My Experiences With The Bessa III So Far

I was not interested in the Bessa III, but now that I know I can photograph chia pets and still be regarded as an arty dude ... I'm in.

A note on Fujinon lenses ... I have not done any in-depth tests, but I have owned 7 Fujinons -- three LF, four enlarging. I would say sharpness is their primary characteristic. I am interested in using the LF lenses at larger apertures to explore the OOF look, but am not expecting to be blown away. But you never know ...
 
How is the film advance on this camera? It looks like a knob on the top where you line up the frame numbers in the window in the back, or is there a ratchet type system?
 
degruyl said:
How is the film advance on this camera? It looks like a knob on the top where you line up the frame numbers in the window in the back, or is there a ratchet type system?
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No window in the back. You just turn the knob until it stops. There's an automatic frame counter, too.

Basically the film advance is the same as with any other modern camera with the only difference that it has an knob instead of a lever.
 
degruyl said:
How is the film advance on this camera? It looks like a knob on the top where you line up the frame numbers in the window in the back, or is there a ratchet type system?
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The Bessa III has really amazing technology. You wind the knob until it stops. Take a picture. Wind the knob again. It's even clever enough to know that you've already taken a picture and won't let you take another until you wind the film on. There's a nifty window on the top to tell you the frame number. And when you come to the end, it keeps on going until all the film is on the take-up spool. I hope Fujifilm have patented all this otherwise every manufacturer will be doing it and digital will die in the bum.
 
Stephen Best said:
The Bessa III has really amazing technology. You wind the knob until it stops. Take a picture. Wind the knob again. It's even clever enough to know that you've already taken a picture and won't let you take another until you wind the film on. There's a nifty window on the top to tell you the frame number. And when you come to the end, it keeps on going until all the film is on the take-up spool. I hope Fujifilm have patented all this otherwise every manufacturer will be doing it and digital will die in the bum.
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All kidding aside from Stephen, everything is perfectly human-proof. You simply can't expose the film except for at the obvious times you'd be using the camera (i.e., it is open, on an unexposed frame and ready to shoot).
 
It actually makes sense that there's a knob instead of a lever. Firstly, there's no shutter to be cocked so you don't need the force and single stroke a lever would allow. Secondly, and more importantly, due to the switchable format size of 6x6 and 6x7 the film needs to advance differently for each format which would result in the lever stopping at different positions. That would be very awkward.
 
I was told the knob was used to reduce the force put on the film.
 
Way said:
Hope you enjoy and use your Bessa III as much as I have! I haven't any negative feelings about the bokeh of the lens when wide open but it probably isn't as beautifully smooth as the Hassy's 80mm at 2.8. Here's two shots showing the Bessa III wide open. Sorry for posting these again but it's just to illustrate a point about the bokeh.

U1141I1250867318.SEQ.0.jpg


3912547952_52e8712275_o.jpg
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Compare a recent Hasselbald with same type of forward subject with distant background. In my neophyte opinion, the OOF is better on the Hasselblad.

http://www.flickr.com/photos/33946021@N04/3997069744/sizes/l/

I love this camera, but it definitely (for me) doesn't replace the 'blad. Does it really have to?
 
Way said:
Hope you enjoy and use your Bessa III as much as I have! I haven't any negative feelings about the bokeh of the lens when wide open but it probably isn't as beautifully smooth as the Hassy's 80mm at 2.8. Here's two shots showing the Bessa III wide open. Sorry for posting these again but it's just to illustrate a point about the bokeh.
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Ah, NOW I understand what everyone is talking about. The background looks agitated, disquiet. Yes, definitely the out of focus areas on the Plaubel 670 are all silk in comparison. The older I get the more I'm aware the Plaubel is a work of genius.

On the other hand there is definitely a place for slightly "nervous" backgrounds.

--
Jan
 
Shutter Sound?

Shutter Sound?

John, Stephen and anyone else with the new Bessa III, how quiet is the shutter? Can you say it would not be heard in a classical music performance? I'm impressed with a remark that the shutter was so quiet that one isn't sure it fired! That sound promising and how true is that statement?

