First Impressions: Hahnemühle Fine Art Papers
We have loaded new inks into our Canon Pro-1100 and replaced the maintenance cartridge. Now it's time to do some test prints.
First, I prepared the 2 images for print. These photos were taken with the LG G5 for the flower and the iPhone XS Max for the town image between 2016 and 2020. Their file sizes were between 1.4 and 2 megabytes. So to rid the images of any pixelation I used Topaz Gigapixel to enhance them for enlargements, which increased their sizes to about 30 and 45 megabytes. After that, I edited the images in Adobe Lightroom and Capture One.
I chose to test Hahnemühle fine art papers, focusing on their textured and Baryta stock. I picked Hahnemühle because it is one of the oldest paper companies, and its reputation among my peers influenced my decision. I bought four sample packs, each containing two sheets of each paper type. So far, I have tried three of the papers, and I'm impressed with the results. The first prints featured a flower on a steel table. I printed a large 17x22 image on Canon Pro Luster paper as my reference. The two 8.5x11 images were printed on Hahnemühle Fine Art Baryta gsm 300 with a satin finish. This paper is thicker than I am used to; it feels like cardstock. It held together well, especially in the blacks and shadows.
Next, I decided to try the Hahnemühle 13x19 papers, specifically choosing the matte fine art/textured option. The decision wasn’t straightforward, as each paper had a watercolor surface made of 100% cotton, which produced similar whiteness in the images, ranging from 87% to 88.5%. The difference was not significant. I narrowed my choices down to the William Turner and the Museum Etching paper, ultimately selecting the Museum Etching paper for this round. I have to admit that when I first held my image printed on this paper, I felt somewhat withdrawn. The colors appeared muted, and the blacks seemed muddy. I had to come to terms with the fact that this was my first experience seeing my work on a paper that wasn’t a luster finish, and I am still learning how to print my images at home. After a couple of days of observing my image from a distance and up close, using my loupe to carefully examine different parts, I began to appreciate what this paper had to offer. In the end, it won me over.
Now that I had tested the Hahnemühle Baryta and the Museum Etching paper, it was time to test one that was close to the Canon Pro Luster paper, but not a luster paper, if that even makes sense. I printed my target image on the Canon paper, as I did with the flower image. Then I looked at what the next sample pack had to offer; there were 2 types of the matte fiber papers, a glossy, a luster, and lastly a pearl surface. I went with the Hahnemühle Pearl, and let me say, it knocked me out. I found something special in this paper. I was drawn to the overall look of the image, with its bright whites and exceptional shadow retention. This was going to be my go-to fine art paper for this surface. The only thing I would want to test and compare is Red River's Arctic White paper.
Self-printing has been an incredibly rewarding experience for me since I started printing my images at home since April. I'm eager to experiment with several more sample papers from Hahnemühle, and I can't wait to share the outstanding results.
Here’s a link to the Hahnemuhle sample packs that B&H Photo offers.
Above (L-R) (8.5×11) Hahnmühle Fine Art Baryta Satin 300 gsm , (17×22) Canon Pro Luster 260 gsm
Below (L-R) Hahnmühle Museum Etching 350 gsm, Hahnemühle Pearl 310 gsm , Canon Pro Luster 260 gsm
Left: Hahnemühle Museum Etching Paper 350 gsm Right: Hahnemühle Pearl 310 gsm
Part 3: Canon imageprograf Pro-1100, 90 Days Later
It’s been approximately three months since we purchased the Canon Pro-1100 printer, and during that time, we have experienced several power outages—three within the last two weeks of June alone. Two things that the printer does not handle well are being powered off and power outages
I bought the Canon Pro-1100 printer three months ago. Since then, I've faced several power outages—three in the last two weeks of June. The printer doesn't handle power loss well. When the power goes out, it automatically cleans itself and uses a lot of ink, sending it to the maintenance cartridges. After the first outage, I noticed that my Chroma Optimizer (CO) was low, but I ordered a replacement without worrying. The second outage affected my Photo Black (PBK) ink. Instead of ordering a new cartridge right away, I decided to see how long I could print with it being nearly empty. After the third outage, I realized I had critical ink levels for all my colors, and the maintenance cartridge was almost complete.
I ended up going back to B&H to order the other 11 inks and a maintenance cartridge. I also started looking into battery backup units from APC and CyberPower to avoid future problems. With so many choices, I chose the APC 1350VA battery backup for our printer. It's an 810-watt unit, which may be more than I need, but I thought it was better to have extra power. Since the last outage on June 23, I discovered from the Canon forums that when this printer is in standby mode, it draws 1.1 watts of power. I feel prepared for whatever comes next.
Final Thoughts
I have printed around a dozen 13x19 prints using the original ink that came with my printer, and it is still functioning well despite the critical ink levels. I have new ink cartridges on standby, along with a new maintenance cartridge.
On days when I don't print, I still perform a nozzle check, a tip I learned from Jtoolman's Photo Printing Techie and Keith Cooper's YouTube channels. Keeping the printer on helps prevent the deep cleaning cycles that waste ink. A safeguard would be investing in a battery backup; you won't regret it.
After using this printer for more than 90 days, I'm happy with it. The deep blacks and vibrant colors caught my attention, as well as the 17" wide prints. There's something special about holding your work in your hands; it feels equally as satisfying as seeing the images before editing. I'm also considering gathering a group for a portrait project that combines film and digital photography. I want to provide my clients with enlargements of their sessions, and the Canon Pro-1100 will help me achieve that.
Randomness, Dragonfly on a wall. shot with my iPhone 14 Pro Max
Friend’s wedding, Nikon D200
Randomness, Sony 7RII w/135mm G master
Shot with a Nikon D800.
This is me around 1975 (Chicago) , Nisei Ambassadors drum and bugle corp. taken by staff.
John 5, Mayhem fest in Raleigh, NC, Nikon D200
Part 2: Canon imageprograf Pro-1100
Now that the printer was still securely stored in the box, I found myself needing to order something with the appropriate width and depth that would allow it to sit on top of it comfortably. Although several options I explored online were aesthetically pleasing and well-designed, they didn’t seem practical for the specific purpose
Now that the printer was still securely stored in the box, I found myself needing to order something with the appropriate width and depth that would allow it to sit on top of it comfortably. Although several options I explored online were aesthetically pleasing and well-designed, they didn’t seem practical for the specific purpose I had in mind. After deliberating, it took another two weeks to order and receive the shelving unit successfully. Upon its arrival, I was genuinely delighted and relieved, as I was also able to neatly organize a lot of my gear on it, which made everything feel much more organized. One amusing aspect I stumbled upon was some of the videos I had seen of others who were taking their printers out of the box; they removed the bag that the printer was packed in and just lifted it out. However, I found the easiest way for me was to carefully use the sturdy handles of the bag to lift it out smoothly. Trust me, I only lifted it by the handles a few inches before moving it to the shelves, as I had my trust issues with such delicate equipment.
