Archive for Cambo

Super Wide: Cambo’s WRE-CA Adapter for Canon Lenses

Posted in General, Landscapes, Nature & Wildlife with tags , , , , , , , , on March 17, 2017 by kendoophotography
1 Queens Bath

Queen’s Bath, Kauai, Hawaii. Cambo WRS 1600, Phase IQ3 100, Cambo WRE-CA, Canon 17mm TS-E

The Phase One XF mated to the IQ3 100MP digital back is an incredible camera system. But when traveling or photographing landscapes, I much prefer using a technical camera. The Cambo WRS 1600 simply provides me with more photographic enjoyment and satisfaction. The Cambo allows full movements with tilt, swing, shift, rise and fall. The new WRS 1600 allows the user to select landscape or portrait orientation without removing the digital back.  It is also lighter and smaller than a Phase XF, which makes using a technical camera much easier for traveling and hiking.

A week before traveling to Hawaii to meet up with Don Libby of Iron Creek Photography, Cambo asked me if I would be interested in trying the then soon to be released Cambo WRE-CA lens adapter with a Canon 17mm TS-E on my Cambo WRS 1600 and Phase One IQ3 100 medium format digital back.  Absolutely, I replied!

2 Cambo 1600 with WRE-CA

Cambo WRS 1600 fitted with WRE-CA lens adapter with Canon 17mm TS-E

Cambo’s new WRE-CA adapter allows the Cambo technical cameras to use Canon EF lenses, and of particular note, the Canon 17mm TS-E. The “W” in the Cambo WRS series stands for “wide.” But when using the WRE-CA adapter with Canon’s 17mm TS-E, wide now becomes “super wide.” And I emphasize super wide. The Canon 17mm TS-E has a 62mm image circle, which just covers the large, full-frame medium format sensor of the Phase One IQ3 100. Available movements are minimal, but with a field of view this wide, there is usually plenty of room for cropping any vignetting resulting from using slight movements. Did I mention super wide angle?

2A WRE-CA composite

Cambo WRE-CA. A small lithium battery power bank with micro-USB cord is used to recharge the battery inside of the adapter. I added a Canon body cap to protect the electronic contacts on the adapter during travel.

3

Top view of the WRE-CA adapter.

The Cambo WRE-CA attaches to the Cambo technical camera, allowing Canon EF mount lenses to be used. The real limitation is the image circle of the lens used, and of interest, is using lenses that provide a unique perspective. The Canon 17mm TS-E shines in this regard.  The adapter is easy to use as can be expected. Once turned on, adjusting the dial on the right side sets the desired aperture on the lens, which is displayed on a small screen. If the screen were to provide any functions beyond displaying the aperture and focal length of the lens, I would want a bigger and/or brighter screen. Of minor note, I would also prefer if the adapter when turned on would default to the last f/stop setting used.

The Cambo WRE-CA was designed specifically to be used with the electronic shutter available only at this time on the Phase One IQ3 series 100 megapixel digital back.  I do hope that Phase One sees fit to extend the electronic shutter feature set by firmware update to its IQ1 series 100 megapixel digital backs as well.  The electronic shutter avoids vibrations but does require familiarization, particularly with regard to moving objects in the scene. Moving water does not seem to be an issue, but other moving objects, depending on their prominence in the scene, can become skewed by the electronic shutter. Setting a faster shutter speed can help, but sometimes not as much as is expected.

4 setting up bts

Setting up the Cambo WRS 1500, WRE-CA, and Canon 17mm TSE

5 Albizia Tree crop

Albizia Invasion. Kauai, HI. A “crop” of the Albizia tree to make it a little more prominent in the frame.

