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  1. 4 points
    Taken yesterday. Z6 & 14-30mm f/4S. Thank you for looking.
  2. 4 points
    I can't express adequately just how convenient and easy it is to modify some of the older film equipment in ways one couldn't even begin to contemplate with modern digital cameras. This sort of thing was standard practice when I started photography as a profession in the early 1970's. Here in Australia the winds of the Cold War meant that there was almost no trade with the Eastern Bloc countries at all, nor was there an eBay, Internet or International Free Trade Agreements. China was in turmoil during its Cultural Revolution and was struggling to feed its population, let alone be an international trading economy; cheap stuff came from Japan and not South East Asia and was also rather limited, and if you needed some photographic accessory or simple piece of equipment, you bought the raw materials and made it yourself, generally with simple hand tools and a lot of patience. Fast forward to 2019, and in this case I had originally bought a Kiev-60 medium format camera allegedly "rebuilt" by Hartblei in Ukraine, and while it was robust and built like a tank (literally - it was made in Kiev - now Kyif - during the Soviet era by a factory appropriately named "Арсенал" - Arsenal), however it had a rather annoying case of shutter bounce which left a slight shadow at one edge of the frame at 1/30, 1/60 and 1/125 sec, which wasn't too much of a problem to deal with in either printing or PP, but it was annoying. So I spent more money and bought an allegedly re-manufactured ARAX-60 body from Hartblei's competition, and whilst they undoubtedly painted the camera black, added a mirror-lock-up button, stuck some flocking to the innards and gave it a new nameplate, it never wound the shutter on properly, sometimes failing to lock the mirror and thus causing the film to be irregularly spaced, which was something I lived with until the wind mechanism failed altogether (some months after any warranty was up, of course), however that camera did come with a post-Soviet manufactured (1994) metered prism that was both accurate and had the later fool-proof timed auto-off switch which avoids draining batteries. This prism also looked quite smart, particularly when compared to my final medium format camera choice, namely the Pentacon Six TL, for which I have two bodies and one OEM metered prism which I think in itself is probably the ugliest piece of accessory camera equipment I've ever owned, as well it has a standard on-off switch which sucks battery power and is incredibly easy to accidentally bump into the "on" position. Maybe you can see where I'm going with this now? .... So using scrap materials in my shed and tools on the workbench and using the mounting plate of a broken Pentacon Six waist-level viewfinder (the internal superstructure of which had to be laboriously filed off by hand) I fashioned an adapter to mate the ARAX/Kiev-60 meter-prism to the Pentacon Six TL viewfinder fitting, maintaining the Kiev-60 mounting system as well so that I can also use a Kiev-60 waist level finder - the advantage of this being that the Kiev version of both finders has a larger coverage showing the whole Pentacon Six viewing screen and not like the OEM prism finder which crops the already-cropped view of the final image. The actual film image is 55x55mm, the screen size is 52x52mm, but the Pentacon OEM prism only shows 45x45mm, which therefore left a substantial amount of guesswork in image composition if, as I do at present, one prefers to print the edge markings and black borders of the film with the photograph. By adding a plastic spacer (actually cut from an old piece of tri-laminate guitar pick-guard ) I was able to both inlet the screws pins and spring metal retainer clips I had to fashion by bending a couple of safety pins to the rough shape of what was left of the old waist-level finder's broken clips, as well as lifting the prism a bit so that I don't have to use a viewfinder dioptre or wear glasses when focusing the image as my ageing eye now see the viewing screen at its comfortable unaided focus point, and that also makes life easier as well So the first photo shows the three pieces as I was working on them, then the completed adapter from the top with the Kiev locating pins (salvaged from a viewfinder bottom protective cover), the next showing the underside of an intact Pentacon WLF along with the plate I modified for the adapter, and finally the bracket fitted to the camera ready for a Kiev finder to be clipped on. Here are three versions of the cameras together: at left the Ugly-as-sin Pentacon Six metering prism on a standard Pentacon six TL body, the hybrid version with adapted Kiev metering prism and black front-plate with white lettering I modified at an earlier time, and a standard Kiev-60 camera with old-style metering prism (with old dial-type on-off switch - the new type on the middle prism is the barely visible black timed switch at lower left side looking from the front). And finally just the two Pentacon Sixes together (they're actually both the same height, the modified one just has a fatter tripod adapter plate fitted underneath) :
  3. 4 points
    Taken today. Thank you for looking.