Setup and test prints (uncalibrated).
Calibrating my monitors, Troubleshooting the Wifi connection & more printing
The two YouTubers who significantly influenced my decision to start printing were Keith Cooper and JToolman Rodriguiz. They each provide a mountain of valuable information on their respective channels that covers printers, printing techniques, and calibration processes thoroughly. I will leave a link to their channels at the bottom of this page for anyone interested in exploring their content further.
Now, whenever the subject of calibrating my monitors comes up in conversation, I have always approached traditional color calibration as a task that my eyes can manage effectively without relying on the conventional methods and tools offered by companies like Datacolor or Calibrite. However, I must admit, I was ever so wrong in that assumption. It truly was an eye-opening experience seeing how off I was in my past edits.
Initial setup and print jobs were intended to be conducted wirelessly. Late in April, a strong thunderstorm rolled through our area, and as a result, we lost power. I didn’t think much of it at the time; after all, we’ve experienced power outages before, and I was confident that it would be restored shortly. Eventually, power was restored, and we were able to enjoy our gadgets once again, thanks to our internet service provider, Optimum. However, I soon realized that everything had returned to normal except for one significant issue: it was the first time I encountered a problem with the printer connection since setting up the Wi-Fi connection.
We were paying for the high-speed connection, as it was their best package available, and I expected nothing but optimal performance. I was trying to print using Canon’s Professional Print and Layout tool, which clearly indicated that the printer was recognizing the assigned IP address. However, to my surprise, I discovered through the printer’s utility program, “Canon Wi-Fi Connection Assistant,” that the printer was receiving only between 54-56% signal strength via Wi-Fi. It was no wonder I was unable to complete my print jobs; the link quality of Optimum’s signal was simply unacceptable. Seeking a solution, I found relief in a Facebook group called JToolman, where the members provided helpful advice. Following their recommendations, I connected the printer through a USB connection, and I was relieved to find that I was back in business once again.
Helpful Links
Part 1: Canon Imageprograf Pro-1100 — Brian Cade Photography: Collective Works
Shop Canon Pro imagePROGRAF PRO-1100 | Canon U.S.A, Inc.
Facebook page: Jtoolman Photo Printing Techie
YouTube Channel: Jose Rodriguez Photo Printing Techie
YouTube: Keith Cooper
Good News....Bad News and Possibly More Bad News: My Marshall JCM2000 DSL100
Since this was a used piece of gear, and according to the listing on the guitar Center website, it was listed as “Excellent.
First, here’s the good news: my wonderful wife got me an amp head for Christmas. Our way of celebrating the holiday is to pick up to three things we’d like to receive, and then on the big day, we exchange gifts. This way, there’s some element of surprise during the festivities.
So, I selected my three, knowing very well that the odds of actually receiving one of them were slim to none (grin). Come the big day, and there it was — that one gift I thought might be a bit out of reach. It was a Marshall JCM 2000 100-watt amp, which she got at a pretty good deal from Guitar Center (online), Grand Rapids, Iowa. It even came with an ATA flight case. I was speechless, to say the least. This was going to be a perfect match with my Marshall 1960A cabinet.
Since this was a used piece of gear, and according to the listing on the Guitar Center website, it was marked as “Excellent,” the first thing I noticed was a name stenciled on the flight case: Billy Lee Janey. I paused my inspection to Google his name and search social media just to see who he is. I found out Billy Lee Janey is a very accomplished and established touring blues musician from Grand Rapids, Iowa. I spent about an hour watching some videos on YouTube, reading his bio, and checking online reviews. I’ll include his links below.
So I selected my 3, knowing very well the odds of receiving one of the gifts were slim to none (grin). Come the big day, and there it was, that one gift I thought would be a bit out of reach. There it was, a Marshall JCM 2000 100-watt amp. She got a pretty good deal from Guitar Center (online), Grand Rapids, Iowa; it came with an ATA flight case too. I was speechless to say the least. This was going to be a great pairing with my Marshall 1960A cabinet.
Since this was a used piece of gear, and according to the listing on the guitar Center website, it was listed as “Excellent”, First off there was a name stenciled on the flight case was Billy Lee Janey, of course I took a time out from my inspection and had to google his name and search social media to see who he is, found out Billy Lee Janey is a very accomplished and established touring blues musician from Grand Rapids, Iowa. I took the better part of an hour to watch some videos on YouTube and to read his bio and online reviews. I’ll throw his links down below.
Back to my inspection, and to see what bad news is hidden or obvious, my new to me gear showed heavy use of the handle, no biggie and easily replaceable. If anything, it added some character to the piece, may have been heavily toured from its previous life. The serial number on the rear panel shoed it was a 1997 model, Heck, the amp was over 20 years old, the stories it could tell if it could speak.
Next, I removed the aluminum mesh grill on the back to insure all the tubes were intact, and they were, the inside of the chassis was dusty, still, it was used gear, easily remedied. The back panel showed it was missing an 8-ohm jack input. Not a deal breaker, and easily fixable. So, all I was able to see visually was the handle needed replaced and an input jack, I finally plugged in my Gibson Les Paul and powered up the amp, strummed a few notes, damn this thing was loud even at 1, scared the crap out of my dog though.so onto the worldwide web we go.
I went through Marshall amplification for the handle, this saved me from getting a generic or fake part. The 8-ohm jack was a different story, I found a shop in Nashville, Tn. called British Audio, it actually took me 3 times to get the right part, the first 2 times I thought I knew what I was doing, the third and last try I actually called the shop, and they got me the right part, third time was a charm. Very friendly staff Nashville Audio was.
The handle I could easily install, the 8-ohm jack was another story. I called around here in my neck of the woods, and Guitar Pus in Beckley, WV gave me the name Keith fain, a retired gentleman that did work on amps.
Keith and I spoke on the phone for over an hour, discussing everything from music to photography. Keith came across as a real people person as well as very knowledgeable in amp repair. He did tell me that the Marshall JCM 2000 did have some Bios issues and the main circuit board was manufactured thin and the replacement boards were thicker and more reliable. I am hoping my current circuit board was changed out prior to myself or Billy Lee Janey owning this amp model.
