arne
Newbie
I am looking for people who have experience using a Plaubel Makina W67. Before I commit to buying a W67 I would like to see how much difference there is in the angle of view and so forth between a W67 and a Mamiya 7 with the 50mm. I want to use it to do documentary work with people, similar to using a Leica with the 24mm, but I want the larger medium format quality. Thanks!
Jim Watts
Still trying to See.
Arne,
I only saw this post after first replying in the Mamiya Thread.
I can't really give you a comparison of the angle of the 50mm on the Mamiya 7 to the 55mm on the Plaubel as I only have 50mm on Mamiya 6, just offer my own opinion on the the angle of view I prefer.
For me I think the 50mm would be a little too wide and I would not be too keen on a seperate viewfinder and the lack of the ability to check focus quickly because of the relative lack of depth of field for zone focusing on 6 x 7 as compared to wide angles on 35mm unless well stopped down. I also shoot on the Leica (and lately an R-D1), but my favourite lens on this is the 35mm Cron. I do have a VC 25mm, but the Cron gets the most use for street pictures.
Because of the aspect ratio of 6 x7 compared to 35mm film I do prefer a comparatively slightly wider angle lens for this format for shooting on the street. I do find the 55mm ideal, but if I went to the Mamiya 7 I would check out the 65mm especially as you don't need a seperate finder.
A couple of "documentary" style pictures attached to give you some idea of the angle of coverage from the W67. The Plauabel W67 is a great camera for this type of photography, but the Mamiya 7 should work as well. Martin Parr used the Plaubels for all his early 6 x 7 colour work, but now shoots with the Mamiya 7.
Sorry again about the scan quality of the attached.
Jim
I only saw this post after first replying in the Mamiya Thread.
I can't really give you a comparison of the angle of the 50mm on the Mamiya 7 to the 55mm on the Plaubel as I only have 50mm on Mamiya 6, just offer my own opinion on the the angle of view I prefer.
For me I think the 50mm would be a little too wide and I would not be too keen on a seperate viewfinder and the lack of the ability to check focus quickly because of the relative lack of depth of field for zone focusing on 6 x 7 as compared to wide angles on 35mm unless well stopped down. I also shoot on the Leica (and lately an R-D1), but my favourite lens on this is the 35mm Cron. I do have a VC 25mm, but the Cron gets the most use for street pictures.
Because of the aspect ratio of 6 x7 compared to 35mm film I do prefer a comparatively slightly wider angle lens for this format for shooting on the street. I do find the 55mm ideal, but if I went to the Mamiya 7 I would check out the 65mm especially as you don't need a seperate finder.
A couple of "documentary" style pictures attached to give you some idea of the angle of coverage from the W67. The Plauabel W67 is a great camera for this type of photography, but the Mamiya 7 should work as well. Martin Parr used the Plaubels for all his early 6 x 7 colour work, but now shoots with the Mamiya 7.
Sorry again about the scan quality of the attached.
Jim
Jim Watts
Still trying to See.
A couple more from the W67.
All are Fuji 400 Colour Negative originals.
Hope this is of some help.
All are Fuji 400 Colour Negative originals.
Hope this is of some help.
J. Borger
Well-known
Wim Wenders, yes the fimmaker is also a very good photographer, used one for his pictures in "Written in the west" ..... great photography BTW
Check these out!
http://www.wim-wenders.com/art/written_in_the_west.htm
He uses one lens ...... similar to 45mm pov on 35mm if i remember well
Han
Check these out!
http://www.wim-wenders.com/art/written_in_the_west.htm
He uses one lens ...... similar to 45mm pov on 35mm if i remember well
Han
Jim Watts
Still trying to See.
Han,
Yes Wenders is a great photographer as well as film maker. At the time he made Paris Texas (wonderful film) around 1983 he was using the Plaubel as mentioned in your link. I think most of his were with the Nikkor 80mm lens version, Plaubel 67 or (the later 670), which is fixed and roughly equal to a 40mm lens on 35mm. I had both standard and wide versions for some while, but now only own the W67.
I have Wender's recent book "Pictures from the Surface of the Earth" (didn't see this on the site - thanks for the link), which are (mainly) Panoramics taken on the Japanese Art Panoramic camera.
The show of this work at the Haunch of Venison Gallery in London a couple of years back was really excellent with some of these printed to about 10 feet wide.
