Cambo WRS-HV Hasselblad lensplate

Cambo WRS-HV Hasselblad lensplate

Cambo Fotografische realise how important legacy lenses are to photographers. Their expertise and manufacturing capability enables photographers to use their long loved lenses and use them in the digital environment.

Well-known for developing modular camera systems. Cambo adapted the most popular cameras to the Actus, supply a wide range of lens adapters and interchangeable digital camera plates enabling the photographer to pick and choose the best available kit combination.

The new WRS-HV lensplate enables photographers to use their Hasselblad legacy lenses with the Cambo WRS series cameras.

Cambo WRS-HV

Cambo WRS-HV

This combination will work with digital backs that have a built-in shutter (sensor activated electronic shutter), effectively a shutterless digital back, such as the PhaseOne IQ3-100 and the new IQ-4 series.

Cambo WRS-HV with Planar

Cambo WRS-HV with Planar

Cambo WRS-HV with Sonar

Cambo WRS-HV with Sonar

For further advice contact your local Cambo dealer or Cambo Fotografische  technical sales. You can also check out the Cambo website.

 

Posted in Wide RS

New Studio Stand Brochure 2018

New Studio Stand Brochure 2018

It’s great to see a new Studio Stand brochure from Cambo NL

The 2018 version displays the new products we’ve been blogging during 2017/18 such as MBX and Laptop platform. Also included are the accessories such as the CBH-6 Ball Head and new PCH Precision Geared.

You can test drive these out at Photokina – in the meantime download the brochure below.

Cambo Studio Stand Brochure 2018

Click here to download and if you have any technical questions contact the Cambo Team.

Posted in Studio | Tagged , ,

Using the Cambo V-15

Using the Cambo V-15

Manchester has a plethora of filmmakers and production companies and they don’t have to travel far to get a great backdrop to their productions. The Midland Hotel on Peter Street has hosted an array of Kings, Queens, Presidents and Prime Ministers, and now it’s the turn of Shooting Gallery Films.

Shooting Gallery Films was formed by Brian Spranklen and Paul Kerry with the concept of marrying high quality cinematic imagery into the world of viral video. Cost of filming is very challenging so they conceived to bring together a small multi talented team of industry professionals with a wealth of experience to create a filmic quality at an affordable rate.

‘As you can see we use the Cambo V-15 for camera support, it fits the bill perfectly for the cameras and lenses we use’ said Brian Spranklen.

‘I love it! It’s so smooth and well balanced I use the V-15 a lot. As I said balancing is important so sliding the weights into place is easy and it all fits together within minutes. Moving from high to low level shots with the V-15 and fluid head is a breeze, the movement is also smooth when panning’ said Paddy McGowan, Camera Operator.

 

Check out SGF’s film reel – Click here and click the main page to play.

For more information about Cambo Video Booms and supports – Click here or Cambo Fotografische if you have any technical questions.

Posted in Video Booms | Tagged , ,

Trading wood for metal, a difficult decision made.

Trading wood for metal, a difficult decision made.

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Richard is a  landscape photographer based in the wonderful scenery and industrial landscape of the Ironbridge Gorge in Shropshire. He specialises in producing high quality images using a Large Format film camera and also digital equipment. Since starting out in 2004 his work has been published in books and the photographic press and also for a wide variety of marketing uses with clients including Ordnance Survey, Marine Resource Centre, Visit Scotland and National Geographic Magazine.

Below is an un-edited blog written by Richard about his experience of using the Cambo Actus and Sony A7 series camera.

Trading wood for metal, a difficult decision made.

After nearly a year of agonising and constant changes of mind I have finally made the decision (for now) to place both feet firmly in the digital photography camp. I’ve been fighting it but to be honest I have found myself shooting less and less film since investing in my Sony A7r and now I have the means to make my digital photography as enjoyable and engaging as Large Format has been over the last fourteen years.

During that time I have shot about 16,000 sheets of film, the emulsion (mostly Velvia) and the cameras (Ebony RSW45, Ebony 45su, Shen Hao and Chamonix 045F-1) whipping me into shape as a photographer throughout that time. I still want my photography to challenge me but I also need to be returning with usable images wherever I go and my Sony, now married up to Pentax 645 lenses via a beautifully made Cambo Actus view camera, is very much fulfilling these needs (and most importantly, making me very happy).