Honestly my heart sank when Keith told me of the issues this particular amp had, at this point, I was just a phone call away from getting authorization to return it to Guitar Center. It took another search on the internet for see the cost of a replacement board, and I decided to keep my new to me amp. Clearly GC needs to rate their used stuff better, I would have rated this amp as in “Good” condition, would I have kept it if it was rated as such? Probably so, the fix isn’t too bad. The only big fix would be a new circuit board, that would cost me around $200 - $250, The early “2000s” had a problem with bias drift, a new board would breathe new life into it. It really wasn’t so bad after all, and the not so bad to worse news actually had a silver lining, and as promised I added all relevant links below.
No Soup for You
I’ve been wanting an acoustic guitar for quite some time, and the brand that stuck out for me waas Breedlove, a guitar company out of Bend Oregan. Sure, I have looked at other makers, Guild, Martin and Taylor guitars to be exact. Breedlove just checked all the boxes for me in playability and affordability for me.
No Soup for You! Oddly enough, I wish it were as simple as no soup for me it's more about a recent purchase I made from Sweetwater, an acoustic guitar to be exact.
I’ve been wanting an acoustic guitar for quite some time, and the brand that stuck out for me was Breedlove, a guitar company out of Bend, Oregon. Sure, I have looked at other makers, Guild, Martin, and Taylor guitars to be exact. Breedlove just checked all the boxes for me in playability and affordability.
So, at the time this model was on backorder, I was both excited and a bit anxious. What model caught my eye? The ECO Pursuit Exotic S Concert CE-Tiger's Eye Myrtlewood, priced at $649 (regular $749), was quickly shipped to me within a few days, thanks to my salesperson, the excellent Justin Dunn.
My guitar arrived on a cold and rainy Friday, and my excitement was through the roof. However, this excitement quickly turned to disappointment. The box that contained my new acoustic guitar showed signs of severe water damage, along with damage to each of the corners. The side with the most severe water damage was even held together with tape, and there was still moisture underneath. Despite this, I decided to wait until the next afternoon to unbox my guitar, giving it time to acclimate to its new environment.
I must clarify that the water damage to the outer box was not caused by Sweetwater delivering my purchase, but rather by FedEx during the shipping process. The guitar was in great shape, surprisingly. There didn’t seem to be any water damage to the third, most inner box of my parcel. The guitar was nearly in tune, so I strummed a few chords and realized that this guitar, this model, was not for me. It didn’t match my expectations, which can happen when you buy something sight unseen. The only thing I truly liked about the Breedlove was the entire bridge design. However, that alone wasn’t enough to justify keeping it. So, back it went, and I continue searching for what I really want. There’s a place not far from us that deals in Taylor guitars, and I think it would be wise to hear what I am looking for in person before making a decision and placing my next order with Sweetwater. Below are the images Sweetwater sent me prior to shipping, along with a link to this particular model.
The guitar was in great shape, surprisingly. There didn’t appear to be any water damage to the innermost box of my parcel. The guitar was pretty much in tune, so I strummed a few chords, and with that, I realized this guitar, this model, was not for me. It wasn’t at all what I expected. I guess that happens when you buy something like this sight unseen. So, the only thing about the Breedlove I truly loved was the whole bridge design. That in itself was not enough for me to justify keeping it. So back it went, and back to searching for what I want. There’s a place not far from us that deals in Taylor guitars, I think it would be in my best interest to hear what I am looking for and then (maybe) make a decision and place my next order with Sweetwater.
Below are the images Sweetwater had sent to me prior to shipping, and a link to this particular model.
Breedlove ECO Pursuit Exotic S Concert CE Acoustic-Electric Guitar - Tiger's Eye Myrtlewood | Sweetwater
Guitar Center: The Almost Rant
I really don’t expect this month’s blog to be long, in fact, it was actually going to be a rant about a purchase I made from Guitar Center in Fairfax, Va. The rant as this blog was meant to become a fast and quick resolve…………
I don't expect this month's blog to be long. It was supposed to be a rant about a purchase I made from Guitar Center in Fairfax, VA. The rant was meant to be a quick and calm discussion with the store manager, John, to resolve an issue.
In late April or early May, I was researching guitar amplifiers. I wanted something for noodling at home, not for gigging or starting a band. I was looking for an amp that wasn't too big and had a warm, bluesy tone. The Fender line of tube amps, including the Blues Deluxe Reissue, NOS, and Blues Junior, is known for their distinct sound and is a popular choice among guitar enthusiasts like me.
After hours and days of reading reviews and watching YouTube videos, I decided on a Fender Blues Deluxe Reissue, 40 watts, in good condition from Guitar Center. Although I had many amps saved in my "wish list," I was sure this was the one. I finally placed my order on May 25.
The much-anticipated day, June 2, finally arrived. The UPS app promised delivery by the end of the day. I was unsure if a signature was required, and my past experiences with UPS and FedEx, where they signed my name and left packages on my porch without my consent, only added to my uncertainty. That's a story for another time.
During late April and early May, I was on a quest for the perfect guitar amplifier. I wasn't looking for something to gig with or start a band, just a compact amp with a warm, bluesy tone for some casual noodling at home. The Fender line of tube amps, including the Blues Deluxe Reissue, NOS, and Blues Junior, fit the bill.
After spending many hours and days reading reviews and watching YouTube videos, I settled on a Fender Blues Deluxe Reissue, 40 watts, in good condition from Guitar Center. Though I saved many amps in my "wish list", I was sure this was the one. I finally placed my order on May 25.
The long-awaited day, June 2, had finally arrived. The UPS app indicated a delivery scheduled for the end of the day. I was unsure if a signature was required, as both UPS and FedEx have a habit of signing my name and leaving the item on my porch without my consent. This recurring frustration was a story for another time.
So it was no surprise to me to find a box (a huge box) sitting on the front porch. At first glance, the box appeared tattered, torn, and beaten up. No way this was my amp. It had to be something else. Maybe the wife ordered something, and my package was coming later. Nope! further inspection of the shipping label clearly showed it was from GC. My excitement quickly turned to anger, not only at the condition of the box, but also at the poor tape job on the outside of the box, as well, but UPS was not innocent in this. I initially decided to hold off, expecting the contents until the next day, as I had other pressing issues to contend with at the time, but I felt compelled to confront this. So I opened the box.