Jim
Yes Wenders is a great photographer as well as film maker. At the time he made Paris Texas (wonderful film) around 1983 he was using the Plaubel as mentioned in your link. I think most of his were with the Nikkor 80mm lens version, Plaubel 67 or (the later 670), which is fixed and roughly equal to a 40mm lens on 35mm. I had both standard and wide versions for some while, but now only own the W67.
I have Wender's recent book "Pictures from the Surface of the Earth" (didn't see this on the site - thanks for the link), which are (mainly) Panoramics taken on the Japanese Art Panoramic camera.
The show of this work at the Haunch of Venison Gallery in London a couple of years back was really excellent with some of these printed to about 10 feet wide.
Jim
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Jim Watts
Still trying to See.
Another photographer who has used the Plaubel Makina's to good effect is the (Belgium) Magnam photographer Carl De Keyzer:
http://www.magnumphotos.com/c/htm/TreePf_MAG.aspx?Stat=Photographers_Portfolio&E=29YL53IQTA5
I have his excellent book God Inc. (B & W photos of the commercial in religion) and must get his recent colour book on the Russian prison camps - Zona.
Jim
http://www.magnumphotos.com/c/htm/TreePf_MAG.aspx?Stat=Photographers_Portfolio&E=29YL53IQTA5
I have his excellent book God Inc. (B & W photos of the commercial in religion) and must get his recent colour book on the Russian prison camps - Zona.
Jim
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J. Borger
Well-known
Hi Jim,
Would have loved to see these large prints.
Looked it up .. he mentions a 90mm lens as the only lens (no brand).
In addition he uses a Leica with 28mm lens for location screening because he shoots 80% of his films with a 28mm lens too.
A lot of the buildings in his books come back in his new film ...
Thanks for the de Keyzer link!
Han
Would have loved to see these large prints.
Looked it up .. he mentions a 90mm lens as the only lens (no brand).
In addition he uses a Leica with 28mm lens for location screening because he shoots 80% of his films with a 28mm lens too.
A lot of the buildings in his books come back in his new film ...
Thanks for the de Keyzer link!
Han
Jim Watts
Still trying to See.
Hi Han,
I don't think the Tomiyama Art Panorama camera is still available. It was available in 3 versions 6 x 12, 6 x 17 and even a 6 x 24. Wenders was using the 6 x 17, with I think? the Schneider 90mm Super Angulon f5.6 (although I'm not certain my memory is correct about the brand).
Robert White used to sell the Art's in the U.K. with helical focusing mounts for both Schineider and Nikkor lenses. He has now replaced this range with the Chinese Fotoman cameras. http://www.robertwhite.co.uk/panoramic.htm#Labelfotomanp
I am fond of the Panoramic format myself and sometimes shoot on the XPan or the Russian Horizon.
A friend David Parker shoots on a Seitz Roundshot that takes 5 inch wide film and can expose any length (360 degrees x times) although he usually limits the rotation to between 90 & 120 degrees. The originals are again, like some of Wenders really big prints, which he makes himself and are of stunning quality. It's worth checking out his book: The Phenomenal World
http://www.artbook.com/3882436395.html
or see
http://www.kochgallery.com/exhibitions/p_parker01.html
His previous book "Broken Images" was of Nazca, Peru and this was shot almost entirely on Plaubel Makinas. The plugs not just because I got free copies of both
- the work is good.
Sorry this got a bit OT, but Plaubel Images do get a mention as well.
I don't think the Tomiyama Art Panorama camera is still available. It was available in 3 versions 6 x 12, 6 x 17 and even a 6 x 24. Wenders was using the 6 x 17, with I think? the Schneider 90mm Super Angulon f5.6 (although I'm not certain my memory is correct about the brand).
Robert White used to sell the Art's in the U.K. with helical focusing mounts for both Schineider and Nikkor lenses. He has now replaced this range with the Chinese Fotoman cameras. http://www.robertwhite.co.uk/panoramic.htm#Labelfotomanp
I am fond of the Panoramic format myself and sometimes shoot on the XPan or the Russian Horizon.
