Looking for new film system, need users opinion

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HautenDandy

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Hello all,

I recently sold off all my nikon full frame gear.

Now in search of a film system.

I do street, product(clothing), architecture, hoighty toighty dinner parties(in which queitness is needed), occasionally and unfortunately weddings. I love shooting in low light, street brassai style only maybe not the painterly long exposures breathtaking as they are.

I find the quietness of the canon P rangefinder exceptable, thats really all i have to go off of for noise.

Im looking at either Nikon f3hp(i think its ugly plain and simple)

I put alot in touchy feely aesthetic loveliness. Yes i think the Alpas are the most beautiful things ever, but ive heard they are not reliable and lenses/adapters are a pain for them.

A canon f1 new, I think this is attractive looking.

Olympus om2n 4ti 3. because they are quiet elegant and lovely looking, i only fear that the glass doesnt give quit the desired affect i look for in the lenses, i could be wrong.

Leica M i fear it wont do the type of closeup work that i sometimes like to do.

Leicaflex sl2

contax s2

For lenses/ focal length

I like 28 35 50. I dont use anything else.

The aesthetic/rendering of lenses, this is of course partially corrupt because i have only seen them from flickr but i try to look for pictures shot with films i shoot.

summicron summilux 35/50 canon 50 1.2L voightlander new 50 1.5m 58 1.4 nikon i think?

I would go with olympus in a heart beat if i knew they could deliver the astoundingness of the cron/lux tri-x look. For its size.

The only only reason i dont immediately look for a m2/4/5 is not only glasses and lost 28mm frames but because i like to do closeup/macro work, although i do nothing on a flies eyes level of macro, that and maybe because the summis are 2-3k but i even like the look of the pre asph.

I may be wrong but zeiss, with exception to the IIa range finder lenses, looking to be ultra clinical, sharp precise and emotionally cold, i could be wrong.

If anything else delivers looks like these lenses i would be happy to know

I know the canon 1.4 performs just as well or better then the 50L but it certainly doesnt have the exact combination of sharp/contrasty loveliness.

I also wear glasses is the only reason i mention the nikon f3hp, again i think, as far as italian designs go, that it is morbidly ugly.

Thank you everyone after posting your opinion/user experience, then please feel free to exhale your hate at me for starting another one of these horribly disgusting threads.
 
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Contax/Yashica 28/2.8 Distagon, 35/2.8 Distagon, 50/1.4 Planar, lots of body options. :) Beauty is in the eye of the beholder, of course, those Zeiss lenses aren't emotionally cold to me, your mileage may vary.

The 28/2.8 focuses very close, 0.25m, the 35mm to 0.4m.
 
• Contax RX or Aria.
• Nikon FM3a or FE2. I have both the FE2 and F3HP, and prefer the FE2, except for having the rewind lever serve as the 'on/off' switch.
• Pentax LX. Except that i don't trust the reliability. I tried two samples, and both had issues. But, i plan to try again.... The 50mm lens is awesome, and the viewfinder is spectacular.
 
Contax Aria is very quiet.
With benefit of built-in drive and it's small/light.
Quieter than Olympus OM1/4 that I have.

I use on Aria 2.8/25mm, 1.4/35, 1.4/50, 2.8/60 macro, 1.4/85, 2.8/180.
Not all at same time.
Those Zeiss lenses are fabulous.

I use mainly Leica M so I can compare Leica/Zeiss.
Leica reflex are very large/heavy (Lastly Leica R6 may be the last compact Leica reflex that I use)
 
I've always been a predominant Nikon & Leica user BUT I love the Canon FD line, the Olympus OM and many others. If money isn't an issue (and I can't comment on the Contax line having never owned any) I would go with the Leicaflex. The 60 macro lens is outstanding for a normal lens. I'd go with the 24 & 35. I prefer the SL2, never really liked the ergonomics of the R4 ~R7 line and I have at two or three R3 paper weights (not the most reliable).
 
Normally use Leica M6 and Olympus 4ti. Zuiko glasses are pretty nice and most of them are on the budget range . Also (this what I love of them) they are pretty compact so a pleasure to use (I like compact system). Zuiko 28 or 24 are great glasses.


Regards

Marcelo
 
I too have had an Aria, but currently use a 159MM. Contaxes have great bright contrasty viewfinders that just snap into focus. I've owned RX, ST, RTS, 139, 159, Aria...they all have slightly different features. I like the 159 due to the red LED aperture indicator and 1/4000 top speed, and it has a rubberized covering that doesn't disintegrate like coverings on the other models, although there are many cover replacement options on the market. I don't have a need for a motor, manual wind is plenty good for me, but I guess all those have motors built-in or motor options.
 
