Just for Show Novoflex BALPRO T/S review Part 1: stability and stacking

Nathan Wright

Well-Known Member
14786825311_b6210c5308_o.jpg


First, the review link: Novflex BALPRO T/S review Part 1: stability and stacking

As some of you know, I am a still life audiophile photographer. My clients are magazines, boutique shops, and large manufacturers. I get called in to shoot hard stuff like earphones (believe me... these things are buggers) for certain companies that hire any old photographer and find they can't or don't know how to do:

1. Still life
2. Have no idea how to handle cables, set objects, light, etc., and so on

I have used 4x5 backs and tilt shift lenses and macro lenses for years, but decided I would like to try to mash my needs together into a lightweight bellows setup. I tried the Horseman VCC Pro and found it to be inadequate for all but very simple single-exposure photography.

Onto Novoflex. Love at first use. While I don't want to copy or paste or re-write the review, I will say this: it is worthwhile. Completely. The images in this thread were shot with it, as were the images in my review.

For that essay, please head here: Novflex BALPRO T/S review Part 1: stability and stacking
 
Beautifully lit, love the colours and the shallow depth of field effect, superb.

My brother (many many) years ago shot 'product photography' mainly using Sinar P2 5x4 and Mamiya RZ 67 equipment in his studio, the photographic results were utterly sublime.

Keep at it, marvellous stuff Sir.
 
@Hamish: the lens is a Fujinon-EX 90/5,6, for enlargements. I must be mounted on a bellows or other 引き延ばし machinery in order to function. This particular lens illuminates a frame up to 7x6 format. Wider angle and shorter focal length enlargement lenses illuminate far smaller circles, some smaller even than 35mm. These lenses are EXTREMELY sharp, but have poor contrast, get obliterated by any stray light, etc. They are multicoated, but their construction allows light to enter the middle of the lens. Very poor designs. I had to open the lens, put gaffers tape behind the 'illuminated aperture window', then gauze the thing in order for it NOT to ruin photos. I won't undo what I've done so showing a before and after will be impossible. Suffice it to say that you would see doughnuts of flare in any frame, ever, even if the light was very faint and not directly in the frame.

@Peter: Thank you. 5x4 cameras really are ideal, if you have the space, and your subject allows for such a large machine. Many of mine do, but some do not. I've found that 5x4 cameras also work best with medium format backs, as the flange distance is more linear to the film plane.

@Pete: I have heard a LOT recently about Zerene. I may check it out, though I've really enjoyed Helicon for a couple of years and am not keen on re-investing in more software. I also use a Mac- for which I notice, there is a MAC version, which I may give a go. Cheers.
 
@Nathan Wright - I have Cambo and Sinar setups for technical imaging which we use with PhaseOne backs but we use MF and '35mm' as well, hence the interest in the Novoflex unit. I too have used Helicon focus since their first version and like it a lot but, like you, I kept reading interesting things about Zerene. Thanks again.
 
Back
Top