Photography of Simon Galbally - f8Vision

Technical

Photographic Equipment - Different horses for different courses!

What you will find in this article:
- Canon 35mm format SLR, DSLR and Leica rangefinder camera equipment review;
- Canon and Leica lens review;
- Hasselblad XPan panoramic camera and lens review;
- Hasselblad medium format 501CM and 503CW camera reviews,
- Hasselblad / Carl Zeiss lens review,
- Linhof Technika large format camera review,
- Schneider and Rodenstock large format lens review.

Because I try to use a logical "system" approach to selection of photography equipment, I've never purchased a camera that I have hated using; nor have I ever purchased a camera or a lens that was not optimal for its chosen tasks in my use. Equally importantly, I've never purchased any photographic equipment that has become redundant. All of this has made my overall system very economical and a joy to use for their optimal purposes.

When asked to help others guide their system selection, my help involves explaining why I use specific cameras, lenses, accessories, systems and photographic formats.

Most amateur photographers begin with a 35mm camera of some type or its digital equivalent. Particularly in the pre-digital era, the first and foremost reason for embarking upon another format was film frame size. The fact of life is that smaller frame sizes restrict the maximum size to which a quality print can be made - want to make very large high quality prints, then you need a frame much bigger than 35mm. In digital photography, you certainly need a digital sensor of proven quality and high resolution that does not degrade at higher ISO values due to pixel over-crowding (an issue now finally getting attention).

Additionally, just like professional photographers, amateur photographers will see the benefits of a larger frame in more modest prints too - whatever the print size, 120 frames require much less magnification to make a print. Likewise in digital photography, size still matters. In fact, although many users focus on pixel count, sensor size has far greater impact on image quality than does pixel count alone.

When 120 roll film frame's imaging quality is pushed to the limit, users may feel the need to migrate further to the huge sheet film frames found in large format photography - 4"x5" or even 8"x10"! Large format has the additional benefit of cameras' technical movements of the lens standard and film back. Many large format photographers continue to use 120 roll film having migrated to large format photography only for the technical movements the cameras offer. But, for the fine art photographer, large format photography is all about the superb print quality made possible by little (if any) image enlargement.

There are three very important factors that have been crucial to the long term progressive development of my photographic system. The first is just that - very progressive. It's vital to feel that you are satisfied with your skills and use of your initial system whatever it may be before leaping into a new system - subjective that is, but initially you are the one to please above anyone else.

So embarking upon medium and large format photography was a logical progression for me from 135 format SLR photography as it is for many amateur photographers - I was armed with knowledge and objectives that could only be met by moving into a new and larger format. I also understood that no photographic format is a substitute for any other format - they are all complimentary!



* This image was taken with my 35 year old Linhof Technika V and a similar age Schneider 150mm Symmar-S MC lens. The correction the the Shrine's verticals was only possible for me to achieve with this camera's film back movements.


Secondly, it is rarely necessary to buy quality photography equipment brand new to get them in outstanding condition. I doubt that there is any quality camera, lens or accessory not available used and even in "like new" condition somewhere in the world from an honest seller - it may just take time and patience as well as some sensible research and the savings are enormous.

The third factor in the very economical cost of my systems is planning and research. It's vital to carefully understand why you are adding a piece of equipment to a system or buying into a new system or format - what you expect to achieve from it and understand the pros and cons as well as the alternatives and the risk of throwing good money after bad.

Some tips to consider when entering a new format include: not being overly influenced by brand names; researching the strengths and weaknesses of what you might buy; borrowing or renting the camera (or a close equivalent) you plan to buy and trying it out especially if it is from a system or format you will be new to.

So, if you're considering any of the equipment I use and would like some comments or guidance, go to the "Contact" section and I will be happy to assist.

In the "Technical" section there are essays that discuss the pros and cons of various equipment I have used and own, and why some are my preferred choice for specific types of photography.

Overall, when selecting a camera it's essential to keep in mind that you are not just buying a camera, you are buying into a system!

135 FORMAT RANGEFINDER SYSTEM

- My day-to-day preferred system - a camera type that lives up to the convenience of 135 format cassette film and digital capture.

When I "discovered" the modern rangefinder 35mm camera it was possibly the most compelling photographic experience (in use) that I have had - simplicity in functions; compact dimensions; intuitive to use - just no bulk or myriad of gadgetry to get between you and the subject and your creative skills. But, like all systems and the 135 format itself, it has limits.

Leica M7 and M8 the core of my most convenient and easy to use system. I prefer rangefinder 135 format cameras due to: their compact size; more accurate and easier focusing; the ability to see what you will shoot in the context of a wider view of the scene shown in the viewfinder / rangefinder window - beyond the confines of the lens fitted as is the case of an SLR. I chose Leica's M7 and M8 for their aperture priority exposure system; engineering genius and beautiful design and quality - a lifetime purchase. And, arguably, many of the very best 135 format lenses are rangefinder lenses.

The lenses I use are:
- 35mm Summicron-M ASPH - my "normal" lens for how I generally use this camera system - a superbly flat field of view; "natural" wide field of vision; excellent resolution of superfine detail and superb sharpness from axis right out to the far corners.
- 50mm Summicron-M - my favourite lens of all lenses in all formats I shoot - resolves beautiful detail and colour without harsh contrast. Capable of rendering incredible detail in the prettiest way imaginable - pin sharp and showing lovely progressive out-of-focus ("bokeh" to the Japanese). If I could only own one lens on one camera this fitted to a Leica M must be it.
- 90mm Elmarit-M - remarkably sharp wide open and beautiful out of focus. An incredibly compact lens by any measure and capable of producing no image degradation from axis to edge at every aperture and be its superb best at f4.
- 135mm Tele-Elmar - my favourite tele focal length - super-sharp and resolves superfine detail to the edges. Until the current Apo-Telyt design, this was regarded as the sharpest lens manufactured by Leica. Remarkably it shows no improvement in the field as closed down from f4 and it is some 40 years old!
- 28mm Voigtlander Ultron f2.0 - my "wide" normal lens used on the M8 due to the camera's 1.3 crop factor. See the lens review in the "Technical" section for my comments about how outstanding this new lens is.

The accessories I use with this system are:
- B&W filters.
- Gitzo Basalt carbon-fibre mini tripod and ball head.
- Hasselblad quick release plate.

In this system I also use Voigtlander's clever Bessa-L to permanently carry the remarkable Voigtlander 15mm Color-Heliar ASPH lens.

135 FORMAT SLR/DSLR

- When speed and AF are essential.

Canon EOS 50D - the core of the system I use when shooting situations requiring any of or a mix of the following performance needs: speed and auto-focus; accurate and automatic flash exposure; normal to long lens abgle of view lenses; rugged build for demanding physical environments. Its exterior impact resistant shell and magnesioum alloy chassismake this a very durable but comparatively light camera.

One of the few new purchases I have made was my EOS 50D. My move to an AF 135 format SLR system was necessitated by two key features - auto-focus due to post 40s eyesight in demanding situations and reliable and fast natural flash exposures. Canon leads AF technology and (IMHO) fully featured 135 format DSLR ergonomics. So, for pressurised shooting this system is a God-send.

The lenses I use are:
- EF 17-40mm f4.0 L - my "normal" wide lens. Optically designed for digital capture which is VIP in the case of wide angle lenses used with digital sensors. The camera crop factor give me as wide an angle of view as I like.
- EF 24-70mm f2.8 L - my "normal" lens - accurate with well controlled aberrations and very fast focusing. The distortion at 24mm is well controlled but requires a careful hand controlling the camera angle.
- EF 70-200mm f2.8 L - simply a joy to use - the imaging is so good it would match most primes at any focal length.
- EF 300mm f4 IS L - blisteringly sharp and quite compact - produces excellent results with the 1.4X II extender.
- 1.4X II extender - an outstanding extender that does not produce any visible degradation in images with the 70-200 or 300 lenses.
- 2.0X II extender - a useful tool when 600mm is needed - at a small cost of some image softening but producing high quality images.

The other Canon accessories I use are:
- 550EX flash - simply brilliant and the ETTL system is outstanding - when fitted with a StoFen diffuser it reliably produces perfect light
- remote release - for long exposures on a tripod.

PANORAMA SYSTEM

- The perfect partner to both my 135 and 6x6 medium format systems.

Hasselblad XPan II - my perfect panorama camera. This is a medium format camera using 1.8x 135 format film frames to produce superbly sharp panoramic images - an ideal companion for my Leica M7 and for my Hasselblad 6x6 system alike. The superb camera construction and finishes remain true to Hasselblad's 6x6 equipment legacy.

The XPan was a revelation to me (see my separate review in the "Technical Help Topics" section) with all of the benefits of 135 format rangefinder cameras plus the superb imaging quality advantages of its 1.8x 135 format frame, making it a compact medium format rangefinder camera. When I first saw the angle of view from its 45mm (25mm equivalent) and 90mm (50mm equivalent) lenses, I knew this was the answer to my problem with very wide angle 135 format lenses. I just did not like anything wider than 28mm in 135 format's 3:2 aspect ratio. A panoramic view was what I was missing.