Nikon F6. Best film slr for af or mf lenses. Very quiet.
Leica M7. Quietest Leica M and super quick to use.

Get one of each.
 
I'd highly recommend the Canon New F-1, as you suggested. It feels about as good as a Leica IMO (nice brass top and bottom plates, heavy and extremely solid). Plus it is extremely versatile (aperture priority and shutter priority modes available with the right accessories) and as durable as it gets. Plus, the FD line has excellent entries in the 28-35-50 focal lengths you're looking for. Pick up a New F-1, 28mm f2, 35mm f2 and 50mm 1.4 and you have a setup that's about as good as it gets. You've also got the option of wonderful L glass in the 50 1.2 and 24 1.4, both of which speak for themselves.

I'm also a glasses user and, even with fairly thick glasses and a rubber protector ring, I can see the whole viewfinder of the New F-1 with its standard prism. I also own an Oly OM-2, Nikon F and Leica M4, and the F-1 is by far the most glasses-friendly for me.

Another bonus is that the Canon FD gear is quite cheap compared to other systems, I put together a 3-lens kit (24-35-50 and New F-1) for about $500.
 
Ill look for the pictures with the zeiss lenses and tri-x.

For the aria, my same problem with it would be what i have with the contax g series. Auto rewind and no advance lever for my to fiddle with. ;):D

Would the M series be able to do standable close up work with the visoflex and bellows or is it uglier then sin?

The most close up shots i do, would be like this.

https://www.flickr.com/photos/101244830@N05/36120907712/

I would, even if heavy, go with the SL2. I just worry if the mirror is obscenely loud, some of the hoighty toightys upset easily.

If the olympus 28/2 35/2 gave good and sharp contrasty results about like the cron or lux I would, I prefer to shoot black and white as I perhaps, despite being a clothier, and color illiterate.
 
HautenDandy said:
I would go with olympus in a heart beat if i knew they could deliver the astoundingness of the cron/lux tri-x look. For its size.
Click to expand...

They do. Just get the right lenses. For example, 28/2, 50/2 macro or 50/1.2, and 90/2 macro. Avoid 35mm. The two macro lenses are second to none. The 28/2 is great, but not as good as the 28 Summicron (but then again - what is ?) The 50/1.2 is better than the pre-asph Lux, and small.

If you don't mind spending 200-300 bucks, the OM 4TI is the best first body.

Roland.
 
Nikon F3hp would be good for an eyeglass wearer.

My experience with the FE2 and FM2 is that an eyeglass wearer can't see the whole frame.

- Murray
 
Another thing about the Canon new F-1 is the price. I sold a mint one antique store find a couple years ago for 150 I think. They are cheap for what you get.
 
Huss said:
Nikon F6. Best film slr for af or mf lenses. Very quiet.
Leica M7. Quietest Leica M and super quick to use.

Get one of each.
Click to expand...

I'd agree with both these cameras. I think the new G lenses work on the F6. If you're doing serious architecture work for architects and contractors you need PC lenses. Nikon has a new 17pc that's insanely good and the 24 is as well. I do a lot of work for architects and couldn't do without my 24. For product I have the 85 PC and use it quite a lot. I owned the 28 of for years and it's quite good as is the last generation 35pc.

I would put the aesthetic thing out of my mind and pick the best most reliable system that can be easily repaired at a reasonable cost with the best and widest selection of lenses. Honestly I'd put everything out of my mind other than Nikon and especially the F6. It really does everything the best.

I've owned Leicaflex and bought them when they were in production. The lenses were fine but the bodies were terrible. I used them professionally but didn't abuse them and the bodies were constant trouble. I would never consider a leicaflex sl or sl2. A botanist friend used them for years and had several. The meters have problems often.

Why are you not going digital? Curious.
 
Many, many options here.

F6 is great but far more pricey than other options. Reliability is a factor but it's pretty easy to have multiple backups for less than half the price of an F6. If Nikon glass is the choice, a couple of F100s can be acquired for minimal cost.

Pick the glass first.
 
The F100's are nice. I own one to use my G glass on. I've had a couple and like them a lot but the F6 is much newer and think you can still get new ones. They're not that expensive. If you can buy Leica glass you can buy a new F6.