  4. 3 points
    at Rosegarland, Southern Tasmania. (Pentacon Six TL, Carl Zeiss Jena 2,8/180 lens, Fuji 100 Acros film, Rodinal 1:50.)
  5. 3 points
    Lens arrived about an hour ago. It needed a firmware upgrade to 1.02 from 1.0. It is very well-built, and the aperture and zoom rings work smoothly but are not overly loose. It is much less bulky and heavy than I expected, and will make an excellent choice for hiking and other outings. Here are some quick shots.
  6. 3 points
    Taken yesterday. Temperature: 1C. Thank you for looking.
  7. 3 points
    It's not so much the mirror vs no mirror as far as I was concerned, but the smaller, lighter, quicker-handling bodies and smaller, lighter cheaper and top quality lenses that the Fuji X system developed that had me swear off all the exact opposite factors to these that came standard with the Nikon D* cameras. While this was a preference thing that didn't in itself improve the photographs I took, the old adage that my Father would often use about the tools a workman uses being reliable and well made, but most importantly enjoyable to use became the relevant thing. If you enjoy using your tools, it almost goes without exception that the work you produce with them will reflect that and invariably the quality thereof will improve. The truth of this has been demonstrated to me over decades with the cameras I either chose to use, or as often was the case, was forced to use to fulfil the end use requirements of the job. The outstanding case in point for me was the Mamiya RB67, which in the 1980's became almost the standard wedding/portrait camera of photography in Australia owing to the popularity of 16x20" or 20x24" enlargements and their contribution to the profit bottom line of that industry, which I was involved in rather heavily at the time through absolute necessity rather than desire. 6x6 and 6x4.5 formats didn't cut the mustard as far as quality of enlargement went, the downside however being that the RB67 was perhaps the most hateful, cumbersome, slow and temperamental camera to use, especially in the high-pressure, time-limited, always-rushed environment of a large wedding. I can honestly say that I have no recollection of ever having taken an outstanding shot with that camera system, and I put that down absolutely to the hatred I had for using that nasty piece of design, which by design discouraged hand-held use and therefore further encumbered things by tying the photographer to a tripod-mounted tool for the whole wedding, which added greatly to lack of choice of angles and a far greater taxing of endurance on behalf of the operator. Swapping from DSLR to mirrorless had a similar liberating effect for me as had the early 1990's acceptance of 35mm film and a more 'journalistic' style of wedding photography and less of a demand for big enlargements, which enabled me to dispense with the RB67, and thus my Nikon F4 outfit bought in 1993 to replace the RB was the analogue equivalent to the RB67 as the digital Fuji X cameras were to the D3s and its big, heavy body and lenses. So now I don't do weddings anymore, and most of my photography is in B&W of relatively static objects which should have suited the RB/RZ system I had bought to start using my preferred medium of film again, but the hatred for the thing's design and awkward handling hadn't diminished, and no outstanding work resulted, so the outfit sat and collected dust. However I still wanted to shoot medium format film, and as Hasselblad gear was skyrocketing in price, I took a chance on Soviet-bloc cameras, although it took a total of six Kiev-60 and Pentacon bodies to finally get two perfect Pentacon Six TL bodies. Now at first glance they look awkward and heavy (and to some degree they are), and they couldn't be more opposite to the Fuji digital mirrorless system if they tried, but the Carl Zeiss Jena lenses are superb (the longer lenses a stop faster than the Hasselblad's shutter-bound equivalent which, with the stop-faster 1/1000 shutter speed, further aids the possibility of hand-held shots), and they are, believe it or not, simply the best fun to use. As a result I am increasingly taking wall-hanging quality shots with those Pentacons bodies and Zeiss lenses, am enjoying the ways of using B&W film again, and though the Pentacon Six camera is heavy and bulky (and has a mirror 😲!!!), my B&W photography has once again started to match what I know I'm capable of.
  8. 2 points
    I don't have many lens boxes, but I do keep all the boxes of everything I buy. They live at the top of cupboards in the bedrooms. Somehow I have boxes for things I don't recall owning...