First off, I noticed the lack of bubble wrap, just one piece lying across the grill cloth; the rest of the packing consisted of wadded up paper, little to no protection for the amplifier inside.
At first glance, the amp looked unscathed, unlike the outer box (eye roll). I started to feel this situation wasn’t as bad after all until I decided to get my guitar and plug it in, hit a note on my guitar, and nothing. Well, maybe I needed to let the tubes warm up, but still, nothing— just the unsettling sound of the reverb echoing every time I moved the amp. So, after further inspection, I noticed that one of the preamp tubes was shattered completely, hanging on by a thread from its socket. Then I saw the impact point on the back left corner of the amp.
I didn’t waste any time, and soon I was on the phone with the Guitar Center. I got to the store and was transferred to someone I thought was located at the Fairfax store. I spoke to someone named Logan and told him my situation. He responded to me with a comment about the poor packing, damaged box, and broken preamp tube. “What do you expect when you buy a used amp?” What?! Are you kidding me?
After serval minutes on the phone with Logan, and me repeatedly telling him it was the preamp tube(s) I needed, what does this young Man do, well to add insult to injury, he sends me the wrong tubes, I received the two larger tubes that are in the amp, I then decided to order the correct ones myself,
Once the correct tubes arrived, I decided to take my amp to a local guitar repair shop, Alpha Music. I told them to do whatever was necessary to bring the amp back to 100%, and they did—wonderful work. There was still one thing I felt compelled to do: call the GC Fairfax store and speak to a manager about my less-than-satisfactory experience, not so much to get compensated for my trouble but to hopefully pass on what I had to deal with so no one else would have to go through the same. It was a Thursday when I spoke to their customer service manager—let's call him “He that shall not be named” (his idea before the blog was written). He then referred me to the store manager, John (who wasn’t in that day), on this matter, so I decided to call back the next day.
There was still one thing I felt compelled to do: call the GC Fairfax store and speak to a manager about my less-than-satisfactory experience. It wasn't so much to be compensated for my trouble, but to hopefully pass on what I had to deal with so no one else would have to go through the same. It was a Thursday when I spoke to their customer service manager—let's call him “He that shall not be named” (his idea before the blog was written). He, in turn, referred me to the store manager, John (who wasn’t in that day), about this matter, so I decided to call back the next day.
On Friday, July 30th, I called John. I won’t go into the entire conversation we had, but I will say it was calm. John checked his computer about my order. The person Logan I spoke to about the replacement tubes, which John told me I must have been transferred to the distribution center, which is why there was no Logan working at the Fairfax store when I inquired. This is where it gets interesting: John also told me that the amp I received was actually not the one I ordered. I noticed this when I looked at some screenshots I took of the one I thought I was getting; it had some marks and showed signs of use, character.
The amp I had in my possession was a newer one. According to John, he had two at the store when I placed my order. One was missing, it seems there was a “new” person they had working at the store, and he shipped me the wrong amp. It should have dawned on me that the amp I had was different; how many used amps come with the little cardboard info sheet that lists the features of the amp?
The bottom line is I know that retail folks always get the short end of the stick when it comes to complaints, they’re treated like crap daily, the store manager at the GC Fairfax store was very attentive, understanding, and showed a genuine concern in what I went through that led to our conversation. All I wanted or expected was to be heard, not just to be acknowledged, but truly understood. I came away from the discussion with that, and it was enough. John also refunded me my shipping, which was very generous. I will be shopping at this store in the future.
Review : Pelican Phone Case (The Shield)
This time I decided to try a new case for my new phone; enter the Pelican Shield. To put it bluntly, the case failed me in less than 14 days after purchase. it literally (my phone) slid down my leg with pieces of the belt clip fell nearby
Unlike my “new gear” post, this is actually going to be a review……sort of, well more of a cautionary rant, It started when I not only switched to a new phone carrier, but I upgraded to the new iPhone 12 Pro Max as well, so with a new phone comes a new case to help protect it. Right?
First off I’ve used Otterbox Defender cases for years without a hitch, well maybe replacing pieces from normal wear and tear over a long period of time.
This time I decided to try a new case for my new phone; enter the Pelican Shield. To put it bluntly, the case failed me in less than 14 days after purchase. it literally (my phone) slid down my leg with pieces of the belt clip laying nearby. The shell of the case actually did protect the phone when it hit the floor, but the belt clip was in 3 pieces, something you wouldn’t expect from a trusted brand like Pelican let alone a $70 case. Trust me, just because it cost a little more doesn’t make it better.
The thing that was most disheartening about the Pelican Shield, was Pelican allows their name to be marketed to sell this case, the company that actually puts out this case is called Case-Mate; never heard of them till I put in a claim for this case, which was a $7 processing fee for the replacement. I’ve used Pelican cases for my photo gear, and it’s one tough brand to beat. But if Pelican has licensed their name for this poorly made case, for shame. I have since taken the Pelican Sheild back for a full refund and since gone back to Otterbox, and couldn’t be happier.
Footnote, from what I have gathered from my very short experience with this Case-Mate product? their customer service was quick to reply to my claim, but that still doesn’t make the case any better, especially when I thought of having to keep throwing money at this for replacement and the “what if’s” in life, such as what if I was at a restaurant and this happened and I was unaware my phone was hitting on my seat after the clip broke? what if I was on a walking trail and the phone dislodged from the inferior clip of this brand? I can go on and on, but I won’t. Cause in either scenario I would have been unaware and without a phone. Yea, what if.
New Gear : Sony a7R II (Part 2 of 2)
I’m just a few weeks late with the January blog, but for good reason. Last month I had gotten the Sony super sharp 135mm f/1.8 lens, I was at the time looking at what mirrorless camera body to complete my purchase; Sony’s A7 III and A7R III were in the running. But wait, the title of this blog post mentions the A7R II, So why the sudden detour from my previous choices.
I' m just a few weeks late with the January blog, but for good reason. Last month, I got the Sony super- sharp 135mm f/1. 8 lens. I was also looking at which mirrorless camera body to complete my purchase; Sony' s A 7 III and A 7 R III were in the running. Then I went ahead and bought the A 7 R II. So, why the sudden change from my previous choices?
The three factors that convinced me, especially considering the A 7 R II is five years old, are:
1. The price- even used from B & H Photo, the A 7 R II was $ 1, 1000 cheaper than the A 7 R III and $500 less than a “new” A 7 III. It simply came down to what I could afford without breaking the bank.