There is nothing quite like the angle of view provided by the Canon 17mm TS-E on a full frame medium format digital sensor. It is incredibly wide.  Any issues that I had in Hawaii with this ultra-wide system were relatively minor and can be simply attributed to user-error and familiarizing myself with the Canon 17mm TS-E.  It may have been this particular lens that I was using but the infinity marker on the lens barrel was definitely “inaccurate” and not to be trusted. Fortunately, live view on the Phase One IQ3 100 made it extremely easy to manually focus. Lens flare can be an issue and is something to be aware of when photographing landscapes. Simply replacing the lens cap made taking a dark frame relatively easy, except when using filters.

6 Waimea Valley

WonderPana filter system on the Canon 17mm TS-E. 2-stop graduated filter.

7 Waimea Valley

Waimea Canyon, Kauai, Hawaii.  Cambo WRS 1600, WRE-CA adapter, Canon 17mm TS-E, WonderPana filter system with two-stop filter.

7A Cambo with WonderPana Filters

Behind the Scenes with the Cambo WRS 1600, WRE-CA Adapter, Canon 17mm TS-E with WonderPana filter system

8 WonderPana

Fotodiox WonderPana 66 FreeArc filter system for the Canon 17mm TS-E.

I chose to use the WonderPana 66 FreeArc filter system for the Canon 17mm TS-E. The filter system uses 145mm screw-in neutral density filters and 6.6” x 8.5” graduated filters. These filters are big. For Hawaii, my kit included a 4-stop and 10 stop ND filter and a 2-stop soft grad. My back pack was full of filters as I also carried along the new Wine Country Camera filter system for my Rodenstock HR40 and HR70 lenses.  To take a dark frame when using filters on the Canon 17mm TS-E, I found it easiest to simply remove the entire WonderPana filter assembly and attach the Canon lens cap.

9

Turtle Bay Edamame. Focus on the Canon 17mm TS-E was set about one-foot away from the Edamame.

10

The field of view on the Canon 17mm TSE on the Cambo and IQ3 100 is incredibly wide.  I took several images with the Cambo WRS 1600 in the same locked position, changing only between the Canon 17mm TSE and the Rodenstock HR40mm.

11

Turtle Bay. Original capture. Cambo WRS 1600 WRE-CA and Canon 17mm TS-E

12 B&W Crop

Turtle Bay. B&W crop. Cambo WRS 1600, Cambo WRE-CA and Canon 17mm TS-E

13

Old Episcopal Church, Oahu, Hawaii. Cambo WRS 1600, Cambo WRE-CA and Canon 17mm TS-E

13A Behind the Scenes

Behind the Scenes

14

Japanese Temple. Oahu, Hawaii. Cambo WRS 1600, Cambo WRE-CA, Canon 17mm TS-E, Phase One IQ3 100

The cost of the Cambo WRE-CA lens adapter is approximately $1449 and can be purchased from Capture Integration in Atlanta, GA.  A Canon 17mm TS-E is approximately $2,150. This super wide-angle option is about $6,000 less than a Rodenstock HR32 with center filter, which is a much larger and fragile lens.

15 Carmel Mission bts

Behind the scenes at the Carmel Mission Basilica

16 Carmel Mission Basilica Field of View

Comparing the field of view with the Canon 17mm TS-E and the Rodenstock HR40mm.

18 Carmel Mission Kitchen bts

Behind the scenes. The Carmel Mission kitchen illustrates a really tight image space.

17 Carmel Mission kitchen

Cambo WRS 1600, Cambo WRE-CA, Canon 17mm TS-E, Phase One IQ3 100

The advantage of using the Cambo WRE-CA is that it allows the use of Canon EF mount lenses, bringing distinct views or unusual qualities to the Cambo line of technical cameras.  Photographer and www.GetDPI.com family member, Jawad Malik (see, www.untroubledland.com), has already adapted a Leica R 180mm f/2.8 APO lens to Canon EF mount for use with the Cambo WRE-CA. Jawad reports that the performance of the Leica R 180mm f/2.8 APO is excellent.  Jawad also tried the Leica 280mm f/4 on the Cambo with the Cambo WRE-CA, but the image circle of the lens is slightly too small to cover a full frame medium format sensor, but would probably be excellent on smaller medium format sensor cameras using Cambo’s other lens adapters.  Again, the image circle of the chosen lens is the limitation.  The Canon 17mm TS-E provides a very distinct wide angle of view. Objectionable distortion appears to be easily addressed by programs such as IMADIO fisheye lens plug-in for Photoshop.  Adding the Canon 17mm TS-E to the lens profiles in Capture One Pro 10 would also be a welcome addition.

