Got a tip for us?
Let us know
Become a MacRumors Supporter for $50/year with no ads, ability to filter front page stories, and private forums.
Camera Accessories (but not Bodies, Lenses or software)
- Thread starter Apple fanboy
- Start date
- Sort by reaction score
The Nikon has been a back and forth thing for a few months. It's a lateish Nikon F FTN-probably 1970 or so. The camera store had it on loan to a local museum for about a year(they wanted cameras that "could have been used by the local newspaper). I got to pick through/unpack the boxes when they came back from the museum and pulled this camera out with an AI 180 2.8 ED on it. He offered me a good price for the two, but I passed "because there's some separation in the prism." Fast forward and he lists the camera(lens had been sold already) on Ebay and had forgotten what I said about prism separation and didn't notice it. It came back, and I bought it for a cheap price. I went in yesterday partially to pick it up.
The 'blad is a different story. It came in from a decently well known local photographer. It's an early 500C body(1960). I've always wanted a Hasselblad, but the prices have scared me off. I was offered a decent price on the camera, all four lenses(50mm, 80mm, 150mm, 250mm) plus two backs(one in addition to the one on the camera). It was set to go "live" on Ebay at 5:00, but we talked it over a bit and said I was seriously interested but wasn't sure. He canceled the scheduled listing, and said to take it home and play with it to "make up your mind."
I'm off work today due to impending bad weather and am going to have some errands to run, so I'm taking it out to do just that and I have to call him this afternoon to let him know whether or not I'm going to take it. I'm almost positive I will.
It's not perfect, and I'm going to need to have the 80mm(most important lens in any 6x6 kit) serviced as the slow speeds are dead and the focus ring is very stiff. Still, I'll see what I make of it-I have a roll of Tri-X loaded, so I should be able to shoot it, develop it, and make the call.
BTW, there's an infamous "Hasselblad Lock-Up" that happens if you do something out of order. I admit that my Hasselbad experience is limited, and I managed to induce one when I was playing with it in the store yesterday. Fortunately, the fix-I learned-is taking a screwdriver and carefully turning one of the screws in the body to "unlock" the cocking knob and turn it to let the camera cycle through and reset everything.
Just shot a roll of Delta 100, a film I've actually never used before but have a bunch of it that came in a lot. If I have anything worth sharing, I'll post it in POTD.
I mostly wanted to check the registration, but also just play with it some. I only used the 80 and 50mm.
I have a "snow day" from work even though it's only raining now, so I think it'll be a good chance to get caught up on some film that needs to be developed. Still, the roll from this is getting bumped.
Well, the 'blad is staying. I called the shop almost as soon as this came out of the tank to tell them that I'd be in to pay for it next week.
I was a bit sloppy in developing so please pardon the water spots, but it's also nice to see the two Vs on the side of my negatives
. I've always kind of made fun of folks who did full-frame scans to show those, but it's still neat to see them.
BTW, this is the first time I've handled one. Much like before I owned a Mac, I always thought that they were over-hyped. I owned a Bronica S2A outfit, and still have an SQ-A that I bought and built up on. The S series Bronicas are clearly a stylistic copy of the Hasselblad, but of course work totally differently from 500 series cameras(focal plane shutter like earlier Hasselblads vs. in lens leaf shutter) but they are heavy and loud. The SQ series Bronicas(as well as the 645 ETR-series) are clearly operational copies of the Hasselblad with the-in lens leaf shutters and are excellent cameras, but they are larger in every dimension than a 500 even if lighter.
Much like a Rolleiflex, the camera just feels "right" to me. It is heavier than the SQ(which I will be selling immediately) but not by a whole lot and has such a pleasant, solid feeling to it. It's also quieter than either of the Bronica series cameras. There are few bad lenses in MF systems(the only real dog that comes to mind was the 13,5 cm Nikkor that was available for the Z/S/EC series Bronicas) but it's hard to argue with Zeiss lenses.
The only thing I'm not liking completely is the EV system, where by default it locks the aperture and shutter ring together to keep the same EV. Still, though, it's easy enough to temporarily unlock when you need to change the set EV. It's also nice when I'm going completely meterless, like today, since the exposure REALLY didn't change and I just set my best guess at the correct EV and kept it there all day. My Minolta meter will also read directly in EVs.