2. NO LOW PASS FILTER! At least with the A 7 R II and III, there isn' t one. This will deliver a much sharper image, from what I' ve read. My Nikon D 800 has a low pass filter, so choosing the A 7 R II was a clear decision. I look forward to comparing the images to see the difference- maybe in the next blog.
3. Shutter count- although it wasn' t listed on the B & H Photo website (which is rare), I had to take a chance and hope for a lower shutter count, trusting that the previous owner took care of the camera body. The one I bought was listed as a 9 +. I wasn' t disappointed with either the condition of the camera or the shutter count, which I checked through shuttercounter. com after it arrived; the count is shown below.
I' m sure there are additional key features I used as deciding points, like Sony' s fantastic focusing system. The high resolution- both the AR 7 III and the A 7 R III- are quite comparable, but at the same time, they are different. Some features it lacks include a second memory card port, which, by the way, is UHS- I and not the faster UHS- II found in its predecessors. I can live with that. The number of images per battery charge is roughly 290 versus 650 from the A 7 R III. Since I no longer shoot fast action events, that wasn' t a deal breaker either. I' m happy with my first mirrorless camera. I posted a link below to show a more detailed look at the two.
The 3 factors that won me over, especially with the fact the A7R II is 5 years old are.
The price, even at “used” from B&H Photo, the A7R II was $1000 cheaper than the A7R III, and $500 less than a “new” A7 III. So simply it came down to what I could afford without breaking the bank.
NO LOW PASS FILTER!! at least with the A7R II & III, there isn’t one, This will yield a much sharper image; well from what I’ve read. My Nikon D800 has a low pass filter, so getting the A7R II was another clear choice. I look forward to comparing the images to see the difference. maybe the next blog.
Shutter count, though this was not listed on the B&H Photo web site ( rarely is if not at all) I just had to roll the dice and hope for a lower shutter count and the previous owner had taken care of the camera body, the one I bought was listed as a 9+. I was not disappointed on either, the condition of the camera or the shutter count as I was able to check it through shuttercounter.com when it arrived; the count is shown below.
I am sure there are a few more key features I used as deciding points, such as Sony’s amazing focusing system, The high resolution, both the AR7III and the A7RIII are really not that different in comparison but at the same time, they are. Some things it lacks are a second memory card port, which by the way is a UHS-I and not the faster USH-II found in its predecessors, I can deal with that. The images per battery charge is approximately 290 vs the 650 you’d get from the A7R III, since I no longer shoot fast action events anymore, that wasn’t a deal breaker either. I’m happy with my first mirrorless camera, I posted a link below to show a more detailed look at the 2.
New Gear : Sony FE 135mm f/1.8 GM Lens (Part 1 of 2)
This is me putting the cart before the horse, well the lens before the camera is more like it. I finally pulled the trigger and bought the Sony FE 135mm f/1.8 G Master lens. Wait, don’t I shoot Nikon, and isn’t this lens for Sony’s mirrorless camera system? Yes, it is. So have I switched over to Sony? Not exactly, I intend to stay with Nikon, I just decided to go mirrorless, and Sony got my attention.
This is me putting the cart before the horse, well the lens before the camera is more like it. I finally pulled the trigger and bought the Sony FE 135mm f/1.8 G Master lens. Wait, don’t I shoot Nikon, and isn’t this lens for Sony’s mirrorless camera system? Yes, it is. So have I switched over to Sony? Not exactly, I intend to stay with Nikon, I just decided to go mirrorless, and Sony got my attention.
firstly though, here’s a little bit on this lens and why I have been leaning more towards prime lenses moreover than zooms, which I have been using for years, and importantly my choice with this particular lens...
Prime lenses are known to be significantly sharper than zoom lenses; (I think so). Simply because they don’t have the extra glass inside that moves in order to zoom. As a result, you get a better quality image due to less diffraction and distortion, and with that, the debate over this is ongoing with many photographers. I will admit, they [zooms] do offer a bit more convenience when applying focal lengths to your subject. Such as when I was shooting events, now I am more looking into studio and environmental style portraiture.
According to the specs, the Sony 135mm F/1.8 G Master features 13 elements in 10 groups, it also has a near-circular 11 shutter blade diaphragm, the most used in the Alpha lens series. It weighs in at a hefty 2.1 pounds, with a length of 3.52 x 5″ with an 82mm front filter. more can be seen at the link below:
SEL135F18GM Specifications | α Lenses | Sony US
So with this out with the old gear and in with the new, I’ve gotten rid of most of my zooms, I do have one more zoom lens I am debating whether to part with; My trusty Nikkor 80-200mm F/2.8, and like with my other departed gear over the years, I’ll just take those funds and invest in more prime lens, I’ve been looking at the Sigma Art series for some time. I am still on the fence on which Sony mirrorless body I want; Sony a7 III or the a7r III. That is a blog for another time.
All still images by Brian Cade Photography
Mola Demi : No Test Images .....Because?
So it was a good time as any to make my purchase. I was going to have the June blog about these 2, showing sample images and my impressions and images from my test, that, of course, will have to be another day,
Last month, I introduced two new pieces of gear into my setup: the Elinchrom RX battery pack with “A: head and the long-awaited Mola Demi (White) beauty dish. I’ve wanted the Mola beauty dish for some time, and B&H Photo had it on sale for $278, so I took the opportunity to make my purchase. I was planning to write the June blog about these two items, sharing test images and my impressions as I integrated them into my workflow. However, that will have to wait for another day. The Mola Demi I received was unfortunately extremely flawed, but this wasn’t something B&H Photo or the good folks at Promarks/Mola offices could have foreseen; it was a tooling issue from the factory. Here’s the breakdown of the assembly: there are eight holes drilled in the rear of the Mola Demi—four for mounting a plate that holds the speed ring in place, and four for the diffuser plate inside the Demi.
I was going to write the June blog about these 2, showing test images and my impressions as I introduced this to my workflow, that, of course, turned out to be for another day.
The Mola Demi I received was, unfortunately, extremely flawed; this was by no means a problem that B&H Photo could have foreseen, nor any of the good folks at Promark’s/Mola offices. This was a tooling issue from the factory. Here’s the breakdown for assembly. There are eight holes drilled at the rear of the Mola Demi. 4 holes are to mount a plate that holds the speed ring in place, and the other four holes are for the diffuser plate held in place on the inside of the Demi.
