    Hank,
    The prices on Hassey gear has bottomed and is now making an upswing. I too missed shooting MF and went out looking for used gear. Most of the equipment bought is in mint- shape and the total cost of the package is less than a comparable Canon or Nikon kit. My kit:
    2000 FCW
    38 SWC
    50 CF
    110 F
    180 CFi
    A12 back
    A24 back
    CFV 16mp back
    Total outlay $11,000
    Most of the CF lenses are under $1000, the 50 CF was $650. The CFV was a demo from Hasselblad with a 6 month warranty. The flight to DSLRs has made these fine pieces of machinery affordable. The weight of the kit is comparable to my Nikon kit (thank goodness for the M8).

    Many dealers have last year's H3D 39 priced around $20,000, MF digital has become affordable . . . relatively

    Al
    Al Tanabe my website https://www.altanabe.com

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    Member Hank Graber's Avatar
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    Re: Studio shoot with DMR

    Quote Originally Posted by atanabe View Post
    Hank,
    The prices on Hassey gear has bottomed and is now making an upswing. I too missed shooting MF and went out looking for used gear. Most of the equipment bought is in mint- shape and the total cost of the package is less than a comparable Canon or Nikon kit. My kit:
    2000 FCW
    38 SWC
    50 CF
    110 F
    180 CFi
    A12 back
    A24 back
    CFV 16mp back
    Total outlay $11,000
    Most of the CF lenses are under $1000, the 50 CF was $650. The CFV was a demo from Hasselblad with a 6 month warranty. The flight to DSLRs has made these fine pieces of machinery affordable. The weight of the kit is comparable to my Nikon kit (thank goodness for the M8).

    Many dealers have last year's H3D 39 priced around $20,000, MF digital has become affordable . . . relatively

    Al
    I was looking at the Hasselblad kit I had. 555ELD, 205 FE and the CFE, CFI lenses are going used for more then new (with warranty) Mamiya kit.

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    Re: Studio shoot with DMR

    Quote Originally Posted by dfarkas View Post
    The ZD back needs the RZ adapter. With the adapter you do not need a PC cord. All the communication is electronic.



    I do rent the new 75-150 "digital" zoom. I haven't yet put the 28mm into rental. It is a bit pricey. If there was enough interest in it, I might.

    David
    Thanks David. If you don't mind could you e-mail a rental sheet to me also?

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    Administrator, Instructor Guy Mancuso's Avatar
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    Re: Studio shoot with DMR

    Add me to that list. If you want to publish that we can on the site
    Photography is all about experimentation and without it you will never learn art.

    www.guymancusophotography.com

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    Senior Member EH21's Avatar
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    Re: Studio shoot with DMR

    Hi,
    Coming into this thread a little late..... Getting back briefly to the DMR for studio use. I use mine along side my other cameras - the canon 5D and the Rollei 6008AF with P20 back. Just wanted to share a little experience with the forum. The DMR has about a 1.5 stop advantage over the Canon in DR and the P20 has perhaps 1 more stop (at base ISO) over the Leica. The Rollei P20 setup produces the best file only under certain circumstances, but actually the Leica DMR is no slouch and some of the lenses available for the leica such as the 80mm lux and 37-70 f/2.8 bring it closer to the Rollei and actually gives it an edge under some conditions. The Leica has better color than the canon particularly if you use Flexcolor to convert the RAWS and it can do things that the medium format backs can't do such as more rapid shooting plus its a lot lighter and can be used freehand easier. My rollei with 110mm f/2.0 sort of offers similar rendering but the DMR with 80 is only like 2 kilos while just the 110mm lens is like 2kilos (well okay only 1.4 kilos but that's still a lot). When I was only using the 1Ds and 5D in the studio it seemed like my 1200w/s profoto D4 was overkill and I often used the strobes dialed down to 8 w/s (the lowest setting), when I got the leica it took more perhaps 2 stops more. And with the Rollei - I'm finding myself maxing out the pack more often than I would have guessed. MFDB take more light. Base ISO is 50 or 25 and the DOF is much less. So depending on what you shoot that's worth considering.

    Also it's pretty clear that with only 10 Mpix the DMR bests the 5D's file and is sufficient for lots of jobs. When I bought the Rollei/p20 I expected to sell off either the canon or leica, but actually realized I need them both. I expected to keep the 5D and sell the leica but what I've done is kept all three but sold the all of my canon glass except the TSE lenses.