  9. 2 points
    ...then a Sony A7ii will enter my life. I can't help myself. Boredom has set in! I haven't used any of these items this year. Except maybe for the 75/1.8, but since I am no longer going to be doing any event work, that lens is superfluous.
  10. 2 points
    Taken yesterday. Thank you for looking. 1 2 3 4 5 6 7 8 9
  11. 2 points
    While I was on holiday last week, just how pre-occupied with these infernal devices people constantly are, was amazing. No matter where we went people of all ages seemed to be more interested in what was on their screens than the beautiful things surrounding them (that they had paid lots of money to go and see). My phone was itself working overtime, but purely as a navigation and location discovery device.
  12. 2 points
    Taken today. Trying to tame this lens. Thank you for looking. 1 2 3 4 5 6 7 8
  13. 2 points
    Taken yesterday. Z6 & 14-30mm f/4S. Thank you for looking.
  14. 2 points
    You really need a shift lens if you want to shoot towards a wall with a mirror but don't want your reflection to show, though. Plus correction in camera will always be better than pixels being mangled by software whilst being pushed into shape, and of course you can actually see what you're getting in the viewfinder at the time of taking the shot and not have to hope that it'll turn out well enough later. Another advantage of a T/S lens is the ability to so lens-shift pano shots rather than swinging the camera (even on a pano head) and hoping you're exactly on the nodal and that the stitcher will handle it OK. There is zero problem stitching a lens-shifted two-or-three shot pano as the registration is always 100% perfect if using a flat-field, distortion-free lens, which I'd imagine Canon goes to lengths to do given the price they put on the things. In my case I've been using a Hartblei shift adapter for my medium format 80mm & 120mm Zeiss P6 lenses on the copy stand with a Sigma SD Quattro-H camera to "scan" 13-shot segments of 6x6 B&W negs (one with the shift centred, then a 360° circle with the shift at 10mm of 12 shots around that central initial image,) and they stitch grain-perfect match-wise - you cannot see the joins at all and the stitcher can be set to "not correct" for lens distortion without any side-effects, so there's no need for the software to push anything around. I get around 160MPx seamless scans doing it this way, something that I never properly achieved when moving the neg itself by hand under the camera, there was always some fuzzed or software-blurred join where the stitcher had to bend the image to fit, particularly noticeable with B&W grain involved. I could get even higher resolution by moving in even closer to the neg and doing circuits at two separate shifts (5 & 10mm), but frankly the file then gets to be a ridiculous size and is both unnecessary and well beyond any affordable current digital output technology's ability to properly reproduce the end result.
  15. 2 points
    No problems updating my G9 firmware, great I thought I’ll try out the animal detect on Dave when he comes for his breakfast this morning, guess who didn’t turn up! Who said herding cats was easy. 🤬
  16. 2 points
    Nikon Z6 & 14-30mm f/4S. Thank you for looking.
  17. 2 points
    He was not amused but patiently waited for me to bugger off! Lumix G9 + PLeica 25mm Mk2 @ 1/13 f4 ISO3200
  18. 1 point
    Clervaux is a town in the north of Luxembourg. It is approached by a spectacular winding road descent, much loved by motorcyclists. The town has a lot to offer the visitor. The imposing castle houses the world-famous Edward Steichen "Family of Man" photo exhibition, as well as a very good "Battle of the Bulge" museum. There are some good restaurants and coffee shops. I attach a general view of the castle.
  19. 1 point
    My 11" iPad has 256GB storage, more than enough for a trip / session. The limit is the amount of Adobe cloud storage, 20GB standard. One of the nicest things of Lightroom Classic is that it can import photos automatically to a location / folder that has a name made out automatically of the creation date (year, month, day) of the photo to be imported. You can chose exactly how the name is made up. I set it up so that photos that I make today will automatically import to \<My photo disk name>\Pictures\2019\December. And the import can check automatically for duplicates, so when I import from a card that has photos that are already imported, they will not be imported again. Super convenient, my photo archive is always organised, and there are not many other tools available that can do this... Lightroom Classic syncing with cloud can be setup exactly the same way, so photos synced from the Adobe cloud can be imported at the same location as for direct import. So, now with the new direct import to Lightroom for iPad (which has a progress bar) I can selectively import interesting photos form my cards to my iPad, and view and edit them. No need to take a laptop with me. At home, I can just import all the photos from the cards in the old way, but photos edited on the iPad will sync additionally from the cloud with the edits in place. After the photos are backupped on a drive that is taken offsite, only then I will erase all the pictures on the cards and on the iPad. This will never erase synced photos on the home drive.