Look at the choices in the new AF glass, 20 mm f1.8, 24 f1.4, 28 f1.8, 35 f1.4, 50 f1.4 and 1.8, 85 1.4 and 1.8 and 105 1.4. Then you have all of the D and MF glass. There's not a more versatile, complete system on the planet and no one has better service than Nikon. If you're a full time pro you can join NPS and get priority 3-5 day turnaround on service and loaners at no charge if your camera is in service and you need a body or lens they send it to you until your equipment is repaired, no questions no charge other than shipping. Nikon also loans virtuall all their pro gear at no charge. They won't let you keep it for ever but for special needs they'll provide equipment at no other charge than shipping. Pay attention Leica!!!

Nikon NPS provides support at special functions like the Kentucky derby among others where they do on the spot repairs and have loaner gear at no charge. If you're a full time pro you can be a part of this at no charge. Also as an NPS member you get new releases of equipment before even the dealers. I bought two D1x bodies that way and had them well ahead of even B&H.
 
HautenDandy said:
Hello all,

I recently sold off all my nikon full frame gear.

Now in search of a film system.

I do street, product(clothing), architecture, hoighty toighty dinner parties(in which queitness is needed), occasionally and unfortunately weddings. I love shooting in low light, street brassai style only maybe not the painterly long exposures breathtaking as they are.

I find the quietness of the canon P rangefinder exceptable, thats really all i have to go off of for noise.

Im looking at either Nikon f3hp(i think its ugly plain and simple)

I put alot in touchy feely aesthetic loveliness. Yes i think the Alpas are the most beautiful things ever, but ive heard they are not reliable and lenses/adapters are a pain for them.

A canon f1 new, I think this is attractive looking.

Olympus om2n 4ti 3. because they are quiet elegant and lovely looking, i only fear that the glass doesnt give quit the desired affect i look for in the lenses, i could be wrong.

Leica M i fear it wont do the type of closeup work that i sometimes like to do.

Leicaflex sl2

contax s2

For lenses/ focal length

I like 28 35 50. I dont use anything else.

The aesthetic/rendering of lenses, this is of course partially corrupt because i have only seen them from flickr but i try to look for pictures shot with films i shoot.

summicron summilux 35/50 canon 50 1.2L voightlander new 50 1.5m 58 1.4 nikon i think?

I would go with olympus in a heart beat if i knew they could deliver the astoundingness of the cron/lux tri-x look. For its size.

The only only reason i dont immediately look for a m2/4/5 is not only glasses and lost 28mm frames but because i like to do closeup/macro work, although i do nothing on a flies eyes level of macro, that and maybe because the summis are 2-3k but i even like the look of the pre asph.

I may be wrong but zeiss, with exception to the IIa range finder lenses, looking to be ultra clinical, sharp precise and emotionally cold, i could be wrong.

If anything else delivers looks like these lenses i would be happy to know

I know the canon 1.4 performs just as well or better then the 50L but it certainly doesnt have the exact combination of sharp/contrasty loveliness.

I also wear glasses is the only reason i mention the nikon f3hp, again i think, as far as italian designs go, that it is morbidly ugly.

Thank you everyone after posting your opinion/user experience, then please feel free to exhale your hate at me for starting another one of these horribly disgusting threads.
Click to expand...
You've posted this in the SLR forum so I presume you're referring to the Pignons ALPAs, not the new medium format ones.

I've played with Alpas a bit recently. Yes they are certainly beautiful. The Prisma I had here for a few weeks was one of the most exquisite cameras I have ever seen although nowhere near as user friendly as the late Alpa models. Alpas have a reputation for developing inaccurate shutters, which is borne out by my limited experience with them. They like to cap or taper. To be fair, though, as a type that has been firmly in the collectible category for a number of years, I suspect that few of them are used regularly these days, or even semi-regularly, and many older focal plane shutter designs will be inclined to misbehave if they've been unused for extended periods. So perhaps they're not as bad as their reputation suggests if they receive at least occasional use? One of our members here, Chris, has owned a pair for many years and tells me his are still working very well.

Not sure what you mean about the Alpa adapters being painful? Painful to the hip pocket, perhaps?

I sold a Alpa--> Nikon lens auto adapter a few weeks ago and thought it was a beautifully made item. I tested it with a couple of manual focus Nikkors and it worked flawlessly. Stop down metering would apply to Nikon lenses on Alpa bodies but this is the same as native Alpa mount lenses, of course, but it seemed to be a seamless adaptation to me. I've got an M42 auto adapter here too and, again, it's a beautifully machined and finished part, with no slop, and a stop down system that closes lens apertures as crisply and effectively as most native M42 bodies.

