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a bit too big for carrying for location work but possible & it is the biggest non-View camera that you can use gradient filters and see what you are getting.
$A6380 body only (2005)
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the largest of all SLRs, takes 76x56mm image on 120/220 film but can also take 67, 66, & 645 via insertion of the proper mask, the camera knows which mask is inserted and automatically adjusts film spacing and numbering; one must choose the desired format prior to loading film, however, as format cannot be switched mid-roll.
an ideal compromise between the speed and convenience of medium format and the flexibility of large format & makes a great landscape, commercial & architectural camera & clearly outperforms the best MF including Hasselblad and Rolleiflex.
a cable release and heavy duty tripod is a necessity for sharp images, preferably with mirror lockup for each and every frame.
a the prism is brighter and easier to see focus, tilt, and composition than just using the waist-level finder, although the AE prism metering is limited and you would probably still use a hand meter.
all lenses include a leaf shutter, with maximum speed of 1/400 second. Maximum apertures tend to be conservative, mostly f/5.6 -8, minimum aperture is generally f/45 for shorter lenses, f/64 for longer.
lenses are super sharp - the 180mm 3.2 lens is a beautiful lens for people, the fall off is great
While all lenses give truly superb results, special mention is needed for the 50 and 500mm:
the 50mm, despite its great size, is the only lens in the lineup that cannot be used in conjunction with full available movements due to its smaller image circle. It will vignette if shifted more than 9mm, or if tilted excessively; making this worse, the full image is never visible due to the camera's mirror/body construction, meaning that vignetting is impossible to determine without shooting a Polaroid!
The 500mm is supplied with a large mounting rail, which Fuji insists must be mounted under the camera body (necessitating removal of any quick release plate), along with a ring-and-roller gadget attached to the lens front. The purpose is to allow the now-supported lens to roll along the rail during focusing, eliminating sagging of the lens caused by its long length. Naturally, this eliminates the possibility of tilt or other movements with this lens.
Among the many nice features of the 680 are its film backs. Besides the multi-format capabilities mentioned above, the backs revolve at the touch of a button…no tipping the camera for verticals. They're also electronic marvels with built-in motor drive & auto film advance, each with its own LCD screen that displays frame number, format in use, film type, and more. They will indicate (via flashing icon) such problems as an incorrectly mounted lens or an unremoved darkslide. They are programmable to imprint each film frame edge with a variety of data, including time and date, aperture and exposure time, sequential number and user data. For some reason they don't imprint the lens focal length, which would have been useful.
will accept many digi backs
With the lightest normal lens (135mm f/5.6) attached, it weighs just under 10 pounds.
bellows focusing is accomplished via a large rubber-coated knob on either side of the camera, and ground glass viewing is bright and easy to focus.
all normal view camera style movements including tilt, rise/fall, swing and shift are available, while movements are not as extensive as those of a true view camera, they are sufficient for at least 98% of the shots that you may want to take.
The camera has built-in close focus capability with every lens, thanks to bellows focusing and the availability of extension rails. Fuji makes these in 80mm and 40mm lengths - buy the 80mm & the 100mm f/4 makes the best “macro” lens, capable of 1.3:1 image size when used with the 80mm rails.
a convenient bubble level is built into the camera's upper surface, but use of grid screens are a great help in levelling horizons.