Fuji 690?

kuzano said:
Having both the fixed and interchangable Fuji's, I'd probably put money on the fact that the G690 body alone with the 100 and 65mm lenses could likely weigh more (or equal to) two of the fixed lens models (GW and GSW).

The most flexibilty, however in format and focal length would be a G690 body and a GM670 body (interchangable lens) and the two lenses 100 and 65. The 670 gets 10 shots per roll, or 20 shots per roll on 220.

I like where I am however on the G690/100 and the GSW690III/65mm.
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There was just a crazy auction on Ebay that ended with the mystical 50mm f5.6 lens selling for about $1300 US (UK auction). For that kind of money, definitely 2-body setup is more bang for the buck (and lots of change for film)!
 
The last 50mm I saw on Ebay (a few months ago) sold with a GL690 and a Mamiya 50mm finder for $3K. Talk about unbelievable. So at least the price on the one that closed today was lower.

For a long time I used a GSW690III on the one hand and a 100mm and 180mm on a G690BL on the other. I don't know if that's really two bodies, but the GSW is smaller, lighter, and has a more practical viewfinder/rangefinder for 65mm.

I am unloading my 65mm chrome (which I got on a lark, intended to compare to the GSW, shot a bit and now neglect); it's now in the classifieds, listed very, very cheap. Guess why.

Dante

merciless49 said:
There was just a crazy auction on Ebay that ended with the mystical 50mm f5.6 lens selling for about $1300 US (UK auction). For that kind of money, definitely 2-body setup is more bang for the buck (and lots of change for film)!
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Both and neither. I did buy the 50. This should rock in conjunction with a Leica Universal Finder M, since it has a built-in bullseye level that you can see while looking through it. So far, I have been able to use that finder on my GR Digital II(!), my Hexar RF for 21mm lenses, my M8 for 15 and 21mm lenses, my Fuji GSW690III with its 65mm lens, and my G690BL with its 65mm and now 50mm lenses. Not terribly shabby.

There is something of a cult around the 65/5.6 on the G/GL/GM series, but I don't really understand it. The finder is not as good as on the 65/8, and if you are paying a premium over the 65/8 (which itself is a super lens), you might as well get a GSW690III - that way at least you get multicoating, an integrated view/rangefinder, a bubble level, a hot shoe, easier loading, a built-in hood that you can't lose, lighter weight, smaller size, fewer focusing and registration tolerances, and a more anatomically friendly shape. I know people get hung up over the "twang" of the shutter, but when you're carrying a camera that big, no one around you cares much about the sound of the shutter.

Of course, by the same logic, I should have kept my Brooks Veriwide 100, which with its Super-Angulon 47mm was about 1/3 the size of a Fuji with the 50mm lens - and about 1/4 the weight and price.

Dante

sevo said:
You won the auction on the 50? Or because the 65/8 is no real match for a (later) 65/5.6?
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Dante_Stella said:
Both and neither. I did buy the 50. This should rock in conjunction with a Leica Universal Finder M, since it has a built-in bullseye level that you can see while looking through it. So far, I have been able to use that finder on my GR Digital II(!), my Hexar RF for 21mm lenses, my M8 for 15 and 21mm lenses, my Fuji GSW690III with its 65mm lens, and my G690BL with its 65mm and now 50mm lenses. Not terribly shabby.

There is something of a cult around the 65/5.6 on the G/GL/GM series, but I don't really understand it. The finder is not as good as on the 65/8, and if you are paying a premium over the 65/8 (which itself is a super lens), you might as well get a GSW690III - that way at least you get multicoating, an integrated view/rangefinder, a bubble level, a hot shoe, easier loading, a built-in hood that you can't lose, lighter weight, smaller size, fewer focusing and registration tolerances, and a more anatomically friendly shape. I know people get hung up over the "twang" of the shutter, but when you're carrying a camera that big, no one around you cares much about the sound of the shutter.

Of course, by the same logic, I should have kept my Brooks Veriwide 100, which with its Super-Angulon 47mm was about 1/3 the size of a Fuji with the 50mm lens - and about 1/4 the weight and price.

Dante
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Good point Dante, I also thought about the extra premium for the 65mm f5.6 versus f8. Since the GL690 is so heavy it's highly unlikely I'll use it for any prolonged shots hand-held, at low light situations, so the larger aperture is more or less not necessary. Congratulations on getting the 50mm, I can only watch the prices with awe :eek:
 
Dante_Stella said:
There is something of a cult around the 65/5.6 on the G/GL/GM series, but I don't really understand it. The finder is not as good as on the 65/8, and if you are paying a premium over the 65/8 (which itself is a super lens), you might as well get a GSW690III
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... which is the way I went. Of course, already owning a extremely nice GM670 may have influenced me as well. The 65mm sells for as much as a GSW and I'd have to invest another hundred or so on a GM->GL swap, or get less angle of vision for my money...
 
Back from le grand trip, and still sorting out the pictures and annotating them. Here's a panoramic view from the South Rim, all taken with the 65mm f8 lens and Velvia 50.

4501692318_d952dd294a_b.jpg


On a side note, I noticed that from the 220 rolls, I was getting 12 properly exposed frames rather than 16 as advertised. Looking at it more closely, the first two and last two frames are essentially wasted. Do any of you know if this is due to my handling (e.g., need to change/handle the film inside a bag), or some issue then with the camera itself?
 
Thanks for the suggestions Nate, I had shot 220 sparingly until this last trip, due to the fact that I didn't want to change film often. I'll definitely keep in mind to use the second starting line in the future! Really appreciate it!

Hazy conditions didn't make it easier to get the pics exposed correctly...I may grab the VC II light meter soon to correct for this!
4501157027_1bc0479f5e_b.jpg

1 sec exposure, 65mm f8 handheld, Astia 100

4501787868_82fe7e1e91_b.jpg

1/35, f16, Velvia 50
 
A common issue with 1st/last pics on these cameras

A common issue with 1st/last pics on these cameras

merciless49 said:
Thanks for the suggestions Nate, I had shot 220 sparingly until this last trip, due to the fact that I didn't want to change film often. I'll definitely keep in mind to use the second starting line in the future! Really appreciate it!
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merciless49 said:
It's not uncommon to have issues, particularly on 220 film, with loading and unloading practices. In fact some of the manuals have made a point of this. I know the G690bl manual clearly stated that you must keep tension on the feed spool of film as you close the door. Then on taking film out of the camera, excessively wind past the end of the spool and put a finger on the takeup spool as you open the door.

I would also add that it's important to do the loading and unloading in subdued light.

Once I perfected the loading/unloading, I have never had a problem with lost or poorly exposed frames. This deals with the tendency for the spools to open up when not under tension. Since 220 also suffers from not having backing paper, I imagine the issue is more severe. I made it a point a long time ago to not use 220, and have not for years.

I find the need to keep tension on the film when loading to be an issue in all MF cameras that load like the Fujis. That includes the Bronica RF645, Pentax 67, Mamiya Press, etc.

MF that loads on film inserts seem not to suffer this problem as those types rolls do not seem to loosen when film is loaded.

Use the index finger on your third arm hand to facilitate.
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kuzano said:
It's not uncommon to have issues, particularly on 220 film, with loading and unloading practices. In fact some of the manuals have made a point of this. I know the G690bl manual clearly stated that you must keep tension on the feed spool of film as you close the door. Then on taking film out of the camera, excessively wind past the end of the spool and put a finger on the takeup spool as you open the door.

I would also add that it's important to do the loading and unloading in subdued light.

Once I perfected the loading/unloading, I have never had a problem with lost or poorly exposed frames. This deals with the tendency for the spools to open up when not under tension. Since 220 also suffers from not having backing paper, I imagine the issue is more severe. I made it a point a long time ago to not use 220, and have not for years.

I find the need to keep tension on the film when loading to be an issue in all MF cameras that load like the Fujis. That includes the Bronica RF645, Pentax 67, Mamiya Press, etc.

MF that loads on film inserts seem not to suffer this problem as those types rolls do not seem to loosen when film is loaded.

Use the index finger on your third arm hand to facilitate.
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That's excellent advice Kuzano, thanks very much! I'll practice this method and you're right, probably should just stick to 120 to minimize this...until I get better with the whole process. I'll keep in mind to bring along a changing bag as well in the future, since that would also help out lots (but of course, inconvenient). Thanks again!
 
Merciless, nice shots! How was your inter-frame spacing? My big Fuji is fairly uniform with 120 but tends to be irregular with 220. Good advice about keeping the film tensioned on loading.
 
Three symptoms of loose film on loading.....thanks

Three symptoms of loose film on loading.....thanks

Doug said:
Merciless, nice shots! How was your inter-frame spacing? My big Fuji is fairly uniform with 120 but tends to be irregular with 220. Good advice about keeping the film tensioned on loading.
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Thanks for mentioning film framing irregularity....

On medium format cameras that load spools independently in the body.... like the Fuji's, three common problems occur if loosely loaded:

1) loss of first frames as film is exposed through the sides of spools.
2) Frame spacing is inconsistent
3) In worse scenarios, the film bunches up and jams about mid roll (my first couple of loads on a Pentax 67 years ago) and you have to open the camera mid roll and remove the film. (Don't bother to rewind on the spool and shoot it again;)).

Learn to keep tension on supply spool on loading and takeup on unloading. One finger on supply spool, one finger holding tension on the wind crank and gently close the back. (remove fingers from inside camera as you proceed).
 
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Hi Doug, my frame spacing seems consistent with the 220 except with noted loss of initial frames. But I guess it's my luck so far? Thanks Kuzano again for those tips, I'll make sure I practice such methods to ensure good return on my investment :)
 
TWoK said:
Which set of lines did you use to start the film before closing the back? I shoot almost exclusively 220 because I hate changing film after only 8 shots. I have about 200 rolls of 220 in my fridge. There are normally two lines on 220, one that looks like the start line on 120 with two arrows, which you don't use with 220 on the Fuji 690's, the other is the dotted start line. You will loose two shots if you start at the wrong line, but it should be at the end of the roll, not the beginning, but again. I had this same problem on my Mamiya 6, because I loaded the film wrong.
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I definitely used the 120 start lines, due to inexperience with 220. I really haven't used it much, maybe the odd once-in-a-while B&W but otherwise, almost all my Velvia rolls are in 120 format until this trip. Switched to 220 because, like you, I hate having to change after only 8 shots! I'll definitely keep all the suggestions in mind so to avoid losing frames...nothing worse than that! (well, unless the exposed frames also didn't turn out at all...)
 
Thanks Nate, I definitely will do so from now on and combine with Kuzano's suggestions to ensure proper framing. I like using 220, though, since it's just much more convenient in terms of not having to change rolls every so often...tends to last a bit longer than 120. Plus I think it's great for artificial panorama :)
 
220 is my preference too, with between 20 and 33 exposures depending on the camera (I don't have a 6x9 that will take it). Too bad the film choices are becoming fewer.
 
Doug said:
220 is my preference too, with between 20 and 33 exposures depending on the camera (I don't have a 6x9 that will take it). Too bad the film choices are becoming fewer.
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So true, Doug! Although currently in my "color" phase, I'm happy as long as Astia 100 and Velvia 50 is continually supplied in 220 format. Otherwise...just need to be patient I suppose and reload often :(
 
It took me only a day of looking at this topic and the various flickr pools and my GAS kicked in full power.
I just won an auction for a Fuji GW690III ($499 + shipping, quite decent I think/hope), what did I get myself into..
 
Hi Renzsu, congrats on the GW690III! You won't be disappointed, I assure you! My GL690 so far has gotten lots of use (though my only complaint would be the frequent loading using 120 film), and I love the results when I correctly expose the shots. Have fun with the new gear!
 
Thanks merciless49! I'm sure I'll be having fun with it haha, just a bit worried how I'm going to survive for the rest of the month >_<
I have a little NY trip planned for June, so now I have to decide whether I bring my Hasselblad or the Fuji (yes I know, horrible isn't it haha).
 
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