As I started assembling the Demi, I noticed that 3 of the eight holes did not align with the mounting plate. I tried different orientations for the plate—45 degrees and 90 degrees—but each time, the same issue occurred: the holes were at least 1/8 inch away from the center.
At this point, I am admitting defeat and trying to keep my frustration in check. I locate the go-to person through the Mola website—Herb Pletcher—to discuss a very obvious quality control issue. First, I email Herb, and shortly afterward, we speak by phone. After several attempts to make this work, we finally conclude that there are only two options left: 1. drill new holes to accommodate the holes that are 1/8 of an inch off, or 2. return it for an exchange with B&H Photo. Of course, I went with option 2. I was planning to write a June blog about the Elinchrom RX and the Demi, but that will have to wait another day (sigh). Now, I wait for it to arrive again.
Here is the contact info if you have purchased a Mola beauty dish and encounter an issue. Herb Pletcher email: herb.pletcher@promarkbrands.com
New Gear : Elinchrom RX & Mola Demi
With all photo projects on hold, it gave me some time to rethink some of the photo tools at my disposal, and to get rid of what I didn’t need or wasn’t using enough of and bring in some much needed new gear.
With all photo projects on hold, it gave me some time to rethink some of the photo tools at my disposal, and to get rid of what I didn’t need or wasn’t using enough of and bring in some much needed new gear.
The first new arrival was a “22 Mola Demi beauty dish (white) from B&H Photo in New York. It arrived about a week or so before the start of this blog. I wanted to replace my 17” silver Elinchrom beauty dish, which I decided to keep; just in case I need to add a little crispness to my images. I engaged renowned fashion photographer Melissa Rodwell in an earlier offer she made about helping me purchase a Mola Beauty dish and based on a photoshoot she did with the Demi (the video can be seen below) it made my decision that much easier to make my purchase.
**Though the video above shows content by Melissa Rodwell and her team, the YouTube channel it appears on is not affiliated with her brand.
The 2nd and last piece of new gear to arrive was an Elinchrom RX Speed AS (kit) This battery-powered system rates at 1100 ws of power, more than enough to overpower the sun. I fell in love with the Elinchrom system a few years ago when I sold off my Paul C Buff lights in place of something more portable and lighter, I bought the Elinchrom Quadra Hybrid and the Quadra RX soon after, and love them. So why the decision to get the RX? Well, it wasn’t that tough of a choice. Before the purchase of the RX, I was using an older Elinchrom monolight with my Quadra set up; the Elinchrom EL-1000. I still had my old Paul C Buff battery pack, the Vagabond II, minus the battery, which I was going to sell (still am) and take those funds to get another Quadra, As it goes, I saw the RX was listed at a steal with B&H Photo in New York. Here’s the link:
https://www.bhphotovideo.com/c/product/532562-REG/Elinchrom_EL_10287_Ranger_RX_Speed_AS.html
“Elinchrom Ranger RX Speed AS Asymmetrical Battery Powered Pack This is the Elinchrom Ranger RX Speed AS Asymmetrical Battery Powered Pack. The “RX” signifies the ability to be fired by a remote control handset, or computer. The “AS” indicates the ability of the 1100Ws power pack to divide power to each of 2 heads asymmetrically.”
I would like to thank Melissa for her friendship and for being so approachable, it’s photographers such as her that makes me want to do more as a photographer., to explore and experiment outside my comfort zone. I’ve spent so much time on the road shooting events, I almost forgot what it was like to actually create something,.
You can see Melissa Rodwell’s amazing work at her web site, as well as in her Magazine ALICE. where she and her sensational team put out some amazing content.
Helpful links of these brands :
New Gear : Focusing Cloth For My 4x5 Camera
made me a 42x71 focusing cloth [dark cloth] to use with my Toya GII 4x5 camera. All I needed to do was to select the fabric.
For this month’s blog I thought I’d share some “new gear” that my wife Barbara handmade for me, she is such the avid quilter, made me a 42x71 focusing cloth [dark cloth] to use with my Toya GII 4x5 camera. All I needed to do was to select the fabric.
I already knew I wanted a black out cloth for the inner or under side of the cloth, preferably black. now the outer portion could be anything I wanted it to be, So I settled on a black base with small orange polka dots, colors more in line of what my logo represented.
The focusing cloth works as intended, I cover myself and the rear ground glass and focus on my subject, its a must have asset for getting critical focus on my 4x5 camera, especially for my portrait work. and a huge thank you to my loving wife for making it for me
New Gear: Wacom Intuos Pro M
For years I have edited my images using the touchpad on my laptop (really disliked using a mouse). But since I am transitioning to a desktop in the next couple of weeks for all my edits, my laptop will be primarily used for tethered shoots
For years I have edited my images using the touchpad on my laptop (really disliked using a mouse). But since I am transitioning to a desktop in the next couple of weeks for all my edits, my laptop will be primarily used for tethered shoots, it only felt natural to switch some of my tools. Enter the Wacom Intuois Pro Medium tablet, I had gotten it from one of my favorite stores, B&H Photo in New York.
The medium tablet measures 13.8 x 8.54”, just enough to fit on my desk with my dual monitors, keyboard and a few external drives. while the working area is a spacious 8.82 x 5.83”, plenty of room for me to move my hand around, there are 8 express keys on the outer border of the tablet for creating shortcuts for both Adobe Lightroom cc and Photoshop cc, and lastly, its Bluetooth compatible.
The Pro 2 pen has 8192 Levels of Pressure Sensitivity, tilt-response, and virtually lag-free tracking. there”s 2 positions switch on the pen; (up and down button) to create some more shortcuts. and best of all, its battery-free, so no having to pause from editing images so to charge it,
But just like any new piece of gear, whether its a lens, camera body or software, it is going to take some time to get used to it. I’ll write another blog in the near future once I get the desktop set up, and both the monitors calibrated. Then I can get the tablet set up according to my workflow and do some real edits...
New Gear : Nikon D800 and Tether Tools
At the time when I had blogged my decision to switch, I was still using my trusty Nikon D200 and D2x, both cameras were not supported by Adobe Lightroom for tethered shooting, Capture One did support my gear. As the months passed, I decided to sell off my Nikon D200, convincing myself I really didn’t need 2 DSLR’s anymore: I was still leaning into the Capture One for tethered shooting;
It’s been well over a year since I had written and decided to switch to Capture One software; I have since had a change of heart.
