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on Nov 19, 2019 11:03:00 GMT
Posted: Nov 19, 2019 11:03:00 GMT
Hello gear fans, Many of you here have more than one camera/lens and from more than one brand, even when everybody knows that Yashica is the best  , and usually the collection was made over many years of buying, trying and selling, and also most probably the "favorite one" was changing over those years. So I would like to play with you a little game that sometimes I play with a friend, it goes as follow: Imagine that for some reason (a war, the apocalypsis, the planets are colliding, we move to Mars or just because) you are forced to choose one set of camera and lens out of your current collection, leaving everything else behind. Which ones you would choose and why? Usually to make it short I narrow down the game only for the 35mm format, but feel free to extend it if you like to one set for each format: 35mm, middle and large formats (one size each). I am aware that it is a silly game but in my case was funny and very curious to see how the preferred set was changing over the years based on time, experience and age. OK, so I will start (comments and critics about my selection and reasons are welcome): For 35mm: Yashica FX-3 Super 2000 + Yashica ML 50mm f/1.4 Simple, compact and fully mechanical SLR that works without battery, with metallic curtain and goes up to 1/2000, and has a bright finder. With the standard 50mm fast lens, easy to handle and clean, without complex mechanism. I was thinking about the Yashica ML 35mm f/2.8, but the 50 was the winner. For middle format: Yashica Mat 124G I would prefer something that allows me to shoot in 6x9 but I do not have anything comfortable and reliable to use for that size so I choose the good old Mat 6x6 for the same reasons above, fully mechanical TLR, no battery needed and a bright finder. If I could bend the rules a little bit by not taking under consideration the fixed lens and counting one body plus one lens then I would take the Telephoto auxiliary lens too to add versatility. If I have to choose a film-developer combo then I would take Kodak 100TMax and XTOL. I do not mention paper because my experience so far is limited only to Foma. |
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on Nov 19, 2019 11:42:25 GMT
Posted: Nov 19, 2019 11:42:25 GMT
Hmmm,
I wouldn't argue with the FX-3 Super 2000 as it's an excellent, non-battery dependent choice, and there's little wrong with the ML 50 1.4.
I'll go with my Contax S2b and Zeiss 55 1.2 Planar as that combination gives more low-light capabilities given the ever diminishing availability of fast film but that higher shutter speed of 1:4000 will also allow one to exploit the lens' shallow dof in bright light too. Although the Contax 645 is my favourite MF camera, in an apocalyptic setting you couldn't risk dependence on batteries so it would be the Yashica 124 or 124G and for both cameras, an old Yashica selenium-powered light meter.
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on Nov 19, 2019 12:15:03 GMT
Posted: Nov 19, 2019 12:15:03 GMT
I assume we are talking film cameras here. Since my favourite lens and camera choices are incompatible it’s quite tricky.
Ideally I’d like an OM-4Ti with a 35mm Zeiss PC-Distagon! The multi-spot metering matters to me when shooting film so the answer would come in the form of an Eos-1v and a good adapter.
Interestingly I don’t currently own either of the cameras!
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on Nov 19, 2019 12:20:02 GMT
Last Edit: Nov 19, 2019 12:31:42 GMT by Ariel
Hmmm,
I wouldn't argue with the FX-3 Super 2000 as it's an excellent, non-battery dependent choice, and there's little wrong with the ML 50 1.4.
I'll go with my Contax S2b and Zeiss 55 1.2 Planar as that combination gives more low-light capabilities given the ever diminishing availability of fast film but that higher shutter speed of 1:4000 will also allow one to exploit the lens' shallow dof in bright light too. Although the Contax 645 is my favourite MF camera, in an apocalyptic setting you couldn't risk dependence on batteries so it would be the Yashica 124 or 124G and for both cameras, an old Yashica selenium-powered light meter.