The lenses I use are:
- 45mm f4 - effective f5.6 with the ND centre graduated filter - brilliantly sharp producing 25mm equivalent AOV images in 135 format. This panoramic AOV is simply superb. The Fujinon optical design is outstanding.
- 90mm f4 - again brilliantly sharp with superb "German" lens like tonality - like the 45mm resolves super fine detail and performs consistently from axis to the edges. The OOF is very pretty.

The accessories I use with this kit are:
- Hasselblad quick release plate. Brilliantly designed with a small "pimple" to sit in a small hole at the base of the XPan thus ensuring the bracket will not "rotate" during shooting.
- spirit level showing horizontal and vertical levels - such an important accessory for a panoramic camera.
- Metz 45 CL-4 flash - perfect light throw on "wide" setting for the XPan frames and excellent auto and manual control and performance.
- Manfrotto 055 tripod.
- Manfrotto 460MG head.

MEDIUM FORMAT SLR SYSTEM

- Sublime 6x6 120 roll film.

Hasselblad V series - When the highest standards of image quality are not negotiable and must be matched by demanding use together with relatively compact size and convenient functionality. 501CM and 503CW bodies providing sublime 6x6 frames, which are my favourite format. This system gives access to the superlative Carl Zeiss optics. The Hasselblads provide intuitive functionality and ergonomics and their all-mechanical design allows fuss free use in the field.

Hasselblad 6x6 images from Carl Zeiss lenses are where my heart lies! The square format; large negatives resolving the finest details and the visual "look" produced is simply sublime to my eyes.

The lenses I use are the Hasselblad / Carl Zeiss simply because no other lenses are made in the "closed" Hasselblad lens mount. Some of these that I own and use are as much as 20 years old! However, each remains an unchanged optical formula when compared to the current versions - a truly life-time investment. This is my most comprehensive system because it is my most used system. The lenses I use are:

- Distagon 50mm FLE - my landscape wide-angle lens. The FLE feature and its very low distortion makes this a magnificent choice for pin sharp images from foreground to background. Its overall design makes it an excellent ergonomic choice. Specifically, this lens is ideal for landscapes and architecture. The FLE design renders foreground objects as superbly sharp as distant objects.

- Distagon 60mm - my "normal" wide angle walk-about lens with undetectable distortion giving it low sensitivity to the camera angle. It’s superbly sharp, produces a very flat field of view and has forgiving DOF while being compact in size and possesses enormous resolving power. Specifically this lens is ideal for group and interior images. Its lack of distortion and huge resolving power accurately render fine details and people's faces right to the edges of the frame.

- Planar 80mm - my "fast" lens. This produces a natural field of view and is a very flexible lens to use while being quite fast for hand-held work. Specifically, as well as being the fastest lens in my kit, this lens is ideal as a general purpose lens and a "natural" choice when a wider angle lens is not desirable.

- Planar 80mm - my most "loved" lens due to its angle of view and remarkable optical performance. At f3.5 it is still comparatively fast. Its resolution and other characteristics are stories of well deserved legend. See my review in the "Technical" section.

- Makro-Planar 120mm - generally my normal lens. I love its field of view and how it produces such an obviously MF look. It's optimal sharpness at closer focus distances and excellent sharpness at infinity make this one of Hasselblad / Zeiss' great lenses. Specifically, this lens is ideal for photographing objects at a closer range as well as for portraits and tighter landscapes.

- Sonnar 150mm - all purpose medium tele-lens. A compact and quite flexible focal length making it ideal for hand-held work at a distance in many types of shooting. Specifically, I use this lens for street photography and closer views of architecture.

- Sonnar 180mm - this relatively new optical design achieved a similar performance at middle distances as it does at infinity. One of the finest optical performers made by Hasselblad / Zeiss. It's my favourite longer focal length producing beautiful compression that keeps portraits natural and adds impact to landscapes. It’s razor sharpness and beautiful OOF overcome its bulk. Specifically, this lens is ideal for my portraits, landscapes and nature images.

- Sonnar 250mm - for anything I want to see close. While the "poor cousin" of the famed SA version, this is a "must-have" lens for its superb rendition of compressed images. Specifically, I use this lens for city-scapes and landscapes to focus on a specific part of the scene.

- 1.4XE extender - for use with the Sonnar 250mm or when I take only a couple of lenses so that I can gain some reach. It does not produce any image degradation that is visible in a large print. An excellent example of how a quality used and inexpensive item can add many multiples in value to your system.

The accessories I use are:
- CW winder for the 503CW. Adds convenience and ergonomic benefits to hand-held 6x6 photography.
- PM45 for the 503CW. Like the CW winder this adds convenience and ergonomic benefits for hand-held photography.
- a locking style cable release enabling very long exposures with the locking device holding the shutter open until I release the lock.
- various Hasselblad filters. When a filter is necessary these provide some comfort that the glass quality is consistent with the superb Zeiss optics.
- accessory mount fitted spirit level especially for tripod work. A head or tripod spirit level can be misleading so having one fitted to the side of the camera is a great reassurance.
- various extension tubes for closer focusing and macro work.
- Manfrotto 055 tripod.
- Manfrotto 460MG head. Being magnesium it's relatively light. The design makes it stable and nice to use when under pressure.
- Hasselblad D40 TTL flash. Provides the perfect flash coverage and of the nicest type that only a bare bulb / parabolic head can produce.

LARGE FORMAT SYSTEM

- My preferred 4x5 view / field camera system.

Linhof Technika V - this marvel of German engineering provides an extensive range of lens standard and film back movements operated with great precision through all metal and mostly geared controls. The folding field camera design make it a more convenient 4x5 camera to carry around. Its precise controls ensure reliable results.

There were restrictions that often frustrated me when shooting both medium and 135 formats that could only be resolved by a "technical" camera - one that enables movement of the lens standard and the film back. When I experimented with a borrowed LF camera, what I saw could be achieved by moving the plane of focus alone just blew me away. And then I saw the remarkable quality of 4x5 sheet film I decided to seek out a well cared for LF field camera. Using the Linhof Technika has been the single biggest technical learning curve in the 25 years I have been taking photographs.

The lenses I use are:
- Schneider Super-Angulon XL 75mm f5.6 - for wide angle landscapes where emphasising the foreground is important. An amazingly flat field of view for such a wide angle lens.
- Rodenstock Grandagon-N 90mm f4.5 - my "normal" lens where bringing in the background to a strong foreground is desirable.
- Schneider Symmar-S MC 150mm f5.6 - provides a very natural perspective and enables nice balance between foreground and background. Produces razor sharp images of superb detail.
- Schneider Apo-Symmar 180mm f5.6 - provides that 50mm look in 135 format eliminating distractions from the image. Brilliantly sharp with very attractive OOF.
- Schneider Symmar-S MC 210mm f5.6 - providing a more compressed perspective as well as emphasis of a background. True to the Symmar-S MC design it's superbly sharp and not too contrasty.

The accessories I use with this system are:
- Ebony dark-cloth and mounting bracket.
- Horseman 6x7, 6x9, 6x12 120 roll film backs.
- shutter release cables fitted to each lens.
- Mamiya 5X loupe;
- Cokin P series filters.
- Manfrotto 475 braced tripod.
- Manfrotto 410 geared head.
- Hasselblad quick release plate.
- Metz 45 CL-4 flash.

POST SCRIPT

Here I provide regular updates of equipment systems information based on common questions that I am asked. So, this PS is intended to provide some tips as well as explanations.

1. Just as I have found over the years, it is not necessary to own all lenses, camera bodies or accessories you prefer to use - find a dealer that offers a rental service and negotiate a regular renter rate, you will be surprised how much you save!

2. Also, especially in the past 3 to 5 years, the "digital-revolution" has resulted in some great equipment bargains from reputable large used camera equipment dealers - find one you trust and stick to it.

3. Personally, I have preferred to own my core (most used items that I consider absolutely essential) camera bodies and lenses from new (or similar with a long warranty) - they are my most used and depended upon tools. But, I'm always happy to see out "like new" or “excellent” (used and not abused and have been treated with respect) graded used equipment to add to my systems knowing that they won't be so heavily used by me but are in a condition that is consistent to the way I keep my equipment.

4. Being fussy enough to keep my equipment in mint / excellent condition does not mean I use it infrequently for fear of knocking it about. I own it to use it, but I've made sacrifices to have it, so treat it with respect.

5. When buying used MF or LF equipment I'm mindful that many original owners are professional and that professionals are notoriously hard on their business tools. So, tread very carefully when buying used MF and LF gear - even consider seeking out ex-student equipment. I have them inspected, serviced and adjusted so they begin life with me in top condition. Some equipment I have serviced annually or so because they require that to keep them in 100% factory recommended tolerance (e.g. film backs) – that way I don’t ever get nasty surprises or major repair bills.

6. While the more modern version of camera equipment (camera bodies and lenses in particular) often reflect design, specification and build improvements, that is not always the case.

There are examples of camera bodies and indeed lenses where the later iteration may be lower quality than the one it replaced. Researching the items is a worthwhile protection against potential disappointment.


Photos and text copyright of f8Vision and SimonPG