Kudos to Cambo for their ingenuity and craftsmanship in adding both flexibility and features to their technical cameras. Fit and finish of the adapter is excellent. The technology of the WRE-CA has been extended to other camera systems such as the Cambo Actus and even the newly released medium format Fuji GFX camera. The Cambo WRE-CA lens adapter is on my shopping list. I am told that we should have the Cambo WRE-CA at the Capture Integration (Pigs) workshop (aka Don & Ken’s Anti-Workshop) in Bluff, Utah this April 2017.  See you there!

Ken Doo, March 2017

You can see some of my landscape photography at www.houseoflandscapes.com

My fine art printing website is www.carmelfineartprinting.com

Specializing in Wall Portraiture at www.kendoophotography.com

 

ADDENDUM:  April 2017 marked our 8th CI/Pigs medium format digital workshop—which was held in Bluff, Utah. The Cambo WRE-CA lens adapter was there, including its cousin for the Cambo Actus DB and the version for the newly released Fuji GFX camera. The angle of view provided by the Cambo WRE-CA with the Canon TS-E is incredible. I am amazed every time I use it!CF002439

House on Fire, outside Blanding, Utah. Phase One IQ3 100, Cambo WRS 1600, Cambo WRE-CA with Canon 17mm TS-E. About 5mm fall and cropped in.  The Cambo WRE-CA lens adapters (and other Cambo adapters) can be purchased from www.captureintegration.com

Ken Doo

May 2017

The KPS T5 Geared Ballhead: In Search of the Elusive White Unicorn

Posted in General, Landscapes, Nature & Wildlife, Portraiture with tags , , , , , , , , , , , , on April 15, 2015 by kendoophotography
Carmel Sunset

Carmel Sunset. ©2015 Ken Doo. Cambo WRS, Phase One IQ180, Rodenstock HR40 t/s, RRS TVC-33 with KPS T5-DV geared ballhead.

Background.

Photographers and camera bags are a lot like women and shoes. The endless search for the perfect camera bag is as evasive as the perfect pair of heels.  Finding the right tripod head is not much better. And if you are looking for a geared tripod head with an eye towards using it outside of the studio, the choices are slim indeed.

In 2009, Jack Flesher, wrote a review for the Luminous-Landscape on the Arca Swiss Cube, a really remarkable geared tripod head, which arguably set the standard for quality and precision in a geared tripod head. But the Cube also came at an incredible cost: approximately $1,700 for the Cube in a corrugated box version to $1,900 for a Cube packaged in a luxurious “Coach” leather bag that no one has quite figured out what the hell to do with once they have removed its precious cargo. Pure insanity, I thought when I first read Jack’s review. No tripod head is worth nearly two thousand dollars! But then I tried the Cube, and then I understood. The silent enabler, responsible for probably the most Cube sales to date, was right. Simply stated, the Arca Swiss Cube provides precision geared movements making leveling a camera platform child’s play, all on an extremely stable and secure platform.  When photographing in the shivering cold, a geared head makes leveling the camera much easier than with a traditional ballhead. Similarly, making fine adjustments in studio is also easier with a geared tripod head.