I think the biggest argument against using Alpas is the cost of a couple of bodies and some native lenses. As covered above you can certainly use lenses from other makers. With probably the shortest lens register of any series production 35mm SLR more lenses can be adapted to Alpa with infinity focus than perhaps any other system. But what's the point of shooting with them if you're not going to enjoy the unusual, and sometimes unique lens options they had? Also, the lens prices are even higher than the bodies and can make Leica glass look cheap in some cases (a 100mm f/2 Kinoptics sold for over AUD $7000 in the last Westlich auction, recently). I've got an excellent example here at the moment, and it won't be going anywhere until I've done some shots with it, but keeping it is completely out of the question for me, sadly.

I also tested a black 11si and f/1.9 Macro Switar recently and it's in perfect working condition and cosmetically superb, but I wouldn't expect it to sell for much less than $5,000 considering what a slightly less tidy example fetched at Westlich's last sale. I ran a roll of film through it and enjoyed it immensely. But if you want your cameras to work for a living, are you OK with paying Alpa prices for what are, (undeniably exquisitely made) manual focus bodies with stop down metering? I don't use built in meters very much, personally, and prefer manual focus cameras so this wouldn't faze *me*. But I'd rather sit in a dentists chair and pull my own teeth, than shoot another wedding, (I've done a couple and hated them), so, whether or not you would rate an Alpa as the ideal tool for recording nuptials I have no idea. The later types are very quiet, though, I will give them that.

I am not sure if I should be drawing this to your attention or not, but I did start a thread here a few months ago which I add to every so often, with information and photos relating to a bunch of Alpa equipment. I think there are much more affordable and easier to live with options than classic Alpa equipment for paid work in 2017, nevertheless, FYI...
Cheers
Brett
 
x-ray said:
I'd agree with both these cameras. I think the new G lenses work on the F6. If you're doing serious architecture work for architects and contractors you need PC lenses. Nikon has a new 17pc that's insanely good and the 24 is as well. I do a lot of work for architects and couldn't do without my 24. For product I have the 85 PC and use it quite a lot. I owned the 28 of for years and it's quite good as is the last generation 35pc.

I would put the aesthetic thing out of my mind and pick the best most reliable system that can be easily repaired at a reasonable cost with the best and widest selection of lenses. Honestly I'd put everything out of my mind other than Nikon and especially the F6. It really does everything the best.

I've owned Leicaflex and bought them when they were in production. The lenses were fine but the bodies were terrible. I used them professionally but didn't abuse them and the bodies were constant trouble. I would never consider a leicaflex sl or sl2. A botanist friend used them for years and had several. The meters have problems often.

Why are you not going digital? Curious.
Click to expand...

First underline;
The 24, 45, and 85mm PC lenses are PC-E, so it's manual aperture control on the F6 (or any Nikon film body that it will mount on), while the newer 19mm PC-E will have no aperture control on the F6 (or any Nikon film body) at all, it will be wide open all the time.If you want to do tilt and shift on film, I would only recommend a Canon EOS as it's the only system that you can use the latest lenses on.

Second underline;
The OP says they have just unloaded all their Nikon Full Frame kit, which I assume refers to digital. They then think about the F3 as a film replacement, so I would assume that they aren't after the latest G lenses (which you would assume they sold already).
 
I'm a man seething with all the hatred of the photographic world right now, I had written a lengthy reply snd my always faithfully ****ty iPhone derails my complete happiness by deleting it.

I'll simplify.

Alpa s are amazing feeling. The one I got to momentarily fondle, was a 12? Perhaps? All black body with a very well made alpa m42 adapter on it with voightlanders newest m42 lens, which is extremely lovely. I can't justify 5k for a alpa body and switar just now but I'm looking at a 10d body and a 35 curtagon. An Nikon to alpa adapter is about the only thing that would turn me back to Nikon glass.

The canon f1new is still the second most gorgeous. Even canons old brushed metal lens caps.

The ops crush everything with their supreme elegance but I still don't see a super lot of what I look for in the 28/2 and ironically, even the I need the faster lens. More pictures from the 2.8 have more of what I seek picture wise. The 50 1.2 has "the look" I'm seeking.

The contax s2 and 28 Hollywood or 35/1.4 hold most outside of crown lux look, they aren't the same but do indeed have a very alluring zeiss steaminess to them. Color or b&w. Are the contax bodies still reparable in the US? Are they somewhat reliable?

To answer the question of why I don't go with the most "sensible" choice Nikon, is because I'm one of those people that like to love the tools I'm working with, coming from a very long line of craftsmen o have learned a master can make do with what tools are before him, but when your tools crease your face with a smile, magic is easier done. I would take my Ricoh gr to any job over my Nikon ff's. With that said. The original Nikon f or f1, f2 titanium, fm3a are appetizing to hand and eye.

At this point I'm still in between these three systems (contax, Olympus, canon)
 
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