simonpg
Active Member
I hope this post's length does not cause too much sleepiness and that it is not boring for too many.
BUT, I was in Sydney in Business and had the nice opportunity to visit a favourite importer of High end pro gear; discuss the troubles of the analogue world and MOST OF ALL - I GOT TO see the Bessa 667 live and play with it.
Cosina's role in the Bessa 667 lead to much discussion about good and bad / sad things happening in the wider industry.
So, here is my story about my time with Mainline Photo:
Encouraging signs amongst worrying events & the Fujifilm / Voigtlander 667 Folder!!!
A 6x7 DREAM
On Tuesday, while in Sydney on business, I had an opportunity to visit a small but important photographic equipment distributor / agency for a number of icon brands.
The company has seen steady growth in film based medium and large format equipment lead mostly by professionals. Their sales of Linhof 6x17 and 4x5 equipment have never been better according to the owner. In fact I met a pro who called in to buy a few large diameter B&W ND graduated filters. He explained that these were for his Linhof and Horseman gear, which he said is used soley with positive film.
He also handles Cosina/Voigtlander equipment. I know many here will be interested to learn that the much lauded Fuji (branded Voigtlander) 667 folder camera is selling like ‘hot cakes”.
Now, I am sure many of you will be jealous because I got to use the 667. My IMMEDIATE first impression was that it LOOKED WONDERFUL – it looked to have beautiful quality of fit and finish – top drawer stuff. Then when I picked it up I was DELIGHTED to feel very heafty weight – it felt like a Leica M (no not the digi sort, the real sort a la M7 or MP) – very solid, strong and a perfect balance of size and weight and enough weight to feel it was made in Germany but in no way like a brick”. I was just delighted by the sense of feel and strength it had. The “soft” parts were perfect – “grippy” and comfortable.
Cosina has proven that it can build to a brief – “you want quality and strength, we’ll build it like that; you want cheap and cheerful and low weight then we’ll do that”. Three cheers for Cosina!!! The camera retails here for AU$2,950.00. This is probably a very keen price since it boasts not only superb (did I say how nicely built it is??? ) build quality that will last a life-time, but it also boasts an outstanding Fujinon 80mm lens; a good sized and quite bright viewfinder and a seemingly accurate and easy to focus rangefinder. The bellows seems to be made from a durable “ribberised” substance – might even have solicon, which is being increasingly used due to its durability etc..
The controls are ideally laid out and while quite sizeable when folded closed, it certainly will work well for hikers, climbers and travellers who value top image quality on large pieces of film but need something that can be carried in a coat or general purpose bag with all fragile bits safely tucked away inside the camera.
I really liked the paint finish and feel sure over many years of use it will age gracefully just like the black Leicas.
As a fan of the classic Zeiss Ikon Super Ikontas of the 30s, 40s and 50s, this camera blew me away. If I were a man with money to burn, I’d have bought it on the spot – the ideal travelling companion.
The importers just cannot meat demand – in his words: “if they send me a year’s stock in a month I’d sell every one!”
Like many of us, I am always pleased to see iconic companies do well in these tough times when they stick their necks out and design and develop a great new product that defies wider public trends.
GOD BLESS COSINA!
Now while speaking of Cosina, I had a close look at the current range of “M” mount lenses and their own Voigtlander rangefinder cameras – R3A and R4A (the version that provides frame lines for up to 21mm lenses. I’ll say now that the quality of the viewfinder in both is EXCELLENT – crystal clear; sharp as a tack and with razor sharp frame-lines. I actually think Leica could learn a trick or 2 from Cosina in that department. The eye relief is superior to Leica’s. In fact I think the Voigtlander viewfinder is very like the Zeiss Ikon’s which some pundits claim is the best in the business.
The Voigtlanders are also selling extremely well still. It proves that there are many “closet” film rangefinder shooters out there…. I am not alone..!!
But it is the Cosina / Voigtlander “M” mount lenses that has the importer thrilled – sales of M8, M8.2 and no M9 cameras have sent Voigtlander lens sales sky-rocketing!! He said the only issue he has is that there are just far too few coming off the production line.
I first grabbed the recently released Nokton 50mm f1.1 Voigtlander lens, which is BRILLIANTLY built – just fantastic!! Solid as a rock and mechanically as smooth as silk to use. On the Voigtlander camera in mid to low light it took a bit of practice to quickly focus accurately as are all such huge aperture lenses. The owner is a keen photographer himself, mainly shooting film. He said the image quality of the Nokton is outstanding – no issues to complain about.