Compared with the S2b the FX-3 looks like a toy camera... Is it the one with titanium plates? About the lens, in addition to very nice shots you will build muscle with it. And what about film?... any favorite? I assume we are talking film cameras here. Since my favourite lens and camera choices are incompatible it’s quite tricky. Ideally I’d like an OM-4Ti with a 35mm Zeiss PC-Distagon! The multi-spot metering matters to me when shooting film so the answer would come in the form of an Eos-1v and a good adapter. Interestingly I don’t currently own either of the cameras! Yes, the idea was for film cameras but if you do not have any then feel free to add your digital set. The only one mandatory condition is that you have to choose from the gear you currently have... no time to go to buy one, hurry, pick one from the shelf!  |
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on Nov 19, 2019 14:11:12 GMT
Posted: Nov 19, 2019 14:11:12 GMT
Hi ariel,
Yes, the S2 and S2b have titanium top and base plates. But the FX-3 Super 2000 is not a million miles away from the spec of the Contax S2b - it just lacks that extra top speed but 1/2000s is pretty good. It's not often you need that 1/4000s. And that FX-3 seems to go on for ever...
OK, I'll admit the Planar is bulky and heavy for a standard lens but having used the 85 1.2s for ages, you get used to the handling (it's a breeze on the big Contax AX).
As to film, Fuji Velvia 50 is pretty impressive, especially when it is in the 120 format.
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on Nov 19, 2019 17:57:26 GMT
Posted: Nov 19, 2019 17:57:26 GMT
...but having used the 85 1.2s for ages, you get used to the handling (it's a breeze on the big Contax AX). Well that is a lens I would love to try no matter its 874g, if I were you I would be tempted to take it instead of the 50mm for the survival kit. As to film, Fuji Velvia 50 is pretty impressive, especially when it is in the 120 format Never used it but, based on the samples I found over the net, it looks really good except for the price. |
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on Nov 20, 2019 11:30:01 GMT
Posted: Nov 20, 2019 11:30:01 GMT
Hi ariel,
The main issue with taking only the 85mm Planar would be that it severely limits any options for a slightly wider viewing angle; while the 55mm is no wide-angle, it does at least afford a broader view than its short telephoto sibling.
You are quite right; prices for any of the 1.2 Planars are problematic but at least both versions of the 85mm are usually available. The 55mm though was made in much smaller numbers and is both more costly and much more difficult to find.
I hate to admit how many £1000's I had to pay for those 3 lenses back in their days but they were generating an income so I could almost justify it. That said, I was most grateful for insurance though as one of my 55s and my 85 60th Anniversary were smashed when a g/f's dog took issue with the power cord for my lovely old Technics RS1500 tape deck and it tumbled off the shelf and landed on the lenses and a Contax AX. My insurers weren't too happy as I have a 'new for old' policy and while getting hold of a mint AX was easy, finding 'as new' 1.2 Planars and the tape deck took a while and must have cost a small fortune in Customs charges! Snigger....
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on Nov 21, 2019 8:43:47 GMT
Posted: Nov 21, 2019 8:43:47 GMT
I was talking about the price of Velvia but yes, CZ was/is always expensive and especially for the limited edition gear, at least you had a good excuse to justify the buy and now you can enjoy them outside the work environment. And you will recover big part if not all the money invested if you sell them at some point.
Don't feel any sympathy for insurance companies, for sure they charged customers more than enough to cover the service, but in regards to the accident it is difficult for me to decide if I feel more pain for the camera-lens or for the tape deck, always liked those Hi-Fi reel-to-reel recorders, I have a Technics rack but from the cassette deck generation.
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on Nov 21, 2019 13:17:22 GMT
Posted: Nov 21, 2019 13:17:22 GMT
I would take a CONTAX S2 (or the CONTAX 159, if you get SR44 on Mars...).