  20. 1 point
  21. 1 point
    Michael, that’s impressive, I too keep my boxes for when selling or PXing them! I sleep on mine as I keep them in an under bed drawer, I have ten lens boxes and two camera boxes. 📦
  22. 1 point
    interesting juxtaposition . Did you try something from low down next to the bike?
  23. 1 point
    So true! In addition to the amazing color, I love the silhouettes of the palm trees.
  24. 1 point
  25. 1 point
    I am sure there is a market for those bad boys! GLWS!
  26. 1 point
    We were walking in the Cape Town CBD and went past this place. I haven't seen one in a long, long time. Still working!
  27. 1 point
    One of the the biggest reasons for the varying opinions for the ideal viewfinder is that the individual eye is the integrated part of the optical system of the viewfinder. Thus there will be no single agreement or end of the discussion!
  28. 1 point
    I have been using Jpeg Mini but I missed the special pricing. I agree it does an amazing job. I did run a comparison on a photo saved with this and with Capture One by opening them as layers in Photoshop and selecting Difference. There were a few faint white lines indicating that there were differences, but when I selected Normal and turned layers on and off I could not see the difference even at 100%. If I was making a print I would choose the Capture One version just for the reassurance, but for other use Jpeg Mini is my choice.
  29. 1 point
    Yup. It is quite amazing. I have been using the demo very sparingly over the years for large images that i use on my portfolio website. I can pretty much get a 2000px image down to under 1MB and there is no loss of quality at all. For SEO purposes this is vital as site loading speed is becoming one of Google’s main factors for ranking these days.
  30. 1 point
    I'm not necessarily against the film-camera-like control system for the shutter-, ISO- and exposure compensation dials or aperture rings on the lenses. They are handy because you can see the settings without pushing the function buttons or even switching the camera on. What I don't like about Fujifilm is their "make-believe" film camera design concept. I picked up X-E3 at first because it looked least like a film camera in their lineup and switched to X-T3 for the excellent AF system. The co-existence of the dedicated dial system from the film cameras and the assignable system of buttons/command dials makes the overall user interface cluttered and superfluous. Sigma fp is not a camera perfectly comparable to the established DSLR or mirrorless cameras of other makes, but it works well enough for my shooting style, and I really love its stripped-down design. The placements and assignments of the control buttons and dials are a bit unique, but it is well worth trying to get used to.
  31. 1 point
    A walkway in Little Venice, London. Fuji X-T2 + 23mm 1.4 @ 1/100 f5.6 ISO400
  32. 1 point
    Very nice composition, Mike. I'd call it 'perfectly balanced'.
  33. 1 point
    Thank you Akira. My move is going to be towards the Z6. Mirrorless is my future. I like it so much that I see myself selling my D5 in the near future. My D4s is already for sale.
  34. 1 point
    . Akira, I like your new camera. I have shot nearly every camera there is. I currently shoot: Panasonic M4/3, Fuji X Aps-c, Pentax full frame, and Nikon full frame. The Sigma FP will be my next camera. It is the future of cameras.
  35. 1 point
    Wow, that's beautiful colour.
  36. 1 point
    A sign of the times, a young man in his own telephonic world! X-T2 + 23mm 1.4 @ 1/100 f5.6 ISO640
  37. 1 point
    Beautiful. Reminds me of Rio de Janeiro's landscape.
  38. 1 point
    Taken today. Thank you for looking. 1 2 3 4 5 6 7
  39. 1 point
    Nice view, enjoy your holiday!
  40. 1 point
    Ordered one yesterday from B&H. Scheduled to arrive on Tuesday. Greatly looking forward to this lens for hiking and other outdoor adventures. The extra 2mm on the wide end and about 35mm on the long end compared with the stellar 18-55 will make it much more useful as a single lens to carry on Nature outings. Will report back and post some images.
  41. 1 point
    Don't worry Dallas. Just like DSLR's T/S lenses will not disappear completely. BTW if ever a Nikkor 19mm T/S crosses my way I might grab it...
