Looking for new film system, need users opinion

I'll forward my coffee fueled opinion and state that you should go with your mentioned thoughts and at least try the Nikon F3 route. If you want to alter the lens mix from more classical Nikon MF (which could be just fine depending on your tastes and needs) you could use the F3 with Zeiss ZF.2 primes.
For a Nikkor line up I'd suggest looking at
28 f/2 to start; try the Zeiss f/2 version to compare. Buy the 28mm Otus and call it a day.
At 35mm the choices get interesting. The Nikon 'G' 35 f/1.4 won't work on the F3 but I vastly prefer the very old 35mm f/1.4 N.C Nikkor F. Again; try the Zeiss and you may prefer that to make your ideal 'Cron&Tri-x' style.
For the 50mm I'd start with the 50mm f/1.2 Nikkor, again the very fine AF-S 58mm f/1.4 won't function properly on an F3 (we really really need a pro level film Nikon that can use these new lenses F7 please!). For that fun option the Milivus 50mm looks very interesting and as well the Otus 55mm will be the obvious end of the discussion.

To charm up the F3 consider the natural Titanium F3T or in basic black consider changing out the finder, the smaller finder is still quite doable with glasses and the lower profile and weight savings is apparent. Choose a DA-2 for its way huge finder view and over the top presence but watch out the glass in the finder is so easy to crack with the smallest tap on the brass finder cap. Choose a waist level or mag finder to shoot very stealthily and to be 'different'. You could get all the finders and choose as you desire and don't forget about the G and H screens which are Crazy in low impossible light. Have fun which is part of photography
 
HautenDandy said:
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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In that case, go with the Contax, reliability and sensibleness be damned. At least it won't be boring. In the end it's only a camera, and an unreliable camera you carry is better than a reliable camera on the shelf.
 
exa by Berang Berang, on Flickr


All you need is Exa.


cabriolet by Berang Berang, on Flickr

wall by Berang Berang, on Flickr

The common Carl Zeiss Jena 2.8/50 Tessar is a wonderful lens.
Not fast enough? The Zeiss Pancolar 2/50 is one of the better fifties made for any SLR system.

paint by Berang Berang, on Flickr

Or how about the sharp, but "old fashioned" rendering of the Schneider 1.9/50?

Untitled by Berang Berang, on Flickr

Ford Model T by Berang Berang, on Flickr

Untitled by Berang Berang, on Flickr

Need wides? There is the old but great Carl Zeiss Jena Flektogon 2.8/35:

Untitled by Berang Berang, on Flickr

honor by Berang Berang, on Flickr

The Flektogon also focuses down to less than 1'

not bees by Berang Berang, on Flickr

Need to go even wider? The Meyer/Pentacon 3.5/30 is classic.

Peugeot by Berang Berang, on Flickr

You can also use these lenses on a more complicated Exakta if you need more shutters speeds. As you can see from the photos above though, I usually don't need more than the Exa has.
 
 
I think two completely different systems would suit you best and cover the varied range of photography you deal with.

First, I'd suggest a Leica rangefinder. An M2 if you are happy using a handheld meter, or an M6 if not. Add either a Leica or Zeiss lens, or a 1950's Canon LTM if your budget doesn't stretch that far and/or you prefer a vintage low-contrast B&W rendering. This will cover all your street, dinner party and fast casual wedding shots.

For your product, architecture, macro and tripod based wedding shots, I'd definitely go medium format, and a Rollei SL66 is the perfect fit for you. It is wonderful for macro work with it's reversible lenses and built in bellows. It has built in tilt for architectural work and you can use leaf shutter lenses for high flash sync at weddings.

After six months you'll probably be addicted to medium format, so you can sell the Leica gear and buy something like a Mamiya 6 which is quieter, cheaper and takes much higher quality photos ;-)
 
If you like pretty cameras then the OM's are a great choice. Small and well made. I always thought Zuiko lenses had a distinct look, quite warm, not at all clinical.

I don't use my OM1n much because my Kodak Retina is just too good, but I'm considering selling the OM to fund a Nikon FE. Similar size, double exposure switch, exposure lock, much, much more (good) third party lenses.

For practicality, Nikon makes more sense. But why not get an OM with a late serial 50mm 1.4 and see how you go. Can easily sell again for the price you bought it.

Tunalegs is right about the old Tessars though, great for street, weddings, dinner parties sort of shots. Really warm and soft in a good way. The Exa is really fun and I love the shutter sound but it's totally impractical for 'people' photography.
 
HautenDandy said:
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?
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Most of the Contax bodies are so cheap it's just as simple to acquire 2 or 3 and have spares. The S2 excepted...

My RTS, 139, and 159 all work perfectly, and were-well cared for. The RTS is going on 40 years old...a little bit of patience and good, well-cared for cameras can be found, of any brand.
 
From the pictures above, I would say sharpness but many of the pictures aren't really sharp, I just know that out of all the lenses, I like the b&w and colors of the Leica and zeiss, I'll keep looking through canon, Nikon and Olympus today. Those exa shots are quite nice!

I have though about the rb67 as well but they look a bit large and I don't do the product shooting super often. I'm usually, for some reason, although it has no bellows, drawn to the Pentax 67.
 
The OP states "weddings" unfortunately..
Really one of a Families supremely joyous occasions!
Fashion, documentary etc, all show go to Medium Format in a Hasselblad 500 series.
A few lenses, the 50mm, 89mm, 100mm, 135Makro and 250 Sonnar.
A few backs of standard 6x6 format.
The Stovepipe finder, Meter prism.
No 35mm comes close in quality images.
 
