Post Bronica Photos... Any format. I just want to see Bronica photos

I got an S2A a while ago. Only got one roll of FP4 through it and realised that the focus is way off. Also the aperture ring on the 75mm/2.8 got stuck after a while. I will need to figure out how to repair those things. I've found plenty of tips online for fixing the focus but I have no idea how to fix the lens. Anyway, here is one of the few shots that came out well (because I focussed to infinity)

Mercer Bay Loop Walk by David B, on Flickr
 
Dayrell bishop said:
Looks fine to me Vince.
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I appreciate the feedback. I think the thing that I don't like is that greenish cast in the lower left (the tabletop). I really need to get myself a proper scanner first and foremost - not that it will solve all my problems, but I've been meaning to get one for some time.

Another one with the same setup -- who knows, maybe I should just embrace the 'off' colours.


Bittersweet Hill by Vince Lupo, on Flickr

S2 with the 75/2.8, Ilford Delta 100.


Jacob2 by Vince Lupo, on Flickr
 
Vince Lupo said:
I appreciate the feedback. I think the thing that I don't like is that greenish cast in the lower left (the tabletop). I really need to get myself a proper scanner first and foremost - not that it will solve all my problems, but I've been meaning to get one for some time.

[snip] -- who knows, maybe I should just embrace the 'off' colours.
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Do you have a feeling for whether the green is a development colour cast? In the days when pro wedding photographers used C41 film, and cinematographers used ECN-2, the lengths I went to so that colour print film developed 'right' were absurd. We used Kodak test strips, measured them with a spectrophotometer and densitometer and had all sorts of small tweaks to get everything balanced. For two-bath C41, your photos look great.

Was there any light source or reflection that might have been green? Ektar doesn't handle green(ish) light very well - all three colour layer films have this weakness, and it is why Fuji formulated a fourth colour layer for their Pro films.

Marty
 
Freakscene said:
Do you have a feeling for whether the green is a development colour cast? In the days when pro wedding photographers used C41 film, and cinematographers used ECN-2, the lengths I went to so that colour print film developed 'right' were absurd. We used Kodak test strips, measured them with a spectrophotometer and densitometer and had all sorts of small tweaks to get everything balanced. For two-bath C41, your photos look great.

Was there any light source or reflection that might have been green? Ektar doesn't handle green(ish) light very well - all three colour layer films have this weakness, and it is why Fuji formulated a fourth colour layer for their Pro films.

Marty
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I don't think there were any light sources that were green when taking the photos -- it's usually outdoor daylight in which I'm shooting, but admittedly there's a lot of foliage that's green in these recent photos, but I don't think that would be an issue. I'm 'scanning' the negs with my Hasselblad 907x on a copy stand and balancing the light to daylight for the Skier Copybox, so perhaps somewhere in the mix there's something going on that's not quite lining up. I'm using Adobe Camera RAW to invert the negs (reversing the curves and then balancing from there). I think the last two shots are pretty good, so I'm not going to go too crazy worrying about it, though the cyan seems to be more of an issue to me than green. One day I'll get myself a proper scanner for medium format film - hopefully that might help.
 
hap said:
Anybody have experience with Bronica E type 6x4.5 back for S S2a. ? How does it work?
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I have one but haven’t yet used it. I’d suspect it works the same way as a Hasselblad 16 back - 16 shots on the roll, you’d need a mask for the ground glass to get the framing right, but you could easily make one with some black paper. Or just mark the frame out on the ground glass with a thin black marker. Really not much else to it, I wouldn’t think.
 
Still not sure about this. The framing system has to be modified. A landscape view would be extremely awkward. The mask if handmade likely not precise. Just a lot of questions.
 
From a RF645 I picked up a few years ago. I wish I could find the 100mm lens for this camera at a decent price.... some day,

45679250934_53dfc6f7e7_c.jpg
 
hap said:
Still not sure about this. The framing system has to be modified. A landscape view would be extremely awkward. The mask if handmade likely not precise. Just a lot of questions.
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Okay, since you piqued my curiosity I pulled out my 645 back and my S2. I did this same thing with my 500 series Hasselblads when I wanted to use my CFV II 50c digital back on them (it's a 33x44mm sensor). What I did was to get some thin black construction paper and cut it into a 6x6cm square (well really more like 5.8x5.8cm, as that's what the frame really is). Then I carefully measured a 33x44mm rectangle smack-dab in the middle of that square piece of paper and cut it out with an Xacto knife. Fits pretty well and works for me -- certainly a lot cheaper than buying one of those dedicated Hasselblad screens.

I measured the spot around the ground glass of the Bronica and I think in this case you'd want to make your piece of paper about 62x62mm. I then measured the actual frame in the 645 back and it's 53x41mm. So it's just a case of then measuring a frame that size in the middle of that 62x62mm piece of paper and away you go. The focusing hood holds the mask in place. Other alternative is you mark out a 53x41mm frame on your ground glass with a fine-line Sharpie - I’ve also done that on my Hasselblads and it’s worked fine as well.

BTW do you have the 645 back or you’re just curious about them and their usage? If you don’t own one, maybe I should run a roll through mine and report back.
 
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