The Cube was a worthwhile investment to me. But the Cube is far from perfect. High price aside, the Cube is heavy, weighing approximately 2.25 pounds. Its profile is relatively stout and markedly larger than its non-geared heavy duty ballhead cousins. While the Cube promises precise geared adjustments, it also sacrifices the speed of a traditional ballhead. As good as the Cube was (and still is) mounted on a Really Right Stuff TVC 3 series carbon fiber tripod, I found that the Cube was top-heavy on my lighter RRS TVC-24 tripod which I use for hiking and travel. I wanted the quality and capabilities of the Cube, but in a smaller and lighter package. And so the search began for a geared tripod head alternative.

Before discussing the merits and shortcomings of the KPS T5 geared ballhead, I think it is necessary for me to first disclose the parameters for what I consider to be an acceptable tripod head. The tripod head must be capable of providing a secure and stable platform for a moderately heavy camera system, primarily a Cambo WRS technical camera, Rodenstock lenses, Phase One medium format digital back, and sometimes also supporting tethering with a Surface Pro tablet. Other alternate camera platforms might be a Phase One DF medium format digital DSLR, or a “professional” 1D series Canon DSLR with a long lens. These are heavier platforms, and generally much more expensive systems than may be considered typical, and worrying about whether your tripod head can safely support such expensive gear should not be even the slightest concern. Mounting and leveling the camera platform should be an easy task, with adjustments made smoothly and quickly. In short, the photographer should be able to focus on the process of photography and not have the slightest worry about the tripod head that supports his expensive camera system. In a nutshell, I want AS Cube-like quality and stability in a smaller, lighter package. I wanted a geared tripod head that bestowed all the Cube’s benefits afforded to my Cambo technical camera, and preferably less expensive too.  Simple, right?

The Arca Swiss Cube is considered by many to be the pinnacle of quality for geared tripod heads. As such, the Cube naturally set the standard by which to compare other geared options, including the KPS T5 in this review.  Manfrotto’s 405, 410, and their new xpro geared heads?  Not in the running for this level of desired quality. The Manfrotto’s paltry maximum of 16 pounds of support (even less for their new xpro) falls far short compared to the Cube’s 100+lb rating.  Sunwayfoto’s GH-Pro is a smaller, lighter, and less expensive version of the Arca Swiss D4, but its 26 pound capacity rating is rather optimistic and I found it much more acceptable for a small, mirrorless camera-sized platform. Both the AS D4 and GH-Pro exhibit lift inherent in their design and are not as stable as the standard set forth by the Cube. I did not consider the Photoflex Clam nor Linhof’s 3D Micro as both are very similar to the Cube in size and weight, not to mention expensive as well.   Enter the KPS T5 geared ballhead.

The KPS T5-DV packaged alongside KPS proprietary Slim Plates.

The KPS T5 Geared BallHead

KPS Research & Design is a small Korean company, owned by P.S. Kang. Kang’s background as an engineer and designer of custom industrial machinery carried over into establishing KPS. An artist and photographer at heart, Kang started developing and making photographic equipment, initially with viewfinders for DSLRs and later introducing the KPS Slim Plate system. A T5 geared ballhead prototype was introduced at Photokina in 2010 and became available to the public in 2012 and recently in the US. The T5 geared ballhead is unique in my mind as it is not a knock-off or carbon copy of pre-existing technologies. There really is nothing else currently on the market quite like it. This is not a cheap or inexpensive head. With the T5, KPS has clearly set its sights on the higher quality end of the photography market. If I had to describe a point of quality reference, I would place the fit and finish of the T5 on par with products from Arca Swiss and Really Right Stuff.  The U.S. distributor for the KPS T5 is Legio Aerium, located in Elkridge, Maryland. www.legioaerium.com  Legio Aerium is a veteran owned business.

 T5-DV with lever quick release on left; T5D with screw clamp on right. Both are Arca Swiss compatible. The T5DV also uses the KPS proprietary Slim Plate.

T5-DV with lever quick release on left; T5D with screw clamp on right. Both are Arca Swiss compatible. The T5DV also uses the KPS proprietary Slim Plate.

