> . . . .I'd like to try bellows now.
Of all the various bits and pieces of photographic
equipment that have passed through my hands in the
last 20 or so years, my bellows wins the 'most fun'
competition hands down.
> . . . . Nikon PB-6 . . . .
I use a PB-4, I've only played with a PB-6 in the
store. They're fairly similar, but you might want
to take some of the following with a grain of salt :-)
> . . . .(I intend to use it with AF 50/1.8
> mostly and F5)
Then I recommend that you get a reversing ring for
the lens as well. It'll flatten the lens' focusing
field.
> 1) how does the bellows "behave" on a
> tripod (I persume you mount it on a tripod?)
> with 3-way head (e.g. Slik U-212)
There's a rail on top of the bellows that the front
and rear stands move back and forth on, and another
rail on the bottom that the tripod mount moves back
and forth on. You can shift the lens-bellows-camera
assembly back and forth on the tripod by adjusting
the bellows' tripod mount.
> 2) is the PS-6 slide copy adaptor worth
> investing for copy work (I'm getting more
> and more requests about slide copying every
> day and commercial copying is somewaht
> expensive)
Yes. Direct printing slides is a royal pain, and the
slide copy adapter is (I think) the best way to
photograph them.
> 3) if I buy the PS-6 slide copy adaptor what
> film would you suggest to use for copy work?
> I know there exsist special copy film but how
> would it work with for example Fuji Sencia II
> 100 ISO?
Copies of slides have way too much contrast when shot
on 'normal' film. Unless you want to boost contrast
for some reason, I'd recommend a film designed for
making duplicates.
> 4) I read somewhere that I might need another
> special ring to operate the rig completely.
> What ring would that be? Something between F5
> body & bellows???
There are two areas of interference.
One is between the front of the F5 and the bellows'
rear stand (the end where the camera mounts). You
can attach the camera by putting a PK13 between it
and the bellows.
The second point of interference is between the camera
and the bellows rail. You have to set the rear stand
to it's rearmost position. I believe that there's an
extension kit that allows you to correct that problem
with the PB-6.
> 5) the most important thing: how can I obtain
> optimum & edge to edge consistant light source
> for copy work? With what? Light table? Special
> bulbs? This is probably the most important issue
> so I'll appreciate any help!!!
For copying slides, either a flash shot through a diffuser
(far enough away to be well out of focus) or an enlarger
head works well. The enlarger head lets you correct color
a little easier. Kodak makes different copy films for
different light sources (as well as direct print copy films)
so make sure you get the right one for your light source.
A good light table should be close to the same color
temperature as a flash, so you could probably use one with
the copy films designed for flash. I've never tried it.
For front lit subjects use two flashes or photofloods and:
1. Set one on each side of the subject at a 45 degree
angle to the subject.
2. Put them far enough away from the subject that the
light from each source covers the entire subject.
3. Make sure that the two sources have equal output
levels.
-Don