At the time when I had blogged my decision to switch, I was still using my trusty Nikon D200 and D2x, both cameras were not supported by Adobe Lightroom for tethered shooting, Capture One did support my gear. As the months passed, I decided to sell off my Nikon D200, convincing myself I really didn’t need 2 DSLR’s anymore: I was still leaning into the Capture One for tethered shooting; I still had my Nikon D2x.
Well, I thought I was going to keep my D2x until about 2 weeks ago when an had opportunity had crossed my desk that I could not pass up, I found a Nikon D800’s at a very reasonable price and low shutter actuations, around 31k,
Sure the D800’s was a full frame camera with a whopping 36.0 mp, with dual memory card ports and much higher dynamic and color range versus my crop sensor D2x, the main selling point for me was it was compatible with Lightroom cc. So I listed my D2x on eBay the next morning and by that evening it sold; I placed my order for the D800, and headed over tho Tether Tools web site to place my order for my tether cable and a few other accessories.
The D800 arrived first, followed by the tether cable a few days later, I had already set up my strobes for my first real test shoot, using D800, Adobe Lightroom cc, and the newly acquired tether cable and a tether block. (this secures the cable to the camera body with a plate and mounted on my Arca Swiss B1 monoball on the tripod.) This prevents the cable from being jerked out of the camera and cause damage.
First image I shot with the new camera, non tethered, Equipment used: Elinchrom Quadra w/ 1 head in a 35x140cm strip box with grid, Silver 4x6 reflector panel behind subject., Nikon D800 w/ a Elinchron Skyport HS transmitter , 85mm f1.8 , F16 @1/3200
Now the real test shoot came when I connected the D800 to my laptop per the tether cable. communication between Lightroom cc and the D800 took less than a minute (probably less cause I was looking at the prompts that appeared on the screen) I was ready to shoot.
My lovely wife sat for me for this test shoot, which by the way is part of a personal project I have been wanting to do for quite some time. During our session I was quite pleased with what I was seeing on the laptop, I was able to make better decisions on adjusting the amount of light, posing and critical focus.
The 2 images below are from the tethered session, Both images had basic yet minor adjustment done in Lightoom, with the exception of the second image I decided to slightly desaturated just for effect. I kept my set up simple and took full advantage of the high sync on the D800 and Elinchrom'; we shot at F16 with a shutter of 1/3200, using 1 Elinchrom pack and strobe with a socked 17” beauty dish.
And there we have it, this blog was not about one editing software being faster or better than the other, but more about using what I already had with a more updated camera. That’s not to say I wouldn’t want to give Capture one a spin around the block. Who knows, that might be a future blog; Lightroom cc versus Capture One.
Test: Pocket Light Meter App For iPhone X Pt 2 of 2
First a little back history on my RZ67, I bought this camera “as-is” last year, the electronics didn’t work, but the camera was still usable at the emergency shutter speed of 1//400th of a sec,
You live and you learn, sometimes the hard way. When I had decided to test the Pocket Light Meter App for iPhone X against my Sekonic L-358 light meter, I also decided to pair it with one of my medium format cameras had not tested; The Mamiya RZ67 Pro.
First a little back history on my RZ67, I bought this camera “as-is” last year, the electronics didn’t work, but the camera was still usable at the emergency shutter speed of 1//400th of a sec, The bad news is that since the cameras electronics were not operable, there is no warning that the dark slide was still in the film back, and unlike my other “manual” medium formats; the shutter button can not be engaged if the dark slide was still in the film back. So during the test, there were a lot of missed shots, I mean a whole lot of missed shots.
My test included the following:
Mamiya RZ67 Pro camera body
Mamiya Sekkor 50mm C lens
Mamiya RZ67 Pro II 120 film back
ilford HP5+ black and white 120 film
Pocket Light Meter for iPhone X
Sekonic L-358 light meter
For the most part of my test. the iPhone app pretty much kept up my handheld meter (Sekonic L-358) The readings for the highlights were point on, the Shadow readings were for the most part about a third off, no game killer though.
As stated above, the test would have been more in depth if I had not forgotten to remove the dark slide from the film back, resulting in many missed opportunities.
Will I trust this app for any future shoots: The short answer is Yes and No. If the shoot is for a client, I would always opt for my trusty handheld meter, personal projects on the other hand, I would switch between this app and my Sekonic.
The next time I plan to use this app will be when I shoot some 4x5 film in the next week or so. I’ll post the results from that shoot soon.
New/Old Gear: Toyo 45G II Large Format Camera
Well, I just added a new addition to my gear box; the Toyo 45G II 4X5 large format camera. I had always entertained the idea of buying a large format for years, within the past month I started looking at the Sinar F and P series, the Horseman 450 series and lastly the Toyo G series.
Well, I just added a new addition to my gear box; the Toyo 45G II 4X5 large format camera. I had always entertained the idea of buying a large format for years, within the past month I started looking at the Sinar F and P series, the Horseman 450 series and lastly the Toyo G series. All amazing cameras, the Toyo G II won in the end, Price and durability were key points in my purchase. Some other key points included:
> Rubberized knobs,
> Metal construction
> Super bright etched fresnel ground glass [ can’t wait to get a lens for it ]
> Revolving non vigneting film back
> Geared fine focus.
> Geared front and rear with fluid axis level
> Independent locks on all movements; front and rear standards, shift, swing and focus knobs
These are just a few of the stand out features that caught my eye.
Next I will be ordering some Ilford HP5+ Film from one of my favorite camera stores; B&H PHOTO in New York. Then next on the list is too research some lenses for the type of work I plan to use the GII for, mainly portraiture. I have 3 brands in mind; Schneider, Rodenstock , and Nikkor W series, something in the 180mm and 210mm focal lengths.
I can already see that I am going to have lots of fun with this large format camera.
Until next time.
Test: Pocket Light Meter App For iPhone X Pt 1 of 2
So recently I purchased another photography app for my Apple iPhone X; The Pocket Light Meter Nuwaste studios ($10.99). Since I always have my phone with me, I thought it would be a great companion for my gear
So recently I purchased another photography app for my Apple iPhone X; The Pocket Light Meter Nuwaste studios ($10.99). Since I always have my phone with me, I thought it would be a great companion for my gear since I have been known to forget my traditional light meter at home from time to time,
Right out of the gate I noticed setting the ISO, shutter speed and aperture were a breeze on this app. it handled much like my old Minolta spot meter, the downside of the app version is it can’t take 2 separate readings for a combined exposure as in the Minolta spot meter had done. The other thing I noticed was comparing light readings between the app and my traditional light meter fell between a 3rd of a stop for the most part, not a deal breaker, but noted throughout these tests.