I received two geared ballheads from Legio Aerium to test: the T5D with screw clamp and the T5DV with quick lever release clamp. Both are Arca Swiss compatible, but the T5DV also uses KPS’ proprietary Slim Plates as well.  The T5DV includes a generic KPS Slim Plate. Legio Aerium also included several other KPS Slim Plates for a mirrorless camera and professional DSLR body. More on the KPS slim plates later.  The T5 head came well-packaged in cut foam placed inside of an elegant box. No “Coach” leather bag, but certainly better than a corrugated cardboard box. A small pamphlet is included that explains how to operate the T5.  This is much better than the poorly photocopied instructions that came with my Cube! I used the T5 geared ballheads for a period of approximately five weeks both in studio and on location. I will be taking the T5 geared ballheads with me to Capture Integration in Lake Tahoe, a workshop I lead with Don Libby of Tucson, Arizona.

I related to Legio Aerium my disdain for the needless use of permanent red Loctite, making it much more difficult for end-users to install the top clamp of their own choosing. Users must resort to a heat gun to release the adhesive and risk causing damage to the tripod head. I do believe that Arca Swiss has lost many potential sales of their venerable Cube and D4 heads when they recently opted for the use of red Loctite to prevent end-users from using anything but the stock AS top clamps. This rather shallow approach really misses the forest for the trees. Legio Aerium agreed. KPS is sending me a T5 geared ballhead at my request without a top-clamp, and machined to my specifications, so that I can freely swap between RRS lever clamps and a panoramic lever clamp. Responsive customer service? Make that an emphatic, “yes.”  Legio Aerium has informed me that KPS will offer the T5 geared ballhead in several clamp versions, including the same T5 that I requested without a top-clamp.  Smart move. Having a choice is a good thing. Pricing for the T5 ranges from approximately $730 (without clamp), $800 for the T5D AS screw clamp, and $830 for the T5DV quick lever release clamp.  The T5 geared ballhead is guaranteed free of defects in materials and workmanship for three years.

T5-DV, Arca Swiss Cube, and T5-D

T5-DV, Arca Swiss Cube, and T5-D

The Details

The T5 is a finely machined tripod head, approximately 5 inches tall, 2.5” in diameter, and weighs about 1.75 pounds. It has a 44mm ball with a rated capacity of 88lbs. The finish is a smooth matte black. It has a lockable panning base, with numerical settings marked every 30 degrees, and markings every 10 degrees between each numerical setting. There are three main knobs that control adjustments on the T5. The larger black knob controls the head much like any other typical ballhead. The friction lock may be adjusted as desired for the weight of the camera. Initial setting of the camera with the large knob is quick and easy. What makes the T5 unique is that the two smaller red knobs can make minute geared micro-tilt adjustments on two axes as much as 30 degrees total depending on the position where the ball has been locked down.  Leveling the camera is as quick and easy as with the Arca Swiss Cube.

Calla Lillies at Garrapata State Beach. Cambo WRS mounted on KPS T5DV geared ballhead and RRS TVC-24 tripod. Phase One IQ180 tethered to Surface Pro 2 with Wolf clamp, KPS T5DV geared ballhead and TVC-24 tripod.

Calla Lillies at Garrapata State Beach. Cambo WRS mounted on KPS T5DV geared ballhead and RRS TVC-24 tripod. Phase One IQ180 tethered to Surface Pro 2 with Wolf clamp, KPS T5DV geared ballhead and TVC-24 tripod.