I have an “M” mount Canon f1.2 lens so I understand the huge optical correction, mechanical and focus challenges the designers and builders face. My M7 is relatively easy to focus with the f1.2 in low light, but it does take practice and care. I adore my Canon f1.2 – I love the way it draws and the look it delivers and its very sharp performance at f1.2 in the centre with softness only being visible in the outer field but the nice thing is that the softness is smoothly progressive, so am not in the market for the Voigtlander.
Then when closely examining an 18mm “M” mount lens and seeing so much brass use in the barrel and feeling the significant weight as well as the superb mechanical performance, I formed the view that it was Zeiss “M” lens. But, alas, no it was a Voigtlander!! Cosina is really bushing the line now making lenses that have a look, feel and mechanical performance similar to Leica’s lenses. Well it makes sense, with so many M8+ owners looking for wider angled lenses that are at least affordable, they have looked to Voigtlander. But the will be quickly disappointed should the lens feel too light and a “come-down” compared to their mid range lenses. Each I handled impressed me enormously.
===========================================================================================================================================================================
The shape of each lens’s iris was consistently circular with 7-8 or more blades, which IMHO suggests the Japanese commitment to attractive Bokeh.
I have the wonderful “baby” Voigtlander 15mm, which I purchased 5 years ago for little money (before they became “discovered” and while dealers felt a need to sell them off at all costs). On the advice of a photo-journalist I did and he did and mounted it to a Bessa L, which although feels cheap, works a treat and this ha become my “pseudo-SWC”!!! in 35mm format , because it does not really need to be focused due to its huge depth of field. While I rarely shoot super-wide” it is a joy to use and the image quality is very good.
I’m pleased to see the CEO of Cosina turn the Voigtlander brand into a success although it remains something of a niche market.
THE BAD NEWS
Having recently returned from my photo trip to the NSW outback region, I keenly awaited my 6x6 C41 and E6 films and my XPan E6 films. The good news is all exposures were on the mark; all seem very sharp and the slides have the “brilliance” we expect of E6. The colours are perfectly natural and even in the harsh light of some daytime shooting, there is no evidence of flare end when shooting direct/oblique to the sun! The Zeiss and Fujinon glass simply perform to perfection.
What pleased me is that the 4 year out of date Sensia 100 135 film used in the XPan performed like a fresh new batch. I bought them for $2 a roll 1 year out of date and kept them in the fridge since. The lab thinks they will stay perfect for another 4 years.
BUT, the BAD NEWS is that yet another E6 lab has closed. In this capital city we now have just 4 labs doing E^ but 2 more are rumoured to be set to close soon. Well as far as I am concerned, I will keep shooting E6 even if I have to post the film to the US or Europe. The joy I get of seeing them on the light box just cannot be beaten.
I’ve already mentioned how good the Ektar 100 images looked on the light box, so tomorrow I will down load the TIFF files and see what I have really got!
The reality is that E6 film and processing sales are continuing to fall. What I wish would happen is that the labs would talk to each other and collaborate in a JV of sorts where one lab operates in a region – making it busy and cost effective to run. The JV could take one of many forms where they all share in the one lab’s running costs and share the revenue / margin after accounting for the direct and overhead costs – that way each “member” of the JV can keep accepting E6 work, earn a margin and contribute work to the one lab doing all the processing with its costs fully covered by all members’ processing sales.
Of course if the continue to operate E6 independently of each other the risk is all will fail and then all are worse off while we shooters are left high and dry!!
Up and coming manufacturer of outstanding 6x17 (and more recently 2x20 and 6x24) panoramic 120 film cameras, Fotoman has ceased production causing many importers some agony because sales of that gear were excellent. Now the option of a superbly built 6x17 camera at a fraction of the cost of its closest brethren is no more!
THE TRUTH IS OUT
We discussed Canon’s seeming “admission” that the pixel race is potentially a road to diminishing returns! The announcement that the new G11 sees a REDUCTION in pixel count from 14.8MP back to 10MP acknowledges what pundits have said for years now – overcrowding sensors can only lead to adverse effects – like awful ugly noise and chromatic aberration in low light at higher ISO levels.
His own G9 has amazed him enabling superb slideshows on HD 40” LCD TV sets and high quality 12 x 8 prints… all from a miniscule sensor. The G10 has been less appealing if not a step backwards to many users according to many forums.
It seems that Canon’s G11 may have enhanced the G10; taken the G10’s best bits and combined them with the G9’s best bits – resulting is a low cost enthusiast’s compact “carry-everywhere” tool.
FINALLY
I also had to buy a new B&W UV / Haze filter for my new Canon wide L series zoom for which his company is the Aussie agent. Fortunately as Japanese “lesser” filters become increasingly expensive, B&W become increasingly competitive (Heliopan are not available in my state if at all in Australia) and I am very well looked after by him. What was great to see is that while B&W have the 2 “profile” versions – normal and slim, the latest inventory of “normal” profile filters is about 2mm lower profile, making the need for even more expensive “slim” profile filters less important.
I did get to play with Novoflex ball heads, which I have never seen “live”. Wow are they ever beautifully designed and made – WOW! The movements are just so incredibly well controlled and smooth – now I see why they are so pricey – quality costs real money!
Also, he’s now handling the mid to upper market camera and accessory bags by Artisan & Artist – a very “Euro-Japanese” design and manufacturing company. They have a beautiful range of Hasselblad straps (one of which is a gorgeous “rope” style design but made of silk and other fibres with leather) as well as 20 and 30mm wide acrylic/leather flat style straps that have a superb soft feel to them. And then there are superb soft leather types too. These are relatively expensive for straps, but compared to Hasselblad’s own, they are quite reasonably priced and are stylish and unusual. There are even more styles for Leica and other 35mm bodies.
But what was even more appealing were what I describe as being “compact profile” camera / accessory bags. These are made from a combination of high tech polycarbonate, nylon and canvas and kid leather – really subtle high end stylish bags.
Some were ideal Hasselblad bags allowing the body to rest on its belly without having to “dig deep” to get the camera out. Others were perfect for the profile of Leica M cameras as well a mainstream DSLR kits. I’m guessing (forgot to ask him) these will be dearer than the LowePro types but not over the top.
Interestingly it seems Artisan & Artist is specifically positioning its products to Leica and Hasselblad owners. Good company to keep!
So that’s my news.
BUT, I was in Sydney in Business and had the nice opportunity to visit a favourite importer of High end pro gear; discuss the troubles of the analogue world and MOST OF ALL - I GOT TO see the Bessa 667 live and play with it.
Cosina's role in the Bessa 667 lead to much discussion about good and bad / sad things happening in the wider industry.
So, here is my story about my time with Mainline Photo:
Encouraging signs amongst worrying events & the Fujifilm / Voigtlander 667 Folder!!!
A 6x7 DREAM
On Tuesday, while in Sydney on business, I had an opportunity to visit a small but important photographic equipment distributor / agency for a number of icon brands.
The company has seen steady growth in film based medium and large format equipment lead mostly by professionals. Their sales of Linhof 6x17 and 4x5 equipment have never been better according to the owner. In fact I met a pro who called in to buy a few large diameter B&W ND graduated filters. He explained that these were for his Linhof and Horseman gear, which he said is used soley with positive film.
He also handles Cosina/Voigtlander equipment. I know many here will be interested to learn that the much lauded Fuji (branded Voigtlander) 667 folder camera is selling like ‘hot cakes”.
Now, I am sure many of you will be jealous because I got to use the 667. My IMMEDIATE first impression was that it LOOKED WONDERFUL – it looked to have beautiful quality of fit and finish – top drawer stuff. Then when I picked it up I was DELIGHTED to feel very heafty weight – it felt like a Leica M (no not the digi sort, the real sort a la M7 or MP) – very solid, strong and a perfect balance of size and weight and enough weight to feel it was made in Germany but in no way like a brick”. I was just delighted by the sense of feel and strength it had. The “soft” parts were perfect – “grippy” and comfortable.
Cosina has proven that it can build to a brief – “you want quality and strength, we’ll build it like that; you want cheap and cheerful and low weight then we’ll do that”. Three cheers for Cosina!!! The camera retails here for AU$2,950.00. This is probably a very keen price since it boasts not only superb (did I say how nicely built it is??? ) build quality that will last a life-time, but it also boasts an outstanding Fujinon 80mm lens; a good sized and quite bright viewfinder and a seemingly accurate and easy to focus rangefinder. The bellows seems to be made from a durable “ribberised” substance – might even have solicon, which is being increasingly used due to its durability etc..
The controls are ideally laid out and while quite sizeable when folded closed, it certainly will work well for hikers, climbers and travellers who value top image quality on large pieces of film but need something that can be carried in a coat or general purpose bag with all fragile bits safely tucked away inside the camera.
I really liked the paint finish and feel sure over many years of use it will age gracefully just like the black Leicas.
As a fan of the classic Zeiss Ikon Super Ikontas of the 30s, 40s and 50s, this camera blew me away. If I were a man with money to burn, I’d have bought it on the spot – the ideal travelling companion.
The importers just cannot meat demand – in his words: “if they send me a year’s stock in a month I’d sell every one!”
Like many of us, I am always pleased to see iconic companies do well in these tough times when they stick their necks out and design and develop a great new product that defies wider public trends.
GOD BLESS COSINA!
Now while speaking of Cosina, I had a close look at the current range of “M” mount lenses and their own Voigtlander rangefinder cameras – R3A and R4A (the version that provides frame lines for up to 21mm lenses. I’ll say now that the quality of the viewfinder in both is EXCELLENT – crystal clear; sharp as a tack and with razor sharp frame-lines. I actually think Leica could learn a trick or 2 from Cosina in that department. The eye relief is superior to Leica’s. In fact I think the Voigtlander viewfinder is very like the Zeiss Ikon’s which some pundits claim is the best in the business.
The Voigtlanders are also selling extremely well still. It proves that there are many “closet” film rangefinder shooters out there…. I am not alone..!!
But it is the Cosina / Voigtlander “M” mount lenses that has the importer thrilled – sales of M8, M8.2 and no M9 cameras have sent Voigtlander lens sales sky-rocketing!! He said the only issue he has is that there are just far too few coming off the production line.
I first grabbed the recently released Nokton 50mm f1.1 Voigtlander lens, which is BRILLIANTLY built – just fantastic!! Solid as a rock and mechanically as smooth as silk to use. On the Voigtlander camera in mid to low light it took a bit of practice to quickly focus accurately as are all such huge aperture lenses. The owner is a keen photographer himself, mainly shooting film. He said the image quality of the Nokton is outstanding – no issues to complain about.
I have an “M” mount Canon f1.2 lens so I understand the huge optical correction, mechanical and focus challenges the designers and builders face. My M7 is relatively easy to focus with the f1.2 in low light, but it does take practice and care. I adore my Canon f1.2 – I love the way it draws and the look it delivers and its very sharp performance at f1.2 in the centre with softness only being visible in the outer field but the nice thing is that the softness is smoothly progressive, so am not in the market for the Voigtlander.
Then when closely examining an 18mm “M” mount lens and seeing so much brass use in the barrel and feeling the significant weight as well as the superb mechanical performance, I formed the view that it was Zeiss “M” lens. But, alas, no it was a Voigtlander!! Cosina is really bushing the line now making lenses that have a look, feel and mechanical performance similar to Leica’s lenses. Well it makes sense, with so many M8+ owners looking for wider angled lenses that are at least affordable, they have looked to Voigtlander. But the will be quickly disappointed should the lens feel too light and a “come-down” compared to their mid range lenses. Each I handled impressed me enormously.
===========================================================================================================================================================================
The shape of each lens’s iris was consistently circular with 7-8 or more blades, which IMHO suggests the Japanese commitment to attractive Bokeh.
I have the wonderful “baby” Voigtlander 15mm, which I purchased 5 years ago for little money (before they became “discovered” and while dealers felt a need to sell them off at all costs). On the advice of a photo-journalist I did and he did and mounted it to a Bessa L, which although feels cheap, works a treat and this ha become my “pseudo-SWC”!!! in 35mm format , because it does not really need to be focused due to its huge depth of field. While I rarely shoot super-wide” it is a joy to use and the image quality is very good.
I’m pleased to see the CEO of Cosina turn the Voigtlander brand into a success although it remains something of a niche market.
THE BAD NEWS
Having recently returned from my photo trip to the NSW outback region, I keenly awaited my 6x6 C41 and E6 films and my XPan E6 films. The good news is all exposures were on the mark; all seem very sharp and the slides have the “brilliance” we expect of E6. The colours are perfectly natural and even in the harsh light of some daytime shooting, there is no evidence of flare end when shooting direct/oblique to the sun! The Zeiss and Fujinon glass simply perform to perfection.
What pleased me is that the 4 year out of date Sensia 100 135 film used in the XPan performed like a fresh new batch. I bought them for $2 a roll 1 year out of date and kept them in the fridge since. The lab thinks they will stay perfect for another 4 years.
BUT, the BAD NEWS is that yet another E6 lab has closed. In this capital city we now have just 4 labs doing E^ but 2 more are rumoured to be set to close soon. Well as far as I am concerned, I will keep shooting E6 even if I have to post the film to the US or Europe. The joy I get of seeing them on the light box just cannot be beaten.
I’ve already mentioned how good the Ektar 100 images looked on the light box, so tomorrow I will down load the TIFF files and see what I have really got!
The reality is that E6 film and processing sales are continuing to fall. What I wish would happen is that the labs would talk to each other and collaborate in a JV of sorts where one lab operates in a region – making it busy and cost effective to run. The JV could take one of many forms where they all share in the one lab’s running costs and share the revenue / margin after accounting for the direct and overhead costs – that way each “member” of the JV can keep accepting E6 work, earn a margin and contribute work to the one lab doing all the processing with its costs fully covered by all members’ processing sales.
Of course if the continue to operate E6 independently of each other the risk is all will fail and then all are worse off while we shooters are left high and dry!!
Up and coming manufacturer of outstanding 6x17 (and more recently 2x20 and 6x24) panoramic 120 film cameras, Fotoman has ceased production causing many importers some agony because sales of that gear were excellent. Now the option of a superbly built 6x17 camera at a fraction of the cost of its closest brethren is no more!
THE TRUTH IS OUT
We discussed Canon’s seeming “admission” that the pixel race is potentially a road to diminishing returns! The announcement that the new G11 sees a REDUCTION in pixel count from 14.8MP back to 10MP acknowledges what pundits have said for years now – overcrowding sensors can only lead to adverse effects – like awful ugly noise and chromatic aberration in low light at higher ISO levels.
His own G9 has amazed him enabling superb slideshows on HD 40” LCD TV sets and high quality 12 x 8 prints… all from a miniscule sensor. The G10 has been less appealing if not a step backwards to many users according to many forums.
It seems that Canon’s G11 may have enhanced the G10; taken the G10’s best bits and combined them with the G9’s best bits – resulting is a low cost enthusiast’s compact “carry-everywhere” tool.
FINALLY
I also had to buy a new B&W UV / Haze filter for my new Canon wide L series zoom for which his company is the Aussie agent. Fortunately as Japanese “lesser” filters become increasingly expensive, B&W become increasingly competitive (Heliopan are not available in my state if at all in Australia) and I am very well looked after by him. What was great to see is that while B&W have the 2 “profile” versions – normal and slim, the latest inventory of “normal” profile filters is about 2mm lower profile, making the need for even more expensive “slim” profile filters less important.
I did get to play with Novoflex ball heads, which I have never seen “live”. Wow are they ever beautifully designed and made – WOW! The movements are just so incredibly well controlled and smooth – now I see why they are so pricey – quality costs real money!
Also, he’s now handling the mid to upper market camera and accessory bags by Artisan & Artist – a very “Euro-Japanese” design and manufacturing company. They have a beautiful range of Hasselblad straps (one of which is a gorgeous “rope” style design but made of silk and other fibres with leather) as well as 20 and 30mm wide acrylic/leather flat style straps that have a superb soft feel to them. And then there are superb soft leather types too. These are relatively expensive for straps, but compared to Hasselblad’s own, they are quite reasonably priced and are stylish and unusual. There are even more styles for Leica and other 35mm bodies.
But what was even more appealing were what I describe as being “compact profile” camera / accessory bags. These are made from a combination of high tech polycarbonate, nylon and canvas and kid leather – really subtle high end stylish bags.
Some were ideal Hasselblad bags allowing the body to rest on its belly without having to “dig deep” to get the camera out. Others were perfect for the profile of Leica M cameras as well a mainstream DSLR kits. I’m guessing (forgot to ask him) these will be dearer than the LowePro types but not over the top.
Interestingly it seems Artisan & Artist is specifically positioning its products to Leica and Hasselblad owners. Good company to keep!
So that’s my news.
