FilmFilmFIlm

Too bad most cameras are discontinued including 500CM, i don't like to buy used at all, and i will keep reading more to see what are the main difference between 500C/M and 503C/W from the links above, and i was in a studio of someone and he has RB76, it looks really so huge over that Hasselblad, and he told me that mostly the difference between RZ and RB is that one is electronic and the other is mechanical, and i saw that Hasselblad [not sure if 500 or 503] in our Hasselblad dealer and it is really amazing size and really nice look, i can buy RB67 because it is so cheap, but i should not get many equipment, and i really leaning toward Hasselblad over Mamiya and i know all are great anyway.
Thank you very much for the links even i still couldn't understand the difference from all what is written there, but i will keep reading.

...what is wrong with used things? I buy everything that I can, used. Plus, if you buy from Adorama or Keh you might as well be buying new (return policy and all that).

Tareq, since you live in UAE (and I don't think there are any camera rental places there), get a 503cw and RZ67 ProII outfit from KEH or Adorama or somewhere else, and try each for a week. Return the one you don't like.

Really, the RZ67 and Hasselblad are so close in quality, what matters more is the handling.

AutumnJazz wrote in post #8347321
...what is wrong with used things? I buy everything that I can, used. Plus, if you buy from Adorama or Keh you might as well be buying new (return policy and all that).

Tareq, since you live in UAE (and I don't think there are any camera rental places there), get a 503cw and RZ67 ProII outfit from KEH or Adorama or somewhere else, and try each for a week. Return the one you don't like.

Really, the RZ67 and Hasselblad are so close in quality, what matters more is the handling.

Handling of what? I didn't test both practically to say my judgment, but i saw and hold both bodies, just holding or carrying, i saw that Hasselblad was less and smaller size than the Mamiya, if that is handling then i can say i will go with Hasselblad definitely, but if handling is something else in use maybe then i hope i can use them both in real world and see, the only one i can try to use when possible is that RB67 on that studio and then i will see, but really when i carried that Hasselblad square [again i don't remember which model it was but definitely one of those 500 series] i loved it, lighter than Mamiya RZ or RB, even the body design or look is better but that doesn't matter, so i hope you can explain and define what do you mean by "the handling"?

Also I prefer to have New always so then i never feel regret or got disappointed if any issue occurs, but if i got a used and then any issue will occur then i will hate to buy used and i will feel i hate the store or even the person who used that item before me, so i prefer to be in safe side and get new item and then i accept any issue later.

Get a T-90, it's spot metering function I have yet to see in any film or digital camera..you can take 5 or more different spot readings and the camea averages them all together for the best exposure...yep, I still use mine for scenics.

I own an EOS-3 and 1v. One drawback for the EOS-3 is it does not have an adjustable diopter for the viewfinder, where the 1v has the now standard +1 to -3 capability. And oddly enough, I have a -4 diopter lens on my EOS-3 and my contact perscription recently change and now I can't quite get text and objects i perfect focus; however, my 1v is set at -3 and I have great focus and sharpness. So the 1v I built to higher standards in that regard.

Also the 1v has a remote cable input cover that is attached to the camera unlike the EOS-3 where it's a rubber plug and I've lost its cover. The 1v always shows the batter level on the top LCD and it has a magnetic closure for the side door unlike the EOS-3's door that opens all the time as I have its strap over my shoulder. Annoying as anything.

Shooting wrote in post #8353879
Get a T-90, it's spot metering function I have yet to see in any film or digital camera..you can take 5 or more different spot readings and the camea averages them all together for the best exposure...yep, I still use mine for scenics.

Or get a 500C/M and a 1 degree spot meter and take readings of the areas yourself. Then you make the decision of what areas get metered and instead of averaging you expose to get shadow detail and process the film to control the highlight. If you've never shot with medium format its a entirely different world to that of 35mm.

MG30D wrote in post #8341697
So whay are nikons scanners more expensive...they're dedicated film scanners and therefor scan faster, hold the film flatter and more in focus therefore resulting in sharper photos, and they have a higher Dmax. The Dmax more or less reveals the ability of the scanner to capture the films dynamic range.