I am running some test paired with my Sekonic L-358 meter. Part 2 of this blog will have the final images from these test. As for the gear I will be using; Mamiya RZ67 Pro camera with a Mamiya RZ67 Pro II 6x7 film back, Mamiya Sekor C 50mm f/4.5 lens and Ilford HP5 + 120 film.
I hope to have my film ready to process in the next week or so, and part 2 of this blog written shortly there.
Why Capture One Pro?
The choice was easy when I decided I wanted to tether my photo sessions to my laptop, Capture One Pro supports both my older Nikon cameras, the D200 and the D2x.
Recently I started to explore the possibilities of shooting tether during photo sessions; For those that don’t know, Tethering is the ability to connect the camera to the computer via USB cable and using software to view each and every image as you shoot.
Phase One’s Capture One Pro 11 imaging software became a possibility for me. Why would I switch from Adobe Lightroom? First and foremost,the obvious, tethering options for both my Nikon D200 and D2x that are not supported with Lightroom, they’re however supported through Capture One .
Though I have been an avid Adobe photoshop user for many years, jumping over to Adobe Lightroom Classic CC within the past year or so. The idea of viewing each of my shots on a larger display, being able to tweak the RAW file as I shoot, showing a prospective client the process and make any changes that would become more visible per a larger presentation other than the small LCD on the back of my camera. Capture One Pro has became exactly what I think I need.
Sure I’ve had a few friends tell me to just upgrade to a newer, more recent model camera, a full frame camera, and just stay with Lightroom, why should I? For what I do and plan to do, and for what I need. my Nikon D200 and D2x are more than enough to take on what I put them through, if its not broke, don’t fix it is what I go by and secondly, the camera is nothing more than a tool, an extension of the artist. Adding Capture One software to my workflow just ups the ante when it comes to making each and every image count, this will allow me to fully dig deep into my vision, cause in the end, the image starts and ends with me.
What’s in my bag
Here's a peek at what I currently use both in-house and on location. My whole Elinchrom system is actually the newest addition I have added since switching from the Paul C. Buff units, and it was worth the switch.
Often at times I never get asked “what’s in my bag”, well that’s not entirely true, when doing events is when that question would arise……at times.
Bags & Cases:
Timbuk2 Medium Messenger Bag (custom)
Domke F7 (black)
Domke F1-x little bit bigger bag (tan)
Elinchrom Hardshell Case
Tenba Hardshell Waterproof Case
Anvil Heavy Duty Flight Case
Cameras, Lenses:
Digital 35mm:
Nikon D800
Nikkor 85mm F1.8 D Lens
Nikkor 80-200mm F2.8 Lens
Sony Alpha A7R II
Sony FE 135mm F/1.8 GM
4x5 Film:
Toyo GII (4X5 camera)
Schneider Symmar-S 180mm f5.6 MC (Large Format Lens)
Riteway 4x5 Film Holders
Medium Format Film:
Rolleiflex MX series TLR
Mamiya RB67 Pro SD
Mamiya Sekor 50mm C f4.5
Mamiya 140mm F4.5 macro type “C” Lens
Mamiya K/L 90mm f3.5 Lens
Mamiya K/L 180 f4.5 Lens
Mamiya CDS Prism Finder
Mamiya Model 2 Prism Finder
Mamiya RB67 Waist Level Finder
Mamiya (RB) 6x8 Motorised 120 Film Back (2X's)
Mamiya (RB/RZ) 6x7 Motorised 120 Film Back
Lighting:
Elinchrom Quadra Pro Flash Head
Elinchrom Quadra Action Flash Head
Elinchrom Speed AS A Head
Elinchrom EL-1000 flash Head
Elinchrom Quadra Hybrid Battery Pack (400ws)
Elinchrom Quadra RX Battery Pack (400ws)
Elinchrom Ranger RX Speed AS Battery Pack (1100ws)
Elinchrom RQ Adapters (2X's)
Elinchrom Deflectors set
Elinchrom Maxispot Reflector
Elinchrom Rotalux 39" Deep Octabox
Elinchrom 17" Silver Beauty Dish
Elinchrom Basic 8.25 Reflector
30-degree Grid Spot (8”)
Elinchrom Skyport Plus HS Transmitter (Nikon)
Elinchrom Skyport Plus HS Transmitter (Sony)
Elinchrom EL-Skyport Transceiver
Elinchrom EL-Skyport Receiver
Honey Grid 40cm- 25-degree Grid Spot
Vagabond II Battery Pack (used w/Elinchrom EL-1000)
Mola Demi 22” Beauty Dish (White)
22” spot grid for Mola Demi (20 Degree)
Photek Softlighter II
Phottix 35cm X 155cm Strip Light
Nikon SB-26 Speedlight
Misc:
4'x 6' California Sunbounce w/ Silver/White Reflector Panel (2x’s)
42"x78" PVC frames (2X's)
42"x78" Calumet Translucent 1/2 stop Fabric
42"x78" Calumet White/Silver Fabric
Savage Seamless Paper (Thunder Gray) 86"x 36"
5x7 Canvas Backdrop Olive/Medium Texture
Rosco Color Gels
Bogen/Avenger Rolling Stand
Matthews Century C+ w/Turtle Base (Black)
Matthews Baby Runway Stand with Wheeled Base
Matthews 40” Hollywood Head/Arm (black)
Matthews 40” Hollywood Head/Arm
Matthews Half/Full Size Apple Box
X-rite ColorChecker
Workflow:
Dell XPS 17” Laptop
Dell XPS Desktop (32GB memory) Dual 27” Monitors
Wacom Intuos Pro (Medium) w/ Pro 2 Pen
WD External Drive 500GB
WD External Drive 3T
WD External Drive 6T
WD External Drive 8T
Adobe Lightroom cc
Adobe Photoshop cc
Adobe Photoshop CS3 Master Collection
Capture One
Accessories:
Mamiya G2 Lens Shade
Tokina Lens Shade
Nikon Lens Shade
Sandisk Type II & III CF Cards (10X's)
Sandisk Card Reader
Nikon Battery Charger
B+W UV Filters (8x’s)
Sekonic L-358 Light Meter
Bogen 3021 Tripod (bought this in 1991)
Bogen 3030 Head (bought this in 1991)**retired
Arca Swiss B1 Ballhead
Arca Swiss Universal Plates (4X's)
77mm Neutral Density Filter