A friend David Parker shoots on a Seitz Roundshot that takes 5 inch wide film and can expose any length (360 degrees x times) although he usually limits the rotation to between 90 & 120 degrees. The originals are again, like some of Wenders really big prints, which he makes himself and are of stunning quality. It's worth checking out his book: The Phenomenal World
http://www.artbook.com/3882436395.html
or see
http://www.kochgallery.com/exhibitions/p_parker01.html
His previous book "Broken Images" was of Nazca, Peru and this was shot almost entirely on Plaubel Makinas. The plugs not just because I got free copies of both
- the work is good.Sorry this got a bit OT, but Plaubel Images do get a mention as well.
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arne
Newbie
Jim,
I would also like to thank you for the link to Carl de Keyzer's work!
Here's another link to a photographer that is doing wonderful work. I thought of his work as he uses medium format rangefinder equipment quite often.
http://www.simon-larbalestier.co.uk/index.html
Thanks for everyone's input on my question.
P.S. I've posted a WTB ad in the classifieds for a Plaubel W67, in case anyone has one they are no longer using. I'll be needing to sell my Leica M4-P and 35 Summicron to afford the change, so if anyone is interested in a trade...
Arne
I would also like to thank you for the link to Carl de Keyzer's work!
Here's another link to a photographer that is doing wonderful work. I thought of his work as he uses medium format rangefinder equipment quite often.
http://www.simon-larbalestier.co.uk/index.html
Thanks for everyone's input on my question.
P.S. I've posted a WTB ad in the classifieds for a Plaubel W67, in case anyone has one they are no longer using. I'll be needing to sell my Leica M4-P and 35 Summicron to afford the change, so if anyone is interested in a trade...
Arne
Jim Watts
Still trying to See.
Arne,
Thanks for the link. I think I remember seeing some of his work in the U.K. mag Black & White photography somewhile ago as noted on the site. I see Plaubel 67, Mamiya 6 & 7 and Rollieflex SL66 used as well as the Leica quite a range, but nice calm images (if sometimes a little pictorial) who's power creeps up on you, especially the Interrogation room, Phnom Penh, Cambodia pictures.
I've sent you a PM with more on the W67 in reply to yours.
Jim
Thanks for the link. I think I remember seeing some of his work in the U.K. mag Black & White photography somewhile ago as noted on the site. I see Plaubel 67, Mamiya 6 & 7 and Rollieflex SL66 used as well as the Leica quite a range, but nice calm images (if sometimes a little pictorial) who's power creeps up on you, especially the Interrogation room, Phnom Penh, Cambodia pictures.
I've sent you a PM with more on the W67 in reply to yours.
Jim
Jim Watts
Still trying to See.
Just in case everyone thinks from the post above that I'm totally down on the pictorial here is a B & W taken on the Plaubel Makina W67 of Machu Picchu. Sometimes you just have to run with the Picture Postcard flow! Not typical - Honest.
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arne
Newbie
Any info on Carl De Keyzer's working methods?
Any info on Carl De Keyzer's working methods?
Does anyone have any more information about De Keyzer's methods of working, film used, lighting method and so forth? I've never used strobe or flash for documentary work with people.
I've used strobe in the studio and quick and dirty on-camera flash for less important commercial work. It seems like De Keyzer is using portable strobes, which is amazing given the dynamics of the situations he works in.
It sounds like most of you are using higher speed color neg film instead of transparency. Coming from a commercial background (at least I was years ago before getting into graphic design) I'm was used to working with transparency film. Back many years ago using Kodachrome with my Leica.
But times have changed. Now that I'm wanting to do more photography again, I'm wondering how other people are working given that many people are scanning their film and outputting to print. My photography is documentary, involving people in their environments, both exterior and interior.
Hope this question makes sense!
Thanks
Arne
Any info on Carl De Keyzer's working methods?
Does anyone have any more information about De Keyzer's methods of working, film used, lighting method and so forth? I've never used strobe or flash for documentary work with people.
I've used strobe in the studio and quick and dirty on-camera flash for less important commercial work. It seems like De Keyzer is using portable strobes, which is amazing given the dynamics of the situations he works in.
It sounds like most of you are using higher speed color neg film instead of transparency. Coming from a commercial background (at least I was years ago before getting into graphic design) I'm was used to working with transparency film. Back many years ago using Kodachrome with my Leica.
But times have changed. Now that I'm wanting to do more photography again, I'm wondering how other people are working given that many people are scanning their film and outputting to print. My photography is documentary, involving people in their environments, both exterior and interior.
Hope this question makes sense!
Thanks
Arne