That's not the only reason. A film scanner is usually much more precise, and can make scans at higher resolution than a flatbed. I have both a Nikon 8000ED and an Epson V750. I use the former for film up to 6x9, and the latter for 6x12 and 4x5. The maximum usable resolution of the Epson is barely over half what the Nikon can do. For 35mm, the Epson will give you the useful equivalent of about a 4-6 megapixel camera. That's not bad for lots of uses, but it's not going to make you love film if you want to make bigger prints.

For 35mm film, film scanners are not particularly expensive. Get something with ICE and at least a 2700 spi resolution (about 10 megapixels from 35mm film). I agree that the Nikon scanners are the best. The 4000 spi scanners are still rather expensive (in the $500 range for some I saw on ebay), but you'll get 21 megapixels. At least it's a lot cheaper than a 5DII.

And if you shoot color slides, you'll need that dynamic range. It's all I can do to make my high-end Nikon film scanner keep up with Velvia.

Rick "who does a little scanning" Denney

Shooting wrote in post #8353879
Get a T-90, it's spot metering function I have yet to see in any film or digital camera..you can take 5 or more different spot readings and the camea averages them all together for the best exposure...yep, I still use mine for scenics.

Remember that a T-90 has an FD mount, not an EF mount, so EF lenses won't work on it. For those of us who have a bevy of FD lenses, it's a good choice. I used the stuffing out of mine, to the point where it's now got a dead shutter. My F-1 is still going, but it now needs all the light seals changed. An EOS1 or 3, in addition to working with the latest lenses, is newer and likely to be in better condition.

Rick "just a warning" Denney

airfrogusmc wrote in post #8355755
Or get a 500C/M and a 1 degree spot meter and take readings of the areas yourself. Then you make the decision of what areas get metered and instead of averaging you expose to get shadow detail and process the film to control the highlight. If you've never shot with medium format its a entirely different world to that of 35mm.

Yup. If you are going to go with film and a more contemplative approach to photography, you might as well go all the way.

Rick "who has a suggestion for Tareq, too" Denney

Tareq wrote in post #8347414
Also I prefer to have New always so then i never feel regret or got disappointed if any issue occurs, but if i got a used and then any issue will occur then i will hate to buy used and i will feel i hate the store or even the person who used that item before me, so i prefer to be in safe side and get new item and then i accept any issue later.

I know just what you need: A Gowlandflex 4x5.

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airfrogusmc wrote in post #8355755
Or get a 500C/M and a 1 degree spot meter and take readings of the areas yourself. Then you make the decision of what areas get metered and instead of averaging you expose to get shadow detail and process the film to control the highlight. If you've never shot with medium format its a entirely different world to that of 35mm.

That sounds like a good plan but if you really want to go all the way go with a Sinar 4X5 with a metering back. Shoot B&W and process and print on fiber base paper or shoot color film and get drum scans done by a competent post house. Desktop film scanners just don't have the dynamic range of a good drum scan.

rdenney wrote in post #8359787
I know just what you need: A Gowlandflex 4x5.

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This is the ultimate studio large-format camera, and I think a handful are still available new if you don't wait too long. They are not cheap, especially set up with lenses and roll-film backs. You can, of course, spend just about as much as you want on lenses and get the best lenses in the world. A Schneider APO-Symmar, for example, would be as good as any Zeiss lens for Hasselblad. But a 6x7 back on it and you're set. I've seen one of these in person, and for portrait work in a studio I doubt there is a better large-format camera ever made.

If you don't like buying used stuff, you had better move fast.

By the way, I really like a Pentax 67 with a leaf-shutter lens for studio use. I think the Pentax lenses were better than the Mamiya lenses, but still probably not as good as the German glass.

Rick "who will probably be in the UAE in a couple of weeks and is not looking forward to 45-degrees C temps" Denney

It is first time i heard about Gowlandflex 4x5, but i will search about it.

I found Sinar P3 and P2 new, are those good LF cameras?

breal101 wrote in post #8360573
That sounds like a good plan but if you really want to go all the way go with a Sinar 4X5 with a metering back. Shoot B&W and process and print on fiber base paper or shoot color film and get drum scans done by a competent post house. Desktop film scanners just don't have the dynamic range of a good drum scan.

I found one dealer here in Dubai who sells Sinar, and he can bring Sinar 4x5 [maybe P3 or P2] if i want, is that sinar you mean or there are another Sinar 4x5?

Zone VI 4X5
http://reviews.cnet.co​m …1707-6503_7-32491038.html