Cambo Actus

Cambo Actus

The signs have been there for a while. Last year I only shot 31 sheets of film, in 2016 I shot around 90. I process my own film and whereas I used to get through a five litre E6 kit every two months (therefore wasting none) I have in recent years had to throw away fifty percent of the 2.5 litre kits as it had exceeded its twenty or so week usable life.

So why didn’t I just hold on to all of my 400+ sheets of frozen film and use them when I feel the urge? Going back to the chemistry issue I could simply send the few I take off to a lab for processing but for the last ten years I have had complete control of my workflow from capture, through processing, post processing, printing and finally framing and I don’t intend to let go of any of these important elements. I don’t want to be pouring away wasted chemistry and I’m not really in the position to be able to invest in the 1200 sheets per year at current prices to be making images as I used to. I also get relatively few days out on my own with a camera anyway and have really appreciated in the last few years the ability to be making images when previously I had really struggled and often come back with nothing.

The comparison test.

Doesn’t the same image shot side by side with a sheet of Velvia look better compared with it’s Sony equivalent? Well, yes but I’ve only done it once and have been delighted with pretty much everything I’ve shot on both cameras over the last year. I’m not trying to recreate a Velvia look with my digital images (although looking back through my images as I save them to cloud storage I love the depth of colour in the shadows that my favoured emulsion provided) but simply carry on doing as I have always done and create dynamic images in camera that I can make relatively small adjustments to work well in print. I’m certainly able to make sharper images with my Sony now that I need to wear reading glasses to focus (being able to check focus before and after the act of making an image has proven incredibly useful, something I have always struggled with on the ground glass itself). Can’t you print bigger from your 5×4 scans? Yes, but I have very few customers who need anything larger than the 24×30 inch images that I have been printing from both my scans and my digitally captured files. I always scanned my transparencies at 1800dpi which gave me a 315mb 16bit file. Converting to 8 bit for print provided me with a 157mb file to work with and having now tried out a couple of successful stitched files with my A7r2 on the platform provided by my Cambo I’ve created 157mb files from two images stitched horizontally and 210mb files when I stitch vertically (vertical stitching allowing me more use of the lens’ image circle without vignetting). These files are ample for my needs and I can’t really envisage needing much more.

I think the most critical question has to be; Is photography as enjoyable as it was when I shot film and used my large format camera? The answer is a resounding yes. It’s not better, it’s just different. There are things that I miss; the ritual of setting up, the delayed gratification when first viewing your images days or weeks after their making, the feel of a wooden camera. There are certainly things I don’t miss; struggling under a dark cloth in a side wind when the ground glass and my glasses were both misting up having climbed to a location, those near misses that occurred because I just couldn’t set up fast enough, midges inside the camera! Much of what I loved about LF I have tried to carry over to digital although there is the inevitable increased use of my computer, a necessary evil albeit one that I am coming to appreciate more as I improve my Lightroom workflow for my Raw files (I’m even reworking many of my scans in this software as they seem far more malleable to a point where I feel like they have a wider latitude).

Will I ever shoot film again? Probably. I’ve kept my Gnassgear dark cloth which was the one piece of equipment I would have struggled to replace. I have a habit of stopping and restarting hobbies and I feel that Large Format would very much be a hobby activity in the future since it would be difficult to compete commercially with such an expensive method of making images. After all, an image library would pay me the same pittance for use of a photograph no matter what I’d taken it with.

My Comment;

To see more of Richards work click here or if you’re passing why not pop in to his gallery: Richard Childs Gallery Maws Craft Centre, Unit B1, Ferry Rd, Jackfield TF8 7LS

For further advice about the Actus and range of lens options contact your local Cambo dealer or Cambo Fotografische  technical sales. You can also check out the Cambo website.

Posted in ACTUS, Landscape | Tagged , ,

Cambo Panoramic and Levelling head WRS334

Cambo Panoramic and Levelling head WRS334

Cambo have introduced a new panoramic and levelling head WRS334 which is compatible with the complete range of Actus technical cameras and WRS cameras with the Arca mount.

Cambo WRS334 Levelling and Panoramic Head

Cambo WRS334 Levelling and Panoramic Head

The WRS-334 features:

  • Fine-tuned levelling over 3 knobs within 5 degrees in any direction
  • 360 degrees panning of the camera with zero-position click
  • Full 360 degree scale for indication of panoramic settings
  • Rotation with click stops at 2, 12 or 16 increments
  • Includes a camera plate with 1/4″ mount or
  • Any camera with an ARCA type plate

For any cameras without an Arca mount you can adapt to the WRS-334 using the QR-7 plate which has a 1/4″ whitworth camera thread.