I found that once the T5 head was adjusted for the weight of my camera, I typically would only need to secure my camera onto the ballhead and could go directly to making minor geared adjustments to level the camera with the two red knobs. Only if large adjustments are needed did I resort to using the larger main control knob. The knobs are much bigger than those found on the Arca Swiss Cube, and when making adjustments with gloved hands, this is a welcome feature. Depending on the position of the head, however, it can take as much as half a turn of the red knobs before the T5 gears are engaged to make minor adjustments, whereas the response of the knobs on the Cube when making adjustments are immediate. This has no impact on the ability to make fine adjustments or on the stability of the platform, rather I think this is more the nature of the geared mechanism moving to engage the ballhead. The knobs on the Cube to make adjustments extend from one side of the head to the other, making adjustments easy whether the user is left or right-handed. Consequently, both hands can also be used together on the same axis control knobs, making very fine adjustments on the Cube easier than on the T5. Adjustments to level the camera platform with both the Cube and T5 are smooth and fast. The KPS T5 provided a very stable platform for both my Phase DF and Cambo WRS technical cameras. Movements and controls are smooth and refined on the T5 as should be expected.  The video clip below demonstrates leveling with the KPS T5DV geared ballhead and with the AS Cube.

https://youtu.be/Y-ceazygCDk 

Other than the numerical markers on the panning base, there are no other markings or numbers on the T5. In contrast, the Cube has numerical markers to note the amount of adjustments made along both the x and y axis. Because of the fluidity and movement of the T5 ballhead, like any ballhead, it would be impossible to note with any sense of accuracy the amount of adjustment made along the x or y axis with the T5. I do not find this to be a significant feature in my work. The T5DV lever clamp has two bubble levels. The T5D screw clamp has a single bubble level.  The Cube has two bubble levels. I find that relying on the electronic dual axis levels, found on the Phase One IQ series medium format digital backs and other digital cameras, when making adjustments is easier than using the bubble levels found on the tripod head.

Of significant note is that although the KPS T5 weighs about ½ pound less than the Arca Swiss Cube, I felt that I had not sacrificed anything in terms of a stable platform for my cameras. The standard that I use for a tripod and head is that I should not have to worry about the stability of the platform nor the fear that my camera may crash to the ground at any given moment. I should not have to think about the tripod or the attached head. The photographer need only focus on the task at hand.  I feel equally secure using the Cube and the KPS T5 geared ballhead. The biggest concern that I had was that the T5DV, like the Cube, might be top heavy when used with the smaller and lighter RRS TVC-24 carbon fiber tripod legs. I feared that although it was ½ pound lighter, that it still might not be light enough yet.  My fears were not realized as I have found that the KPS T5 is well-balanced mounted on top of both the TVC 2 and TVC 3 series tripods.  I installed RRS TH-DVTL40 dovetails on the Cube and the T5 heads which allows me to quickly swap heads and tripod legs using RRS quick release lever clamps (aka the Graham Welland quick lever release tripod head system).

Slim plate and Arca Swiss compatible plate; 1Ds Mark III shown with Slim Plate attached and also with RRS L-bracket attached.

 The KPS Slim Plate System

The T5 comes in four variants: T5, T5M, T5D, and the T5DV. All are the same and only differentiated by the type of attached clamp (or no clamp for the T5). I did not test the T5M. All of the variants are Arca Swiss compatible. The T5DV and T5M also use the KPS Slim Plate system. Rather than clamping the outside rails as the Arca Swiss standard, the Slim Plate system is secured by clamping two rails along the inside of the plate. This novel design allows the system to have a much lower profile and take on a nice body hugging design. The clamping system is secure and clamp force is easily adjustable. The Slim Plate system is well-engineered and works well, but I decided that it is not right for me. I have multiple cameras, most with L-brackets, all of which by deliberate choice use Arca Swiss compatible RRS brackets and plates. This consistency allows me to easily use each of my cameras on all of my tripods with ease. KPS does not offer a “slim plate” L-bracket and consequently Slim Plates are not an option for me. As you can see from the photos above, the Slim Plate design is much smaller in profile. For those wishing to maintain a smaller camera profile, the KPS Slim Plate should be considered. A single Slim Plate attached to the bottom of a camera is substantially less obtrusive. I would estimate that the Slim Plate system is about half the thickness of a typical Arca Swiss compatible plate. The difference is more noticeable on smaller cameras such as a Sony A7r. The photo above shows the fit and finish of the Slim Plate attached to my Canon 1Ds Mark III compared to the bulk added by an Arca Swiss compatible RRS L-bracket. When considering its low profile fit, weight, and less bulk that the KPS Slim Plate has on a large DSLR like the Canon 1DsMark III, it really is remarkable. A line of sleek, low-profile, form-fitting, Slim-Plate L-brackets would really give a lot of photographers pause to reconsider.