HautenDandy said:
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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The ALPA 12 is one of the medium format models produced by Capaul and Weber. It's only real connection to the classic Pignons-manufactured SLRs from Ballaigues is the name. The last main series of SLRs to be produced by Pignons were the various 11 models—the 11el, 11si etc. Perhaps it was one of those you examined?

There are many more affordable options than ALPA. But if you like them and would simply enjoy the experience of using one occasionally, the earlier 5, 6 and 7 series are a little more affordable than later types with viewfinder eyepiece at the conventional angle for an eye-level SLR. They mostly came with the earlier non-macro version of the 50mm Switar f/1.8 which although it will not focus as closely is still excellent. I have a 7 and 50mm Switar myself although it's waiting for me to finish fixing cameras for other people before I can make it work again. Unsurprisingly, I am very keen to do so.
Cheers,
Brett
 
DrMcCoy said:
I'd argue that the M5 is quieter and faster in the right hands. Worth checking out vs M7.
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I have both and the M7's electronic shutter is quieter than the M5's mechanical one. The M7's smaller/denser body also seems to muffle the sound better.
The M7 is faster to use if in AE mode, in manual I would say the M5 is faster.

I didn't say the M7 is my favourite M. That would be the M5 because most of the time I'm not in a hurry, the sound difference is miniscule and the M5 is so freakin' awesome in so many other ways.

(but being honest here, any film M I pick up is my favourite when in my hands!)
 
HautenDandy said:
Hello all,

I recently sold off all my nikon full frame gear.



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...
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Are you saying you are going to make it all on film?

Have you consulted with your customers on incoming change on how photos are going to looks like and on decreasing amount of photos you'll be able to provide?

How you are going to offset your increasing cost due to film purchase and film processing? Increase price for customer or make it less for living?

I hope, you will find customers who will accept less pictures, differently looking and in less quantities. Personally, I'm not into it after some of my customers refused to take it on film.
I think, you'll only succeed if you will marketing it as the art.

Wishing luck, with increasing price on color film and decreasing number of original emulsions, it will be needed.
 
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.
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Not sure what your budget is, but i'd say you should get the best Film DSLR body ever made, the Nikon F6. You then have a tremendous amount of lens options at all different price points to fit your budget. Otherwise, I'd recommend the Leica M6 TTL or M7 if your budget is willing and able.
 
Ko.Fe. said:
Are you saying you are going to make it all on film?

Have you consulted with your customers on incoming change on how photos are going to looks like and on decreasing amount of photos you'll be able to provide?

How you are going to offset your increasing cost due to film purchase and film processing? Increase price for customer or make it less for living?

I hope, you will find customers who will accept less pictures, differently looking and in less quantities. Personally, I'm not into it after some of my customers refused to take it on film.
I think, you'll only succeed if you will marketing it as the art.

Wishing luck, with increasing price on color film and decreasing number of original emulsions, it will be needed.
Click to expand...

I've had wedding clients who pay the premium for some of it shot on film, but I always mixed digital and film to balance costs. I once shot a wedding where all group photos were done on a hassy medium format, then wet printed 16x20 and sold for a premium back to the client. All other photos at the wedding were digital.

I had clients though ask up front, "how many photos will you take and how many will you provide?" After explaining that the number of photos wasn't the best litmus for my services, sometimes I got, "Well, the last photographer said he'd take over 10,000 and provide us with at least half." :bang:
 
HautenDandy said:
Hello all,

I recently sold off all my nikon full frame gear.
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I missed that part. Shoulda kept the lenses and bought an F6. It can use all Nikon lenses from AI to G.
Should then have got an F2as to use alongside for that vintage appeal.

Seems a weird move to make w/o having decided what to replace it with.

FYI a used F6 is about $700-$800. And it you didn't like it you could have sold it for the same.
 
huntjump said:
I've had wedding clients who pay the premium for some of it shot on film, but I always mixed digital and film to balance costs. I once shot a wedding where all group photos were done on a hassy medium format, then wet printed 16x20 and sold for a premium back to the client. All other photos at the wedding were digital.

I had clients though ask up front, "how many photos will you take and how many will you provide?" After explaining that the number of photos wasn't the best litmus for my services, sometimes I got, "Well, the last photographer said he'd take over 10,000 and provide us with at least half." :bang:
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It depends on location. These days somewhere in Toronto where more of the artsy people are, offering film only (as OP into after selling all of digital Nikon's FF gear) service might have some bites.

I know one ex-professional photog who was great on film and weddings. But one day where he was running his two studios demography has changes and instead of 200 guests it became 500 guests weddings. So, he quit for good and only years later he stated on his blog what he could do it again, but on digital only. Then he realized what I switched to film from digital, he called me as hipster and told to say goodbye to family, which I'm about to see less due to film processing and else. He was 100% right. I never spent so much time alone in the basement before going film.
 
Ko.Fe. said:
I never spent so much time alone in the basement before going film.
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In the dark, behind a locked door with no phone and no interruptions? You say it like it's a bad thing!;)

Lots of good suggestions above. Since the OP is doing this for money, reliability and repairability have to factor in. I'd back the F6 for that reason alone, and I'll add that it is the quietest SLR I have ever heard.
Were it for fun, I'd go with Olympus OM, and some of the Zuiko lenses are simply gorgeous.
I have a pair of each of the above and no regrets.
 
I'd go with a Leica SL2 and classic glass of your choice. Alternatively there are options like Angenieux or adapted Nikkors.

A rock solid SLR with classic lines and a great viewfinder.

B2 (;->
 
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