  42. 1 point
    |I've been tripping over that piece of velvet for almost four decades now, Hugh - I bought it way back around 1984 as a background for a studio table-top job I did, and only ever used that one time. I just figured it that now was time it was put to a final use, and wanted to use as much unused stuff lying around as possible - in the end all I bought was the roll of builders' expansion-joint foam spacer for the padding, the rest was 'recycling' (the sheet of 4x2' MDF for the spacers themselves had a price sticker of $2.95, so it goes back a long time as well). The photo, as usual with velvet, shows it off to be brighter than it really is - in real life it is a deep burgundy in colour, but if I corrected things to show that the cameras and lenses would almost be invisible. It did the same colour-brightening thing for the photographic job I originally bought it for (using colour film, of course), but the client was happy enough with the result. It might have been different had she chosen the material personally or had been there when I took the shot and therefore seen the real colour, though.
  43. 1 point
    Awesome Luc. That’s my next thing to upgrade. Believe it or not, my old Mac Mini from 2010 is still running. It’s slow as a tortoise but I can’t bring myself to get rid of it. I use it to run things that won’t run on the modern MacOS, like the Airport Utility that lets me set up the even more ancient, but still perfectly functional AirPort Extreme that I use for AirPlay. I have my 2012 MacBook Pro connected to this Cinema Display but it’s hidden in a perfect gap between the door and the trolley. That laptop is a 2012 13” model which I upgraded to 16GB of RAM with an SSD about the time I got the iMac that I do most of my editing on. It’s not too shabby speed wise, which has me thinking that I might just do the same for the iMac. The guy I bought my iMac from has a 2015 5K version he wants to sell me so I’m a bit torn now on what to do because he’s selling it at a decent price and it obviously still has all the USB-A ports, which means I can eek out more years service from my old hardware. One thing about Apple products that I have come to appreciate over the years is their incredible longevity.
  44. 1 point
    Nice, and a great bargain. Your desk looks nice and even more minimalistic than mine, which I thought was almost impossible 😉 I also bought something from Apple, a Mac mini with the fastest 3,2 GHz6-core i7 processor. Plus two La Cie 4tb external disks with USB-C connectivity. Everything is up and running swiftly.
  45. 1 point
    Taken yesterday. Thank you for looking.
  46. 1 point
    I don't see any hatred, maybe just enthusiasm for a shinny new gadget. But regardless, I really doubt we will see a wave of great photos in the next X years that will be traced back to people going mirrorless. But who knows - I just checked the difference is weight between the Nikon Z7 and D810. The Z7 is 585g, the 810 980g (!) That is a very substantial difference. G
  47. 1 point
    I am, at the moment, looking at either upgrading my 6 year Olympus E-M1 bodies, or adding a different new system to what I already have. Not once has the notion of going back to a DSLR even entered my periphery. As far as I am concerned it is a dead technology. Did mirrorless improve my photography? Yes, I think it did. I got so much more confident with the cameras I was using because I could see what I was doing before I did it, thanks to the EVF. IBIS also helped tremendously to the point where I no longer need to sharpen my images. Less time spent in post production is always my aim and so far, apart from the HDR stuff I do for real estate and product photography, I am quite happy to off load images directly from camera to clients when I am shooting events or editorial work. Cameras currently on my radar as possible upgrades are the Olympus E-M1 Mk ii, Panasonic G9 or GX9, Sony A6400 and Canon EOS R. Why not Nikon Z series? Way, way, wayyy too expensive here and terrible after sales service. I did handle the Z6 and I liked it a lot, but from my standpoint the Canon EOS R and the entry point to the EOS line of lenses just makes a lot more sense. I’ll be writing in AOV about my current bout of GAS one of these days...
  48. 1 point
    Certinly different. The two top ones' effect doesn't talk to me, but I do like the next three. They look classical, like a portrait of a famous person in a nice frame. The two bottom subjects seem more fearsome with the effect, however. Nice experiments, I would continue to apply them to other subjects, perhaps humans also.
  49. 1 point
    I suppose this superfluous model was probably in development before they realised their ship was taking on a lot of water and the market had moved to more technically sensible options. I will also never purchase a mirror based digital camera again. Unless it's a rangefinder.
  50. 0 points
    One of those lost the crane on top when a hurricane blew through NY in 2012. Pieces of it crashed 40 or 50 stories. Miraculously no one was hurt
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