Cambo WRS334 and QR7 Plate

Cambo WRS334 and QR7 Plate

Specifications;

  • Additional weight 690 gram w/o plate
  • Additional height: 75mm
  • Footprint to stand: 54mm diameter
  • Size: 99x78x87mm incl. plate
  • Weight 740 gram incl. plate
  • Rotation 360 degrees with scale indicator
  • Click stops at each 180, or each 30, or each 22.5 degree

Since introducing the Arca style tripod mount to Cambo camera systems it made sense to add this fitting to the new WRS-334.

Cambo WRS1600 and WRS334

Cambo WRS1600 and WRS334

For photographers that already own a Cambo camera and are looking to add the WRS334 to their kitbag, here is what you will need;

  • WRS-1600 – ARCA fitting Integrated
  • WRS-7250 – ARCA fitting Integrated
  • WRS-1200 Add Cambo ARCA plate WRS-145
  • WRC-400  Add Cambo ARCA plate WRC-A70
  • WRS-1250 Add Cambo ARCA plate WRS-145
  • WRS-5000 Add Cambo ARCA plate WRS-145
  • WRS-5005 Add Cambo ARCA plate WRS-145

note: All new WRS/WRC models come complete with an Arca dovetail.

Cambo WRS-145

Cambo WRS-145

Cambo WRC-A70

Cambo WRC-A70

Cambo ACTUS cameras have an Arca style rail, all models will fit to the WRS334.

Actus-CanonM3

Actus-CanonM3

For camera systems without an Arca mount, there are two options available from Cambo. The QR-7 and QR-XL plate. Both are ideal for Medium format and DSLR camera systems as well as for using on the RPS copy stand system.

Quick Release QR-7

Quick Release QR-7

Cambo QR-XL plate

Cambo QR-XL plate

For further advice contact your local Cambo dealer or Cambo Fotografische  technical sales. You can also check out the Cambo website.

Posted in Tripod | Tagged , , , , , ,

The Future of Digital Photography

The Future of Digital Photography

In 2016 we interviewed Barry Grossman and published a number of his images that were captured using the Cambo Wide RS-5000. He uses a variety of lenses such as Rodenstock: 23mm HR Digaron-S, 32mm HR Digaron-W, WTS40mm HR Digaron-W and WTS70mm HR Digaron-W.

Barry is striving to obtain the best image quality and has added a Phase One camera, IQ3-100 Trichromatic digital back to his kit list. Of course the Cambo WRS camera system he has is compatible with the whole range of Phase One digital backs, by simply exchanging the SLW plate to the SLW-83. This is why Cambo is a good future investment.

The following article has been submitted by Barry and is un-edited;

Four years ago, I ended my blog post contemplating the future. “Let’s see what they think of next,” I queried.

This, of course, referring to how technology would bring to the photographic industry higher quality standards across all platforms. Admittedly, what I was truly pondering was what would Phase One dream up and be able to create? How could their flagship camera for interior architecture become even better? Their answer has proven to be a miraculous, yet completely expected one.

I have been a Phase One camera owner since 2003, and I had utilized four different systems until 2014, when at that time , I upgraded to the state-of-the-art medium format camera system, the IQ260, complete with a beautiful technical camera built by Cambo Photography. As I had noted in our admittedly lonely blog post in 2014, the synergy of my workflow with that equipment was immediate, passionate, and I had definitely found the best “tools of the trade” for me. Flash-forward to 2017 and Phase One has done it once more with the introduction of the IQ3 100 Trichromatic digital back… again, I have changed how I think about my photography.

I had vacillated for months after the announcement of Phase One’s new technology, contemplating the business of interiors and architecture photography, my working methodology, what made sense financially… did I truly need to offer my clients more than 60 megapixels? Is 100 megapixels the Holy Grail for digital photography? When the Trichromatic was introduced, with a unique sensor which captures the most pure, accurate color of any camera manufactured today, my level of intrigue gripped me like powerful vise. Still, I held off, uncertain… holding fast to my IQ260, a digital back which I truly loved and one which I had come to rely upon for my signature “look.” It took months of contemplation and research, before I gave the IQ3 100 Trichromatic a test drive… and am I glad I did.