Layout of the T5DV clamp

Layout of the T5DV clamp

The only issue I found, albeit minor, was with the T5DV clamp. Setting the clamp to be Arca Swiss compatible is easily and quickly accomplished by moving a single stainless steel pin from one setting to the other. However, in so doing, the camera plate is then slightly off center above the ball stem. This is not the case when using the Slim Plate system. This may or may not be an issue for some photographers. Regardless, the clamp does work well and overall I liked the speed of working with the T5DV lever release clamp better than the T5D screw clamp. My preference overall, however, is being able to attach the clamp of my choice using the base model T5.

Moss Landing Power Plant. ©2015 Ken Doo. Cambo WRS, Phase IQ180, Rodenstock HR70 t/s two-image vertical stitch. KPS T5DV geared ballhead on RRS TVC24. Thirty-four second exposure.

Moss Landing Power Plant. ©2015 Ken Doo. Cambo WRS, Phase IQ180, Rodenstock HR70 t/s two-image vertical stitch. KPS T5DV geared ballhead on RRS TVC24. Thirty-four second exposure.

Conclusion

Over the past five weeks I have used the KPS T5 geared ballhead in a variety of situations including portrait sessions, products, and landscape photography. I rarely use the Cube during portrait sessions because making adjustments is too slow. The speed of a ballhead during a portrait session important, yet still being able to make small adjustments during the session with the T5 was a pleasant surprise.  The T5 combines the benefits of a ballhead with the precision of a geared head. For those who already have the Arca Swiss Cube, buying the KPS T5 geared ballhead may not make sense unless your work requires a lighter geared head alternative that is capable of providing a stable platform for a larger DSLR or medium format camera system.  For those that have not yet succumbed to the Cube, the KPS T5 geared ballhead is a great high quality alternative. It may not come with a “Coach” leather bag, but the T5 provides similar quality and features, and at half the price of admission. My search for a smaller and lighter, geared ballhead has ended.  –Ken Doo, April 2015

Ken Doo is a professional photographer with a boutique portrait studio located in Carmel, California. He is also is a fine art printer and recently launched his new fine art printing website, www.carmelfineartprinting.com  From Vision to Print— order your photos on canvas and fine art papers online!  (831) 626-1844.

UPDATE! I just received a new KPS T5 “improved” geared ballhead prototype on December 31, 2015.  Okay, it’s really not a substantial material improvement in my opinion, but it does show that KPS has some mad engineering skills and is very receptive to offering an exceptionally high quality, mature, and polished product.  The new T5 no longer features a minimum friction control on the main knob. Instead, KPS has engineered “Click-stop” settings from 1-2-3 on the main knob. The user simply adjusts the ballhead and then tightens the main adjustment knob until the first click-setting or “1” on the knob. This insures that the camera is held in place and the microadjustment functions will operate optimally as designed.  Pretty neat.  Users with heavier cameras such as the Phase One XF may find themselves using click settings 2 or 3.

_O7E1105

New KPS T5 geared head prototype with click-stop functions on the main adjustment knob.

The KPS T5 geared ballhead remains my head of choice on my RRS TVC-24 CF tripod.  I don’t see a need to upgrade my T5 for the new “click-stop” features, but it certainly will be a welcome addition for new users.  The KPS T5 geared ballhead may be purchased through the U.S. distributor for KPS at www.legioaerium.com .  I have been promised a few KPS T5 ballheads will be available at Capture Integration’s medium format digital workshop in February, the seventh annual CI in Carmel 2016.

