The standard lens for the S2 was a 75mm f/2.8 Nikkor P. There is certainly variation based on the destination and / or the purpose of the trip, so kit optimization has variables that have to be considered each time you get ready to. Bronica Lens Serial Numbers Free Serial Numbers For Software Currency Serial Numbers Free Serial Numbers As a photographer who travels quite a lot, I spend a lot of time trying to sort out the perfect travel kit.
![]() Bronica Lens S Free Serial NumbersA Canonet it ain't.The interchangeable backs accept either 120 (12-exposure rolls to those new to the format) or 220 (24-exposure) at the flick of a switch, and the film counter window is large and easy to read. Being used to shooting leaf-shutters in my Polaroids, and perhaps a blade thingy in my Bessa, I wasn't prepared for the massive noise from my new Buroni. Additionally, the helicoid can also be removed to allow the installation of macro bellows, and other lens extension devices such as tilt-shift (really sexy these days for those bored with HRD it seems).The focal-plane cloth shutter switches up to 1/1000, and while the shutter itself is smooth and quiet, the associated mirror slap is not. Benefits? Lens manufacture is cheaper (as there is less metal and complexity), and the base helocoid can be configured to allow really close focusing, similar to a massive bellows extension. This allows lens changes, which exclude the usual focusing mechanism. While on lenses the helicoid / lens combination deserves some comment.Many interchangeable lens systems include the focus mechanism as part of the lens assembly (bellows equipped machines aside), the Bronica includes a separate focusing helicoid mechanism. So, in buying one, make sure it comes with a dark slide.O The shutter button has a nice twist-to-safe function.O The shutter will not fire with dark slide in place.O The back will not close properly, nor the film type cover close, unless all is properly aligned and mounted when loading film.O The dark slide cannot be removed unless the film back is properly mounted on the camera. In fact, the dark slide performs the function of the back removal button - without it the back cannot be removed. After loading the carrier, drop it into the back, latch securely, and the body crank takes it to frame one smoothly and fast.The Buroni also carries a great array of interlocks, and failsafe mechanisms:O The dark slide is needed before the back can be removed. A minor difference, but with the tremendous quality of the machined parts, an easy and confidence inspiring process. Very pleased with the results!Whereas I was kinda hoping for some minor color blips, color rendition on the Ektar looks much as any modern lens does.Depth of field at f3.5 is not as perhaps acute as I was expecting. I might see what sort of 40mm lens is obtainable cheaply to further play with as well.I notice too, there are two types of carrying-strap lugs one with wings, which accept a normal, modern-sized camera strap, and I think a newer type stud, without wings (as the latch is part of the strap-end tag), which do not accept a modern-sized camera strap unless you drag it through with needle-nose pliers, cutting up the edge giving it a nice worn-in look.Using some Kodak Ektar, I shot a few test rolls with the 50mmNice wide look to the 50mm, and as expected the after-market lens has a slight blur on the fringes, and vignettes a little wide open. After one day out shooting, I can see myself liking this well made Japanese machine - is has a high quality, well machined, feel to all its actions, and after nearly 50 years all the covers show no signs of scuffing or lifting - they must have used some mighty effective materials and glue at the time. The focus magnifier though pops into view with a smooth tap of the hood, and collapses just as smoothly - a normally fiddly action with other waist-finders. While using the Bronica, I thought that it was heavier than the Kowa Super 66, but being back home and holding the Kowa, I think they are similar in weight, with the 40mm Kowa lens making it heavier and much bulkier than the Bronica and 50mm.So, overall, I was pleased with the way the Bronica "feels", and it is shaped as such that you can carry it comfortably with the shoulder/neck strap. The form factor of the Bronica is pleasing, with a horizontal build as opposed to the vertical, or square, body of the Kowa. The Bronica resembles the Kowa more than the Great wall in terms of build quality and lens selection, etc., though all three feature a loud mirror slap. I've used a couple other 120 SLR cameras, notably the Great Wall and the Kowa Six (and Super 66). Sean reports the screen on this one is not quite as bright as he would like, and the mirror slap is very loud in quiet streets, but overall a very pleasing machine to use, especially with a Super-Komura 50mm!Or if you're lucky, the rather cool, original style:Or, if you're into the replacement for HRD, you can try one of these for the soon-to-be-cliched tilt / shift:Same camera, same lens, same film, different user! Skorj was nice enough to lend me his Bronica for our trip to Ashio. I carried it around all day, and though heavy it was comfortable and easy to use. ![]() I found myself pressing my face against the viewfinder with a hand around the edges, trying to keep out the direct rays. I'm used to using a hand to block direct light on finders, but it just seemed extra painful with the Bronica. In the sun, the low edges of the folding cover didn't do an adequate job of blocking the light. If the light was low, it was almost impossible to see what I was framing. So the image is very soft in the finder. After effect dmgAlso, not really a negative, but the film loading is ass-backwards.but it only takes a couple times before it is a natural process.So after using the Zenza, I thought well, yeah, it's pretty cool.but do I really need one? I have my Kowa Super 66 with a range of lenses, including a wide 55 and a super-wide 40 (and I'm still on the lookout for the elusive 35). I rarely ever have issues when looking through the bright Kowa finder, so maybe I'm just spoiled. It wouldn't fix the lower "walls", but it wouldn't take much to improve upon the white glass. There is nice mix of modern and vintage results from the camera and lens. There is something soft and sharp about the photos at the same time, somewhat dreamlike and floaty while still retaining detail. The photos still retain the pinpoint sharp areas, while the blur turns into lovely circular shapes. Like Skorj says, there is a nice blur and vignette around the edges, which I think gives the shots a soft wistfulness. Well, after getting my first roll of color Kodak Ektar developed.I soooo want this camera/lens combo for myself. I will post some black and white (including Verichrome from 1973!) whenever I get time to develop the many rolls of film I have on my shelf. I want one for myself.Here are some color shots. I'm also a sucker for frame edges, and I like the little sweeps at the corners of the shots.So with the overall pleasing form factor and the relative compact build, even with the wide lens (though it is not light), and what I think are wonderful results with the Ektar, I'm sold. You can tell it is wide without the Psycho house effect. Neither of which have that 'wow, that's bright' look of some other ground glass / plastic focusing systems I've seen - Anscoflex as an example.
0 Comments
Leave a Reply. |
AuthorMichelle ArchivesCategories |