Multi-Shot Medium Format

[mi-fu]

It would require for me to write a full report to answer this  I'll underline the most important aspects...
1. I converted the damping rubber on both the cameras (extra work on the Fuji) so that the mirror would cause the minimum possible vibrance when moving to the "UP" position... The mirror returned vibrance, doesn't cause trouble since the time between the shots of the sequence is enough for it to completely settle, but working with longer delay times helps further.
2. I added a specially made spacer between the tripod head and the camera using a drilled piece of "sorbothane" of 1cm thickness.
3. (most important) I realized that "a good tripod for single shot" and "a good tripod for multishot" is two different things! In single shot the tripod must absorb and store the energy, with multishot the tripod must "suck" and "earth" the energy generated on the camera as soon as possible so that the system will be as energy free as possible for the next shot of the sequence... So I tried to borrow and test as many tripods as possible until I settled for su-pe-rb 40 years old Italian FATIF I now use... For wooden floors, I 've cut a marble base for the tripod and use three cones (like spikes) of the kind that some use on expensive stereo equipment underneath it (like some speakers have) and use the appropriate plates underneath the cones to protect the floor...

Thanks for sharing with us your insights! 
I also use a 528C. But I have to say I don't always use the multi-shot function. That's why I wanted to know if there is any special "trick" to make it work better. Your information is very helpful.

Nonetheless, I still find the images made by 528C, even in single shot mode, stunning. Though I have more "modern" cameras now, from time to time I will still go back to use the 528C.

Thanks for sharing your tips again!

[Theodoros]

Nonetheless, I still find the images made by 528C, even in single shot mode, stunning. Though I have more "modern" cameras now, from time to time I will still go back to use the 528C.

That is correct, I also noticed that 528c had better performance than a later CF-22 (not MS) I once tried and the same happens with my CF-39MS too (it performs better in single shot than a non multishot CF-39), i discussed the subject with a Hasselblad engineer in Denmark and he explained that there is was a selection of the sensors used so that the better ones where used on the MS versions of the backs... Never the less, I prefer the looks (by little) of the Kodak 22mp sensor than the 39mp one anyway (the fat pixel magic)... It's not only that I preferred the looks of the 528c in single shot to the one of the CF-39, I also preferred the looks of a P-25+ with respect to a P-45+ when I tried both on a Hasselblad H2 some 8 years ago...

[BobDavid]

It would require for me to write a full report to answer this  I'll underline the most important aspects...
1. I converted the damping rubber on both the cameras (extra work on the Fuji) so that the mirror would cause the minimum possible vibrance when moving to the "UP" position... The mirror returned vibrance, doesn't cause trouble since the time between the shots of the sequence is enough for it to completely settle, but working with longer delay times helps further.
2. I added a specially made spacer between the tripod head and the camera using a drilled piece of "sorbothane" of 1cm thickness.
3. (most important) I realized that "a good tripod for single shot" and "a good tripod for multishot" is two different things! In single shot the tripod must absorb and store the energy, with multishot the tripod must "suck" and "earth" the energy generated on the camera as soon as possible so that the system will be as energy free as possible for the next shot of the sequence... So I tried to borrow and test as many tripods as possible until I settled for su-pe-rb 40 years old Italian FATIF I now use... For wooden floors, I 've cut a marble base for the tripod and use three cones (like spikes) of the kind that some use on expensive stereo equipment underneath it (like some speakers have) and use the appropriate plates underneath the cones to protect the floor...

Sounds like you've been through the ringer on this. I mostly used MS for fine art repro. My copystand setup was highly modified to isolate the camera from vibrations. The nice thing about using the H2F is the auto mirror up and programmable delay between shots.  The pancake cam did a fine job with the Digitar/Schneider electronic shutter combo. My first MS setup used a solenoid to push a cable release attached to a Copal press shutter. Yikes. Talk about Rube Goldberg...

[Theodoros]

Sounds like you've been through the ringer on this. I mostly used MS for fine art repro. My copystand setup was highly modified to isolate the camera from vibrations. The nice thing about using the H2F is the auto mirror up and programmable delay between shots.  The pancake cam did a fine job with the Digitar/Schneider electronic shutter combo. My first MS setup used a solenoid to push a cable release attached to a Copal press shutter. Yikes. Talk about Rube Goldberg...

Yeah... An "open system" Hasselblad H camera is great when used with an Imacon/Hasselblad back... but I can't let go my Zeiss 120mm APO of the Contax for any other lens... Let's not forget that multishot users are independent from tech upgrates when things work for them (especially if accurate color repro is the target and they've find a way to control it) and thus not very keen to change equipment often...