Neal Hinkle

I want to clarify; when I say exceptional talent, I’m not just referring to being a good photographer. I’m lumping in all those things it takes to run a successful business.

that places a high value on the skills and products you can provide.
It’s a career choice I don’t recommend except to those who are extremely driven. Only a very lucky few can find a way to make it work, either freelance or in-house.

Honestly, without a spouse with a regular income/retirement/benefits package or a trust fund, it’s unlikely going to work unless you are an exceptional talent. And even then, it’s very difficult. Best option as a career is to find one of the very elusive staff positions with a large institution..

Corporate/business events, headshots, video and more video. You gotta have skills and expertise they can’t buy with the newest camera technology or software update.

That would be the 40 with either the A7RV or A7CR. The EVF on the V is worlds better that the CR. It's the first I've used that I like. But it doesn't keep the CR from making equally as nice files. I've made 4x as many images with the V vs CR. The joy stick control on the V is also very useful.

I haven't used the 24-50. Although it looks good. My experience with the Sony GM II zooms, the 24-70 and 16-35, is that they're exceptional out of the box. Edge performance drops a bit once they're broken in from regular use. For the long haul, they're not built as well as Canon L lenses.

That's the one. I have zero complaints about it. Seems like it would be a great fit for what you do. I have a feeling the same is true of the 24, but I haven't spent as much time with it. Wish it was a 28 instead.

I've been using an A7RV and an A7CR for about 18 months. The sensors are truly fantastic. I have a couple of the small G primes; the 40 and 24. I really like the 40. Small, light and very sharp. Works great with the sensor. I haven't used the 24 that much, usually opting for the 16-35 instead.

Ahh. Then I can see why you tried a mixed media sketchbook. Which probably handles the wash well but too absorbent for the pen. Might be tough to find something that does both.

One thing I've learned is that a good paper to an artist and good paper to a fountain pen user are very different things. Good fountain pen papers are very hard and slick. They help promote sheen and let the ink sit on top of the paper. Basically the opposite of what a traditional artist wants.

Whatever 🙄

What qualities are you looking for? Paper with a tooth or something hard and smooth? I bet if you have a paper you like, you can find a sketchbook made with something similar.

Wow! Hope your family appreciates all that work!

I don't really like any of the current 400 speed films. It's a real bummer. I loved Fuji Neopan 400. It was gorgeous and easy to work with. Nothing else has been close for me.

Something about the F4 never seemed right. It was stuck between old and new school. Definitely a short term evolutionary step. Not enough to make me leave my F3's. By the time the F5 came around, it had a problem.. the F100.

Not sure I'd call it compact. This one had a Mamiya 6x7 Universal back (not small), the body and a Schneider lens of some focal length I can't recall. Maybe a 65?
Think I'd rather have a Sinar Handy, which aren't very handy at all.

I had access to a brooks at a previous corporate job. Tossed it in the closet without a second thought ... oops

The native Hassy SWC finders are particularly wonky. I've not used a Voigtlander finder. Pano finders have that whole extra challenge of needing to be 2 or 3 times wider than a standard frame. I'm sure there's a way to make one, but they seem universally bad.

Without feedback, what's the point of posting? Maybe they're tired of getting called out for their measles problem. RFK supporters?

Either a Fuji 6x9 or you're from OZ 😂

So you've been out with both the F4 and F5 recently. Which one did you prefer?
My top Nikon choice has been the F2 lately. One I think you've said you don't necessarily like that much.

They all have their unique quirks and features :-) Honestly, a Hasselblad's viewfinder isn't much better. Far from what I'd call accurate. More of an educated guess. I've learned to embrace the flaws.

The reality of panoramic viewfinders is that none of them are great. I have a Noblex, Widelux and Linhof and none of them have what I would call an accurate viewfinder. I'm guessing the cost of making one optically correct isn't worth the expense.

They do look bigger. Hard to say without an honest side by side comparison.

I haven't thought of mixing film developers either. Although I have heard of two bath and water bath development. In printing, using hard and soft developers is common. Would be an interesting concept to take into film development. Between that and the zone system... tons of potential.

They did hold them in a weird way.
I welcome any evolution of the winder knobs. Those on my F6B are more effective at shredding skin than advancing and rewinding film.
Imagine; Widelux photos without banding!

That would be a challenge.

I have no clue what the production numbers will look like. Small runs are a good guess. I do think the cost will eliminate most people as potential buyers. I'm guessing $5k+. Will be interesting to see how they handle that and pre-orders.

Home - WIDELUXX | The New Panoramic Paradigm | All Analog | Film Forever WELCOME TOSilverBridges is recreating the Widelux... a panning, analog camera that bridges past and future, handmade to last generations.INTRODUCING THE The 2025 WIDELUX•X camera combines its iconic r...

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They've made 2 different of them so far. Surely the idea is to do a proper production run.