I still need to test the other two lenses along with the other back. The lenses-I'm sure-are fine as the shutters check out in dry firing. The other back is the older "12" type, which requires you to look through a window at the backing paper(just like in an old box camera) until you see "1" and then manually start the exposure counter(I have a Rolleicord that works the same way). I've already loaded the know good newer back(A12 style, even though I don't think it says A12) with some FP4+ ready for tomorrow-I'll dig up some more expired Delta 100 for the one to be tested, and also need to shoot some Tri-X.
BTW, I did get a Polaroid back also, although with the supply of Fuji FP-100C dwindling I doubt it will see much if any use(even though I have a few more boxes on hand, I prefer to use them in my Polaroid 250 or on my Mamiya RB67 since the latter gives a much larger image than the Hasselblad would). The Polaroid back is an impressive piece, though. It clearly was made by Polaroid, and the mechanism looks and feels like it came off one of the higher end Polaroid pack film cameras. It even says "Polaroid" on one end. The mounting plate to the camera was made by Arca-Swiss, so I know it's a quality piece
I was a bit sloppy in developing so please pardon the water spots, but it's also nice to see the two Vs on the side of my negatives
. I've always kind of made fun of folks who did full-frame scans to show those, but it's still neat to see them. BTW, this is the first time I've handled one. Much like before I owned a Mac, I always thought that they were over-hyped. I owned a Bronica S2A outfit, and still have an SQ-A that I bought and built up on. The S series Bronicas are clearly a stylistic copy of the Hasselblad, but of course work totally differently from 500 series cameras(focal plane shutter like earlier Hasselblads vs. in lens leaf shutter) but they are heavy and loud. The SQ series Bronicas(as well as the 645 ETR-series) are clearly operational copies of the Hasselblad with the-in lens leaf shutters and are excellent cameras, but they are larger in every dimension than a 500 even if lighter.
Much like a Rolleiflex, the camera just feels "right" to me. It is heavier than the SQ(which I will be selling immediately) but not by a whole lot and has such a pleasant, solid feeling to it. It's also quieter than either of the Bronica series cameras. There are few bad lenses in MF systems(the only real dog that comes to mind was the 13,5 cm Nikkor that was available for the Z/S/EC series Bronicas) but it's hard to argue with Zeiss lenses.
The only thing I'm not liking completely is the EV system, where by default it locks the aperture and shutter ring together to keep the same EV. Still, though, it's easy enough to temporarily unlock when you need to change the set EV. It's also nice when I'm going completely meterless, like today, since the exposure REALLY didn't change and I just set my best guess at the correct EV and kept it there all day. My Minolta meter will also read directly in EVs.
I still need to test the other two lenses along with the other back. The lenses-I'm sure-are fine as the shutters check out in dry firing. The other back is the older "12" type, which requires you to look through a window at the backing paper(just like in an old box camera) until you see "1" and then manually start the exposure counter(I have a Rolleicord that works the same way). I've already loaded the know good newer back(A12 style, even though I don't think it says A12) with some FP4+ ready for tomorrow-I'll dig up some more expired Delta 100 for the one to be tested, and also need to shoot some Tri-X.
BTW, I did get a Polaroid back also, although with the supply of Fuji FP-100C dwindling I doubt it will see much if any use(even though I have a few more boxes on hand, I prefer to use them in my Polaroid 250 or on my Mamiya RB67 since the latter gives a much larger image than the Hasselblad would). The Polaroid back is an impressive piece, though. It clearly was made by Polaroid, and the mechanism looks and feels like it came off one of the higher end Polaroid pack film cameras. It even says "Polaroid" on one end. The mounting plate to the camera was made by Arca-Swiss, so I know it's a quality piece
Loving this thread. Keep going... Great to read this adventure...Well, the 'blad is staying. I called the shop almost as soon as this came out of the tank to tell them that I'd be in to pay for it next week.
View attachment 746657 View attachment 746658
I was a bit sloppy in developing so please pardon the water spots, but it's also nice to see the two Vs on the side of my negatives
BTW, this is the first time I've handled one. Much like before I owned a Mac, I always thought that they were over-hyped. I owned a Bronica S2A outfit, and still have an SQ-A that I bought and built up on. The S series Bronicas are clearly a stylistic copy of the Hasselblad, but of course work totally differently from 500 series cameras(focal plane shutter like earlier Hasselblads vs. in lens leaf shutter) but they are heavy and loud. The SQ series Bronicas(as well as the 645 ETR-series) are clearly operational copies of the Hasselblad with the-in lens leaf shutters and are excellent cameras, but they are larger in every dimension than a 500 even if lighter.
Much like a Rolleiflex, the camera just feels "right" to me. It is heavier than the SQ(which I will be selling immediately) but not by a whole lot and has such a pleasant, solid feeling to it. It's also quieter than either of the Bronica series cameras. There are few bad lenses in MF systems(the only real dog that comes to mind was the 13,5 cm Nikkor that was available for the Z/S/EC series Bronicas) but it's hard to argue with Zeiss lenses.
The only thing I'm not liking completely is the EV system, where by default it locks the aperture and shutter ring together to keep the same EV. Still, though, it's easy enough to temporarily unlock when you need to change the set EV. It's also nice when I'm going completely meterless, like today, since the exposure REALLY didn't change and I just set my best guess at the correct EV and kept it there all day. My Minolta meter will also read directly in EVs.
I still need to test the other two lenses along with the other back. The lenses-I'm sure-are fine as the shutters check out in dry firing. The other back is the older "12" type, which requires you to look through a window at the backing paper(just like in an old box camera) until you see "1" and then manually start the exposure counter(I have a Rolleicord that works the same way). I've already loaded the know good newer back(A12 style, even though I don't think it says A12) with some FP4+ ready for tomorrow-I'll dig up some more expired Delta 100 for the one to be tested, and also need to shoot some Tri-X.
BTW, I did get a Polaroid back also, although with the supply of Fuji FP-100C dwindling I doubt it will see much if any use(even though I have a few more boxes on hand, I prefer to use them in my Polaroid 250 or on my Mamiya RB67 since the latter gives a much larger image than the Hasselblad would). The Polaroid back is an impressive piece, though. It clearly was made by Polaroid, and the mechanism looks and feels like it came off one of the higher end Polaroid pack film cameras. It even says "Polaroid" on one end. The mounting plate to the camera was made by Arca-Swiss, so I know it's a quality piece
So, out with the old, and in with the new. My faithful Bronica went on Ebay this evening.
I finally got around to trying the 250mm lens, along with the old back that I think is original to the camera(it's date coded 1961, and the camera body is 1960). I got good spacing and the 250mm looks just as great as the rest.
BTW, I've yet to see an MF lens with BAD bokeh(virtually all are primes of fairly simple construction, something that lends itself well to giving good bokeh). I hate to be that guy, but what I'm getting from the Zeiss lenses is heavenly. I'm still not convinced of the magic Zeiss "glow" but I still like what I see.
Note that in the above photo there's a little "portrusion" from the side of the 'blad. One of the things this kit came with was a Hasselblad-branded "bullseye" type bubble level that clips onto the side of the camera. It's a beautifully made piece that clips solidly into place, but it's handy for me given how badly I tend to tilt MF SLRs of this general construction.
Also-I mentioned above that I tried the "old" back. This outfit came with two-an A12 back from 1970, and original "12" back from 1961. On most reasonably modern medium format cameras, you thread the paper leader through the film path then start winding it up. Maybe 6-8" into the start of the roll is an arrow across the width of the backing paper. There's an index mark SOMEWHERE in the camera(usually two dots or arrows) that you line this up with, then close the back and the camera(or back) will lock and start the counter when you've reached the first frame(a standardized distance from the arrows). The Hasselblad "A" series backs, including the A12(120 6x6), A16(120 645) and A24(220 6x6) work this way.
120 film has frame numbers printed on the backing paper. On the oldest, and now the very simplest cameras(like the infamous Holga) you generally have a ruby window where you can watch these numbers go by and see where to stop for the next frame(better cameras would generally have a shutter under the window so that you only viewed it when advancing the film). As a side note, the ruby window only provides some level of protection for othochromatic film, and the vast majority of film since the 1950s has been panachromatic. The shutter with or without a ruby window is better . From the 1930s on, better cameras like the Rolleiflexes and Rolleicords I have from then would only require you to use the ruby window to advance to the first frame. You would then press a button to start the frame counter and close the shutter over the window. The early Hasselblad backs-up to 1970-work this way also. Of course, this system doesn't allow for the use of 220 film since it lacks backing paper the entire length(that's how it fits twice as many frames on the same sized roll).
One last thing-F&H(Rollei) figured out the single best and easiest medium format loading solution in the 1940s with the Rolleiflex Automat series cameras. Because the backing paper runs the entire length of the actual film, and the film is just stuck in side of it(taped at the start, and "tucked" the rest of the way) there is a difference in thickness where the film starts. On an Automat, you thread the film between two rollers. Once you've hooked the leader on the take-up spool and given it a crank to make sure it's going to "catch" you can just shut the back. The two rollers move apart when the film passes through them and trigger the start of the frame counter mechanism. F&H continued this as a Rolleiflex feature until they quit making them around 1970.
I finally got around to trying the 250mm lens, along with the old back that I think is original to the camera(it's date coded 1961, and the camera body is 1960). I got good spacing and the 250mm looks just as great as the rest.
BTW, I've yet to see an MF lens with BAD bokeh(virtually all are primes of fairly simple construction, something that lends itself well to giving good bokeh). I hate to be that guy, but what I'm getting from the Zeiss lenses is heavenly. I'm still not convinced of the magic Zeiss "glow" but I still like what I see.
Note that in the above photo there's a little "portrusion" from the side of the 'blad. One of the things this kit came with was a Hasselblad-branded "bullseye" type bubble level that clips onto the side of the camera. It's a beautifully made piece that clips solidly into place, but it's handy for me given how badly I tend to tilt MF SLRs of this general construction.
Also-I mentioned above that I tried the "old" back. This outfit came with two-an A12 back from 1970, and original "12" back from 1961. On most reasonably modern medium format cameras, you thread the paper leader through the film path then start winding it up. Maybe 6-8" into the start of the roll is an arrow across the width of the backing paper. There's an index mark SOMEWHERE in the camera(usually two dots or arrows) that you line this up with, then close the back and the camera(or back) will lock and start the counter when you've reached the first frame(a standardized distance from the arrows). The Hasselblad "A" series backs, including the A12(120 6x6), A16(120 645) and A24(220 6x6) work this way.
120 film has frame numbers printed on the backing paper. On the oldest, and now the very simplest cameras(like the infamous Holga) you generally have a ruby window where you can watch these numbers go by and see where to stop for the next frame(better cameras would generally have a shutter under the window so that you only viewed it when advancing the film). As a side note, the ruby window only provides some level of protection for othochromatic film, and the vast majority of film since the 1950s has been panachromatic. The shutter with or without a ruby window is better
. From the 1930s on, better cameras like the Rolleiflexes and Rolleicords I have from then would only require you to use the ruby window to advance to the first frame. You would then press a button to start the frame counter and close the shutter over the window. The early Hasselblad backs-up to 1970-work this way also. Of course, this system doesn't allow for the use of 220 film since it lacks backing paper the entire length(that's how it fits twice as many frames on the same sized roll). One last thing-F&H(Rollei) figured out the single best and easiest medium format loading solution in the 1940s with the Rolleiflex Automat series cameras. Because the backing paper runs the entire length of the actual film, and the film is just stuck in side of it(taped at the start, and "tucked" the rest of the way) there is a difference in thickness where the film starts. On an Automat, you thread the film between two rollers. Once you've hooked the leader on the take-up spool and given it a crank to make sure it's going to "catch" you can just shut the back. The two rollers move apart when the film passes through them and trigger the start of the frame counter mechanism. F&H continued this as a Rolleiflex feature until they quit making them around 1970.
Alright, so some more new toys.
A few weeks ago, someone brought in and sold a BUNCH of stuff to the local store. This is the new camera store, not the dim, piled to the ceiling, heavenly place where I spend most of my time.
In any case, the guy had some SUPER nice stuff, including both a Pentax 67 II and a Mamiya 7. Both are well out of my price range, but I wish I could cough up the $2500 for the Mamiya and all three lenses. Both the Pentax and Mamiya look to have hardly been used.
By the way, for those of you who don't know, these are both 6x7 format(120) film cameras. The Pentax is an SLR, and the first version basically looks like an overgrown K1000. This is in stark contrast to the much more common medium format SLR, which has more of a box-like shape. The Pentax forgoes typical features of MF SLRs like interchangeable backs, but unlike the Mamiya RB67 and RZ67(the two main other 6x7 SLRs out there-I'm a big RB67 user) the Pentax BEGS to be taken out in the field. The Mamiyas are hand-holdable are huge and bulky. The 67 II modernized things a fair bit and I think added some AE capability.
The Mamiya 7 is at the opposite end of the spectrum. It's an interchangeable lens rangefinder in 6x7. I've heard it called the "Texas Leica", but none the less it's probably the smallest and lightest quality MF camera you'll ever use(aside from the Mamiya 6, which is 6x6 and has a lens that collapses into the body). As a side note, "Bliss"-the default desktop for Windows XP-was taken with a Mamiya 7 on Velvia sometime in the late 90s(this was when there was only ONE Velvia, and it had a speed of 50-now we have Velvia 50 and Velvia 100, and there have been a few others over the years). The photographer happened to be driving through Napa Valley and the scene caught his eye. MS somehow or another saw it and loved it, and bought the image. Presumably the exact amount is still under NDA, but they paid enough that Fed-Ex wouldn't insure it and the photographer ended up flying the tranparencies to MS himself.
In any case, as much as I'd love to sell a kidney to buy the 7, it's not happening now.
That doesn't mean that I didn't benefit, however. I walked out on my first trip with a bunch of light stands, umbrellas, softboxes, and some neat darkroom stuff like an Ilford enlarger light meter. I also picked up a nice 16x20 easel for $25...I was sorely tempted by the enormous one(I think big enough to do 30x40) for $50 but decided that I can get away with the floor or the wall for the rare occasions I need a print that big.
While I was there, though, something caught my eye and sorely tempted me but I talked myself out of it. That was a box of Metz handle mount(AKA "hammer head" or "potato masher") flashes. I didn't look too closely through the box and talked myself out of it in the store, but for $50 I knew there was some great stuff in there. I remembered seeing a "digital control box" which meant that-with the right shoe(Metz hot shoes are generally interchangeable) it would probably give iTTL flash on Nikons.
I did a bit of research, then decided I couldn't go wrong with it for the price. I called the store as soon as they opened and asked them to hold it for me-something they were happy to do.
Metz may be a new name to some of you, but they've been around for a while. They are a German maker of 3rd party on-camera flash equipment. They are known for their handle mount flashes, although they also make excellent shoe mount flashes. Although they are a 3rd party brand, you don't buy them to save money like a you do with some of the Chinese brands. You buy them for a simple reason-they're top notch-even though they cost more than a comparable camera branded one(if such a one exists). Even the top Japanese makers tend to exaggerate the power of their flashes. In my experience, Metz errs on the side of caution and gives slightly lower than actual guide numbers.
I picked up the stuff last Friday. After I'd dug through and sorted it, I came up with the following items:
60 CT-4 Flash
60-40 flash
60 CT-4 battery pack
A bunch of battery pack to flash head cables, along with flash sync cables.
SC300 sync cable with an SCA3402 shoe(these pieces allow TTL flash on Nikon film cameras so equipped)
There was a second system in the box also, and in a lot of ways a more useful system. It's a 76 MT-5 I got it with the flash head/handle, a "control box" with the correct Nikon shoe adapter, and the P76 NiMH control box.
I've had some trouble getting it all going, but am happy to report that I have it now.
First of all, I had battery issues all around. I didn't get any chargers at all. The CT4 can ONLY work with an external battery-it's a big pack designed to be worn over your shoulder and uses a 6V SLA battery. The charger requires a special plug, but funny enough I went digging through my "junk box" and came up with a Metz branded wall wart with the exact plug required. Unfortunately, the SLA seemed to be beyond hope. As a latch ditch effort, I popped the vents off and tried added water, but couldn't get anything.
Fortunately, Metz still makes the "dry fit" battery for this pack, and B&H was only too happy to sell me one. I got it today and dropped it in. I let it charge for 8 hours as the instructions in the new battery said even though the charging light went off within an few minutes. Once charged, I popped it a bunch of times to help reform the capacitor. The pack contains BOTH the battery and the capacitor. As best as I can tell, it works perfectly as both an "auto" flash and in TTL on(Nikon) film cameras. BTW, the 60-40 is a secondary unit that can't function independently, but also is plugged into the 60 CT-4 pack and fires at the same time as the CT-4.
The 76 MZ-5 was the real find, though. Metz still lists it on their website, and B&H has it back-ordered but at a price of $1100. I also had some power teething pains with this. First of all, the P76 shoulder pack is optional, and uses NiMH instead of SLA. I initially couldn't get it to charge, but got it to with a bench PSU. Fortunately, it takes a standard barrel jack, so it was just a matter of finding the right voltage; There's also a battery in the handle. This takes a non-standard charger, but I was able to get it charged-again-with the bench PSU. Unfortunately, it's dead. I've ordered a second battery along with the correct charger, but don't have either yet. Once I have them, I'll rebuild the one I already have-it's just 6 AA cells.
In any case, it works perfectly on my D800 and throws a LOT more light than an SB800. It also nicely integrates with the camera and is feature comparable with things like an auto-zooming head.
A few weeks ago, someone brought in and sold a BUNCH of stuff to the local store. This is the new camera store, not the dim, piled to the ceiling, heavenly place where I spend most of my time.
In any case, the guy had some SUPER nice stuff, including both a Pentax 67 II and a Mamiya 7. Both are well out of my price range, but I wish I could cough up the $2500 for the Mamiya and all three lenses. Both the Pentax and Mamiya look to have hardly been used.
By the way, for those of you who don't know, these are both 6x7 format(120) film cameras. The Pentax is an SLR, and the first version basically looks like an overgrown K1000. This is in stark contrast to the much more common medium format SLR, which has more of a box-like shape. The Pentax forgoes typical features of MF SLRs like interchangeable backs, but unlike the Mamiya RB67 and RZ67(the two main other 6x7 SLRs out there-I'm a big RB67 user) the Pentax BEGS to be taken out in the field. The Mamiyas are hand-holdable are huge and bulky. The 67 II modernized things a fair bit and I think added some AE capability.
The Mamiya 7 is at the opposite end of the spectrum. It's an interchangeable lens rangefinder in 6x7. I've heard it called the "Texas Leica", but none the less it's probably the smallest and lightest quality MF camera you'll ever use(aside from the Mamiya 6, which is 6x6 and has a lens that collapses into the body). As a side note, "Bliss"-the default desktop for Windows XP-was taken with a Mamiya 7 on Velvia sometime in the late 90s(this was when there was only ONE Velvia, and it had a speed of 50-now we have Velvia 50 and Velvia 100, and there have been a few others over the years). The photographer happened to be driving through Napa Valley and the scene caught his eye. MS somehow or another saw it and loved it, and bought the image. Presumably the exact amount is still under NDA, but they paid enough that Fed-Ex wouldn't insure it and the photographer ended up flying the tranparencies to MS himself.
In any case, as much as I'd love to sell a kidney to buy the 7, it's not happening now.
That doesn't mean that I didn't benefit, however. I walked out on my first trip with a bunch of light stands, umbrellas, softboxes, and some neat darkroom stuff like an Ilford enlarger light meter. I also picked up a nice 16x20 easel for $25...I was sorely tempted by the enormous one(I think big enough to do 30x40) for $50 but decided that I can get away with the floor or the wall for the rare occasions I need a print that big.
While I was there, though, something caught my eye and sorely tempted me but I talked myself out of it. That was a box of Metz handle mount(AKA "hammer head" or "potato masher") flashes. I didn't look too closely through the box and talked myself out of it in the store, but for $50 I knew there was some great stuff in there. I remembered seeing a "digital control box" which meant that-with the right shoe(Metz hot shoes are generally interchangeable) it would probably give iTTL flash on Nikons.
I did a bit of research, then decided I couldn't go wrong with it for the price. I called the store as soon as they opened and asked them to hold it for me-something they were happy to do.
Metz may be a new name to some of you, but they've been around for a while. They are a German maker of 3rd party on-camera flash equipment. They are known for their handle mount flashes, although they also make excellent shoe mount flashes. Although they are a 3rd party brand, you don't buy them to save money like a you do with some of the Chinese brands. You buy them for a simple reason-they're top notch-even though they cost more than a comparable camera branded one(if such a one exists). Even the top Japanese makers tend to exaggerate the power of their flashes. In my experience, Metz errs on the side of caution and gives slightly lower than actual guide numbers.
I picked up the stuff last Friday. After I'd dug through and sorted it, I came up with the following items:
60 CT-4 Flash
60-40 flash
60 CT-4 battery pack
A bunch of battery pack to flash head cables, along with flash sync cables.
SC300 sync cable with an SCA3402 shoe(these pieces allow TTL flash on Nikon film cameras so equipped)
There was a second system in the box also, and in a lot of ways a more useful system. It's a 76 MT-5 I got it with the flash head/handle, a "control box" with the correct Nikon shoe adapter, and the P76 NiMH control box.
I've had some trouble getting it all going, but am happy to report that I have it now.
First of all, I had battery issues all around. I didn't get any chargers at all. The CT4 can ONLY work with an external battery-it's a big pack designed to be worn over your shoulder and uses a 6V SLA battery. The charger requires a special plug, but funny enough I went digging through my "junk box" and came up with a Metz branded wall wart with the exact plug required. Unfortunately, the SLA seemed to be beyond hope. As a latch ditch effort, I popped the vents off and tried added water, but couldn't get anything.
Fortunately, Metz still makes the "dry fit" battery for this pack, and B&H was only too happy to sell me one. I got it today and dropped it in. I let it charge for 8 hours as the instructions in the new battery said even though the charging light went off within an few minutes. Once charged, I popped it a bunch of times to help reform the capacitor. The pack contains BOTH the battery and the capacitor. As best as I can tell, it works perfectly as both an "auto" flash and in TTL on(Nikon) film cameras. BTW, the 60-40 is a secondary unit that can't function independently, but also is plugged into the 60 CT-4 pack and fires at the same time as the CT-4.
The 76 MZ-5 was the real find, though. Metz still lists it on their website, and B&H has it back-ordered but at a price of $1100. I also had some power teething pains with this. First of all, the P76 shoulder pack is optional, and uses NiMH instead of SLA. I initially couldn't get it to charge, but got it to with a bench PSU. Fortunately, it takes a standard barrel jack, so it was just a matter of finding the right voltage; There's also a battery in the handle. This takes a non-standard charger, but I was able to get it charged-again-with the bench PSU. Unfortunately, it's dead. I've ordered a second battery along with the correct charger, but don't have either yet. Once I have them, I'll rebuild the one I already have-it's just 6 AA cells.
In any case, it works perfectly on my D800 and throws a LOT more light than an SB800. It also nicely integrates with the camera and is feature comparable with things like an auto-zooming head.
Honestly one of my favorite camera accessories is probably the cheapest and it's this strap:
https://optechusa.com/e-z-comfort-strap.html
I have a Fuji XT2 and I don't really need a shoulder strap but the stretchy material on this make it really comfortable to me and it seems to fit the size and weight of the camera. Takes the pressure off the back of my neck and keeps the camera tight to my body and on my chest which is great for the camera and a wide angle lens which is what I usually shoot.
Now I'm starting to learn about lighting so I have a small on camera flash if I need it:
https://www.bhphotovideo.com/c/prod...lm_16241307_EF_X20_Shoe_Mount_Flash_for.html#!
And I also have a off camera TTL cable so I can use this off camera or I could use my old canon flash in manual mode. I'd like to get a more powerful flash but the Fuji one seems pretty pricy for a on camera so I was thinking of picking these up:
https://www.bhphotovideo.com/c/product/1381216-REG/godox_xprof_ttl_wireless_flash.html
https://www.bhphotovideo.com/c/prod...uipment_ad200_kit_ad200_ttl_pocket_flash.html
It comes in cheaper than the Fuji on camera flash and should be more powerful and allow me to do more off camera. Also the nice thing is I can expand to this if I want and pick up another flash or go with something more powerful but these seem pretty powerful for the size. Seems like this would be a good stepping stone to see what direction I would want to go with flash and I think no matter what if I get more into it or not this could be really versatile and useful even if I ever decided to change cameras. Definitely open to feedback though if there is a better option for Fuji as I'm really just learning about these.
https://optechusa.com/e-z-comfort-strap.html
I have a Fuji XT2 and I don't really need a shoulder strap but the stretchy material on this make it really comfortable to me and it seems to fit the size and weight of the camera. Takes the pressure off the back of my neck and keeps the camera tight to my body and on my chest which is great for the camera and a wide angle lens which is what I usually shoot.
Now I'm starting to learn about lighting so I have a small on camera flash if I need it:
https://www.bhphotovideo.com/c/prod...lm_16241307_EF_X20_Shoe_Mount_Flash_for.html#!
And I also have a off camera TTL cable so I can use this off camera or I could use my old canon flash in manual mode. I'd like to get a more powerful flash but the Fuji one seems pretty pricy for a on camera so I was thinking of picking these up:
https://www.bhphotovideo.com/c/product/1381216-REG/godox_xprof_ttl_wireless_flash.html
https://www.bhphotovideo.com/c/prod...uipment_ad200_kit_ad200_ttl_pocket_flash.html
It comes in cheaper than the Fuji on camera flash and should be more powerful and allow me to do more off camera. Also the nice thing is I can expand to this if I want and pick up another flash or go with something more powerful but these seem pretty powerful for the size. Seems like this would be a good stepping stone to see what direction I would want to go with flash and I think no matter what if I get more into it or not this could be really versatile and useful even if I ever decided to change cameras. Definitely open to feedback though if there is a better option for Fuji as I'm really just learning about these.
Last edited:
Here's one of the Metz flashes I mentioned above all fitted out and ready to go to a 1980s wedding.
c. 1978 production Nikon F2AS with an MD-2 motor drive, and of course the Metz 60 CT-4. The newest piece here is the lens-the Nikon 45mm 2.8P that was introduced with the FM3A in 2000 and discontinued in 2006. It's something of a "cult" lens and I had to pay an alarming amount of money for what is effectively a Tessar lens. The "P" means that it is a manual focus lens with a CPU-this means that it will meter and give full auto exposure on all but the most recent D3x00 bodies. Of course, it also works great on cameras like the F2AS.
This whole kit is probably 10+lbs.
c. 1978 production Nikon F2AS with an MD-2 motor drive, and of course the Metz 60 CT-4. The newest piece here is the lens-the Nikon 45mm 2.8P that was introduced with the FM3A in 2000 and discontinued in 2006. It's something of a "cult" lens and I had to pay an alarming amount of money for what is effectively a Tessar lens. The "P" means that it is a manual focus lens with a CPU-this means that it will meter and give full auto exposure on all but the most recent D3x00 bodies. Of course, it also works great on cameras like the F2AS.
This whole kit is probably 10+lbs.
This isn't STRICTLY a camera accessory, but I've managed to destroy 3 sets of lenses in my glasses with the unprotected eyepieces on several of my cameras.
Since rubber rings are ~$20 each and still don't do a perfect job, I "invested" in a second pair of glasses with glass lenses. Of course, the main purposes is to get something that won't scratch, but I never actually appreciated how much better(optically) real glass lenses are as opposed to plastic. Of course, they also weigh a ton and I'm most likely only going to wear them when I'm photographing, but they are a treat.
Since rubber rings are ~$20 each and still don't do a perfect job, I "invested" in a second pair of glasses with glass lenses. Of course, the main purposes is to get something that won't scratch, but I never actually appreciated how much better(optically) real glass lenses are as opposed to plastic. Of course, they also weigh a ton and I'm most likely only going to wear them when I'm photographing, but they are a treat.
Can't you do away with the glasses and just adjust the diope thing? You can buy viewfinders with stronger ones for some cameras.
Adjustable diopters didn't come along until the 1990s, and add-on eyepieces run the same cost or more as rubber bumpers.
Yes, Meike MK-320, Neewer NW320 - both exactly the same flash, but also made for Nikon, Canon etc. Make sure you get the Sony version as the hotshoe is different to anyone else's.
Full TTL, slave modes, bounce and swivel, 2 x AA batteries but if you use rechargeables there is also a charging port on the flash.
Can only find one on eBay USA, and it's used but should give you a better idea - https://www.ebay.com/itm/Meike-MK-3...-A5000-NEX-7/173536066359?hash=item28678e3b37,
but there are some on Amazon - https://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=meike+mk320+sony&rh=i%3Aaps%2Ck%3Ameike+mk320+sony.
Hope this helps; I've had one for a few years, both for Sony and Panasonic, and they are very good value.
Cheers
Hugh
Thank you! Much better than Sony's price.Yes, Meike MK-320, Neewer NW320 - both exactly the same flash, but also made for Nikon, Canon etc. Make sure you get the Sony version as the hotshoe is different to anyone else's.
Full TTL, slave modes, bounce and swivel, 2 x AA batteries but if you use rechargeables there is also a charging port on the flash.
Can only find one on eBay USA, and it's used but should give you a better idea - https://www.ebay.com/itm/Meike-MK-3...-A5000-NEX-7/173536066359?hash=item28678e3b37,
but there are some on Amazon - https://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=meike+mk320+sony&rh=i%3Aaps%2Ck%3Ameike+mk320+sony.
Hope this helps; I've had one for a few years, both for Sony and Panasonic, and they are very good value.
Cheers
Hugh