    Eric

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    Re: Studio shoot with DMR

    Quote Originally Posted by EH21 View Post
    Hi,
    Coming into this thread a little late..... Getting back briefly to the DMR for studio use. I use mine along side my other cameras - the canon 5D and the Rollei 6008AF with P20 back. Just wanted to share a little experience with the forum. The DMR has about a 1.5 stop advantage over the Canon in DR and the P20 has perhaps 1 more stop (at base ISO) over the Leica. The Rollei P20 setup produces the best file only under certain circumstances, but actually the Leica DMR is no slouch and some of the lenses available for the leica such as the 80mm lux and 37-70 f/2.8 bring it closer to the Rollei and actually gives it an edge under some conditions. The Leica has better color than the canon particularly if you use Flexcolor to convert the RAWS and it can do things that the medium format backs can't do such as more rapid shooting plus its a lot lighter and can be used freehand easier. My rollei with 110mm f/2.0 sort of offers similar rendering but the DMR with 80 is only like 2 kilos while just the 110mm lens is like 2kilos (well okay only 1.4 kilos but that's still a lot). When I was only using the 1Ds and 5D in the studio it seemed like my 1200w/s profoto D4 was overkill and I often used the strobes dialed down to 8 w/s (the lowest setting), when I got the leica it took more perhaps 2 stops more. And with the Rollei - I'm finding myself maxing out the pack more often than I would have guessed. MFDB take more light. Base ISO is 50 or 25 and the DOF is much less. So depending on what you shoot that's worth considering.

    Also it's pretty clear that with only 10 Mpix the DMR bests the 5D's file and is sufficient for lots of jobs. When I bought the Rollei/p20 I expected to sell off either the canon or leica, but actually realized I need them both. I expected to keep the 5D and sell the leica but what I've done is kept all three but sold the all of my canon glass except the TSE lenses.

    Eric
    Makes sense to me.

    I had to get a dual lamp Profoto key-light to pump out 4800 w/s from two D4-2400 w/s generators in tandem to get the DOF needed for MF Macro work with a H/C120.

    What I haven't tried yet is the DMR tethered to Flexcolor. Don't know why it never occurred to me to try that.

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    Senior Member PSon's Avatar
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    Re: Studio shoot with DMR

    Quote Originally Posted by EH21 View Post
    Hi,
    Coming into this thread a little late..... Getting back briefly to the DMR for studio use. I use mine along side my other cameras - the canon 5D and the Rollei 6008AF with P20 back. Just wanted to share a little experience with the forum. The DMR has about a 1.5 stop advantage over the Canon in DR and the P20 has perhaps 1 more stop (at base ISO) over the Leica. The Rollei P20 setup produces the best file only under certain circumstances, but actually the Leica DMR is no slouch and some of the lenses available for the leica such as the 80mm lux and 37-70 f/2.8 bring it closer to the Rollei and actually gives it an edge under some conditions. The Leica has better color than the canon particularly if you use Flexcolor to convert the RAWS and it can do things that the medium format backs can't do such as more rapid shooting plus its a lot lighter and can be used freehand easier. My rollei with 110mm f/2.0 sort of offers similar rendering but the DMR with 80 is only like 2 kilos while just the 110mm lens is like 2kilos (well okay only 1.4 kilos but that's still a lot). When I was only using the 1Ds and 5D in the studio it seemed like my 1200w/s profoto D4 was overkill and I often used the strobes dialed down to 8 w/s (the lowest setting), when I got the leica it took more perhaps 2 stops more. And with the Rollei - I'm finding myself maxing out the pack more often than I would have guessed. MFDB take more light. Base ISO is 50 or 25 and the DOF is much less. So depending on what you shoot that's worth considering.

    Also it's pretty clear that with only 10 Mpix the DMR bests the 5D's file and is sufficient for lots of jobs. When I bought the Rollei/p20 I expected to sell off either the canon or leica, but actually realized I need them both. I expected to keep the 5D and sell the leica but what I've done is kept all three but sold the all of my canon glass except the TSE lenses.

    Eric
    One of the problem with the Rollei system is not only the weight but the bulkiness of the camera. When I mounted the Planar HFT 2.0/110 PQ onto the Hy6, the ergonomic is much better.
    ALPA (MAX, STC, TC) | CAMBO (Actus DB2, WRS-AE) | CONTAX | HASSELBLAD | LEICA | DB (CFV-16, CFV-39, IQ180, IQ360, IQ3100, P45+) | Lens (Canon, Fujinon, Leica, Nikon, Pentax, Rodenstock, Schneider, Zeiss)

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