Privé Condominium, Miami Florida

My first shoot with the Trichromatic, this gorgeous lobby pictured above, was made possible by Capture Integration and Phase One. Chris Snipes has been my support and product specialist since 1995 and has managed Capture Integration’s sales team for years. I was thrilled that Francis Westfield, the U.S manager of sales from Phase One, joined Chris and myself on assignment in Miami, photographing Privé. Interior and architectural photography at this luxury high-rise condominium featured designs throughout the common areas of this residential property. We ran the system through its paces and simply stated, I was floored. Shot after shot, in each and every lighting scenario, I was left speechless, smiling and completely impressed. The Trichromatic was sharper, rich with detail and clarity, more refined and more pure than I have ever seen in a digital capture. Most importantly, and I can’t state this enough, I was inspired to do my best work. That rekindling of passion for the image-making experience is the real story I hope to convey, and that embedded desire to create and share photographs of the highest quality possible has inspired me every assignment since.

The Boca Raton Resort & Spa

A few weeks later, I was thrilled and proud to be commissioned to create photographs of the interior and exterior architecture at the Waldorf Astoria Boca Raton Resort & Spa. This would be the first real opportunity to challenge me, and more importantly allow me to solidify my relationship with the IQ3 100 Trichromatic. This assignment was a joy and for a photographer who derives inspiration from his subject matter, it was one of the most special experiences I have ever had in my career as a professional architectural photographer. The photographs at the resort were honest, with a purity of color and tone, and a simplicity of composition. It was my hope to portray the ambiance of South Florida’s most elegant and historic resort hotel with total respect to the environment and do so with my own dramatic signature style.

With our industry advancing so quickly and cameras becoming better and better, I feel it is most important to be at the forefront of technology… and as far into the future as possible. For me, working with the camera which is most effectively positioned to achieve the highest quality results, does ensure that I am creating work with the greatest potential for lasting value. This, above all, is “soul-satisfying,” a smart business decision, and allows me to feel like I am representing the best of the subject matter with my photographs. I will often say to my clients when asked about our Phase One camera system, that one of the main reasons I shoot with this camera is I want their work to have the longevity and lasting value it deserves. Each and every project. Each and every photograph.

I ended my last blog four years ago pondering the future of photography in terms of equipment, aesthetics, technical advantages, and thinking deeply about color depth, dynamic range, and the ability to shoot long exposures at dawn. I think where I am today is perhaps more metaphysical and contemplative in the sense that I am starting to question what the future holds as it pertains to photographic reproduction, the experience of image creation, and how framing and sharing “life as it happens” is so ubiquitous in our culture.
Again, I ponder the art and commerce of architectural and interiors photography. I am very proud to be able to create work which matters not only in the short term, but my hope… for a lifetime.

My comment;

The IQ3-100MP digital back is based at 35ISO, its limited to 12,800ISO as the system is designed to produce fine quality and colour. The Tricolour RGB is separated instead of using near neighbouring pixelling which is a great improvement. Customised filtration produces the correct colour and density thus avoiding unwanted signal collected at the sensor level.

Phase One have updated the white balance and both UV and IR levels are improved so when capturing blue skies and greenery it is pure without loss of quality.

It’s good to improve the quality of the digital capture device without the need to change the WRS technical camera and lenses. Cambo designed the Wide RS system with digital in mind. The lens panels attach firmly in place every time and are focus calibrated to capture the finest detail possible. This is why I stated earlier that Cambo is a good investment.

If there are any further questions about Cambo cameras, lens selection or choosing the right digital back contact your local Cambo dealer or Cambo Fotografische  technical sales.

Posted in Architecture, Interiors, Technical, Wide RS | Tagged , , , , , , , , , , , , ,

Cambo at Photokina 2018

Cambo at Photokina 2018

Cambo Photokina 2018

Photokina 2018 will be held in the Koelnmesse, from 26th ~ 29th of September 2018.

Cambo Hall 2.1 Stand A-017

Cambo Hall 2.1 Stand A-017

Cambo will show the full range of Tech cameras, Wide RS and the updated ACTUS series, updated Studio Stands and various other Cambo products and accessories.

You can find CAMBO in Hall 2.1, Stand nr A-017

Photokina 2018
Posted in Exhibitions & Open Days | Tagged , , ,