Thanks,

Asher
 
Asher Kelman said:
John, Stephen and anyone else with the new Bessa III, how quiet is the shutter?
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Quieter than some of the programme fiddlers and lolly paper unwrappers that I've had to put up with over the years! I reckon you'd get away with it. It's not a sound that anyone would recognise as a shutter so if the person just in front heard it during a pause in Cage's 4'33" (joke) they probably wouldn't twig. Cameras aren't allowed at most concerts I go (or rather used to go) to though.
 
Stephen Best said:
Quieter than some of the programme fiddlers and lolly paper unwrappers that I've had to put up with over the years! I reckon you'd get away with it. It's not a sound that anyone would recognise as a shutter so if the person just in front heard it during a pause in Cage's 4'33" (joke) they probably wouldn't twig. Cameras aren't allowed at most concerts I go (or rather used to go) to though.
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Thanks, Stephen,

How would you compare the shutter sound to that of Leica's or other quiet shutters you might reference? At the moment I'm using a 5DII but have to wait between the music pieces or get them to replay at the end after the applause and the folk are leaving! Some of my work is here. I am thinking that a stealthy MF film camera might allow me to shoot during the performance. The 80mm means I'd have to do it close to the front but, that's do able.

The other issue in shooting concerts is the massive dynamic range but overall low light. The stage lights are overhead. By eye, everything looks fine. In pictures, if one doesn't use -1.5 Ev the heads, shoulders and arms vanish as they are over exposed to white out! So I guess I'd do the same with film. If the Bessa III is really quiet, it might be a great tool for music performance photography.

I appreciate any further ideas you might have.

Asher
 
hi Asher,

I also enjoy photographing classical musicians in rehearsal and performance (if allowed). I agree that the clothing and lighting make for difficult metering. The DSLR's ability to crank up the iso is really helpful in these shots. You photos wonderful and I see that you often use iso 2000 or higher so I don't know if using film will yield less grainy results, even in MF. Also with the Bessa you will not be able to focus closer than about 3 feet (as in your oboe picture).

I think the shutter of the Bessa III is one of quietest that I've heard, even more so than the Leicas. It would work great for a classical music setting BUT the shutter sound will not be the problem. It's the ratcheted film advanced that will be heard and that's even worse because even though it's not terribly loud, advancing the film takes a few turns and that "zzzzzzit - zzzzzzit - zzzzzzit" sound lasts longer than a little "click".

The DSLR's are very useful for your shooting. iso 4000 looks pretty darn good! You're already using the high end of the DSLR cameras and seem to be doing a fine job. I would keep trying to improve your technique in getting the exposure right and that way you reduce the noise problem. If possible it might be best to get handheld meter reading of the stage before hand, use a grey card to make a custom white balance, and shoot in manual mode. If you're shooting Raw than you can always fix the WB later but I like to get the WB right at the time. Sometime it's difficult to do this because the venue will not light the stage until the concert begins. But if the WB is really off you can always convert to B&W - always a good look for classical performances 😉. In a classical music venue the lighting will stay consistent (unlike a rock concert) so once you set the exposure manually you can pretty much forget about it and just shoot. But the great thing about digital is the ability to immediately see your results and fix your exposure accordingly. Check your histogram.

If you really want MF and a quiet shutter (film advance), then maybe the Mamiya 6 or 7/7II is the way to go. You can also change lenses and all of them are outstanding, especially the wide angle lenses. If you want a quiet 645 camera then the Bronica RF645 is also scary quiet. Good luck!
 
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Leaf shutters are extremely quiet. (I have a Mamiya 7, which you might swear was not clicked, even if you pressed the button. If there is any other noise nearby.)

SLRs, not so much. The mirror tends to make a lot of noise.

Winding, not so much, either. Although I would not consider the Mamiya loud.
 
Way said:
It's the ratcheted film advanced that will be heard and that's even worse because even though it's not terribly loud, advancing the film takes a few turns and that "zzzzzzit - zzzzzzit - zzzzzzit" sound lasts longer than a little "click".
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I agree. The winder would be the main issue here but you could muffle this somewhat by wrapping the camera in your jacket (or whatever) for the wind.
 
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