 

Photographing Oregon with the Cambo WRS1050 and Phase IQ180

Posted in General, Landscapes, Nature & Wildlife with tags , , , , , , , on June 21, 2012 by kendoophotography

Lower Proxy Falls. Cambo WRS1050, Rodenstock HR40, IQ180.

Last week I took a whirlwind trip up to central Oregon and then back down the coast. I travelled just over 1700 miles in five days, photographing landscapes with a technical camera, the Cambo WRS1050 mated with a Phase One IQ180 medium format digital back.  I chose to limit myself to only one lens, the Rodenstock Digiron HR40mm with tilt shift lens panel, making this “my one-lens wonder.”  A technical camera is basically an incredible high quality machined piece of metal. There are no internal meters, no autofocus, or electronics or any kind, save for a small battery powered led attachment to see your camera settings in dimly lit situations, which I don’t think any one uses.  The primary attraction of a technical camera is the ability for movements allowing rise and fall and shift.  The Cambo allows tilt and swing on the lens panel. Mated with a high resolution medium format digital back and unsurpassed lens quality from Schneider and Rodenstock, a technical camera simply produces the absolute highest available image quality.  The above image was a bit difficult to capture as I was standing in running cold water with my tripod (think slippery rocks) wearing my hiking boots. (I kept my waders in the truck where they would be nice and dry).  By using a 5mm of rear fall and 5mm of shift I was able to compose the image as I saw fit. The water spray was pretty heavy and I knew I only had time for two exposures before the lens would become completely wet.

You can see how wet the camera, lens, and digital back got from the heavy waterfall spray.  I was completely soaked.  But the camera and IQ180 continued to work flawlessly.  I’ve read that the Pentax 645D medium format digital camera is exceptionally sealed from the elements, but frankly so is the IQ180.  Any more water or wet conditions and I just don’t think that is the type of weather conducive to great image making.  And at that point, I think the art of photography just isn’t fun anymore, although that might be me speaking from being firmly seated in middle-age. 

Moving further up the hiking trail is Upper Proxy Falls.  Though less imposing than Lower Proxy Falls, it remains exceptionally pretty with a lot less spray!  Although I like the green lush moss on the logs, I liked the below image in B&W, which will look exceptional when printed on the studio’s K7 B&W Piezography printer.

Upper Proxy B&W.

Being devoid of electronics and the Cambo analog viewfinder (I was not shooting tethered to a laptop) I was initially concerned about the ease with which to compose on location. There are various phone apps available for Apple’s iPhone and even special phone attachments for technical cameras.  But not for Droid users. The optional attachments for iPhone are very expensive.  So being a Droid user, I cobbled together my own viewfinder of sorts for a whopping total of $9.88 including postage. The app I use is compatible for Droid and sufficient though not nearly as functional or complete as Apple specific app offerings.  Setting up the Cambo is actually quite easy (to me) and enjoyable, and I’ve actually found myself not using my redneck viewfinder but rarely.  It’s actually more useful in quickly determining the appropriate lens focal length to use.

I was surprised to learn that Oregon is home to the most covered bridges on the West coast, which I thought was mostly an East coast attraction.

Goodpastor Bridge. Cambo, HR40, IQ180.

Overall I really enjoyed using the Cambo WRS1050. It reminded me much of the days shooting with my old Graflex Speed Graphic, though this time outfitted with a medium format digital back.  Although the Cambo is a great landscape camera, I also see it as a valuable addition as for architectural assignments.  It is much lighter and easer to travel with than my Phase DF and lenses or any 35mm based DSLR system.  I look forward to using the Cambo WRS1050 on my upcoming trip to Canada.  You can see more of my landscape work at the studio or at my landscape website, www.houseoflandscapes.com  For questions or further information, please contact me at my boutique portrait photography studio in Carmel or at (831) 626-1844.  Ken