The TOKINA AT-X 2.8/35-70 would be good choice, and a bunch of HP5+ (hopefully there will be coffee to develop classical BW film)
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on Nov 26, 2019 3:01:10 GMT
Posted: Nov 26, 2019 3:01:10 GMT
If it was digital, then it's a no brainer I'd choose my Nikon D300s outfit. For film it would be the Leica M4-P outfit. If I had to pare it down even further due to weight/space constrictions, then I'd have to press the Nikon P7700 back into service.
PF
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on Nov 26, 2019 16:01:05 GMT
Posted: Nov 26, 2019 16:01:05 GMT
I would take a CONTAX S2 (or the CONTAX 159, if you get SR44 on Mars...). The TOKINA AT-X 2.8/35-70 would be good choice, and a bunch of HP5+ (hopefully there will be coffee to develop classical BW film) Nice combo! If it was digital, then it's a no brainer I'd choose my Nikon D300s outfit. For film it would be the Leica M4-P outfit. If I had to pare it down even further due to weight/space constrictions, then I'd have to press the Nikon P7700 back into service. PF
Which lenses for the D300 and the M4P? And which set would you choose, digital or film? |
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on Nov 28, 2019 4:34:28 GMT
Posted: Nov 28, 2019 4:34:28 GMT
I would take a CONTAX S2 (or the CONTAX 159, if you get SR44 on Mars...). The TOKINA AT-X 2.8/35-70 would be good choice, and a bunch of HP5+ (hopefully there will be coffee to develop classical BW film) Nice combo! If it was digital, then it's a no brainer I'd choose my Nikon D300s outfit. For film it would be the Leica M4-P outfit. If I had to pare it down even further due to weight/space constrictions, then I'd have to press the Nikon P7700 back into service. PF
Which lenses for the D300 and the M4P? And which set would you choose, digital or film? For the Nikon I have the 12-24, 18-55, 18-105, and 55-300 zooms, plus the 35mm and Micro 40mm primes. All DX AF-S Nikkor G, most with VR. And two D300s bodies.
For the Leica, I have four Cosina Voigtlanders, 15mm f4.5 Super Wide-Heliar, 21mm f4 Color-Skopar, 28mm f2 Ultron, and 35mm f2.5 Color-Skopar. Konica M-Hexanon 50mm f2. Leitz Wetzlar Elmar-M 50mm f2.8 collapsible, Tele-Elmarit-M 90mm f2.8, and Leitz-Canada Elmarit 135mm f2.8 (with goggles).
I would likely go with film, and so I could pare that down further to the Leica CL with Summicron-C 40mm f2, and Elmar-C 90mm f4.
PF
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on Nov 28, 2019 9:25:05 GMT
Posted: Nov 28, 2019 9:25:05 GMT
It is interesting to see that so far nobody is taking a Canon or a Nikon (film) as the chosen one, compared with the digital world where those two are kings.
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on Nov 30, 2019 23:27:06 GMT
Posted: Nov 30, 2019 23:27:06 GMT
It is interesting to see that so far nobody is taking a Canon or a Nikon (film) as the chosen one, compared with the digital world where those two are kings. Well, this is a Yashica forum and, even in the film days that was a contrarian choice! Only Konica would be more off the wall. FWIW the only camera I would never part with is a Canon - my T90, which was a 21st birthday present from my parents around ‘91. A camera chosen over the Nikon F601m & Contax 167. |
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on Dec 8, 2019 1:06:31 GMT
Posted: Dec 8, 2019 1:06:31 GMT
It is interesting to see that so far nobody is taking a Canon or a Nikon (film) as the chosen one, compared with the digital world where those two are kings. I was thinking of including my Nikon F Eye Level with a 35, 50, and 105 but I've recently invested more into the Leica M4-P, and the lenses weigh much less so I can pack a bigger kit than with the F.
PF
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, and usually the collection was made over many years of buying, trying and selling, and also most probably the "favorite one" was changing over those years. So I would like to play with you a little game that sometimes I play with a friend, it goes as follow:
