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Alan7140 last won the day on 15 September

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About Alan7140

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  • Birthday 07/01/53

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    Tasmania, Australia
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    Photography, Guitar
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    Fuji X-T2
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  1. The difference won't be anything noticeable IQ-wise in general use probably, other than the different drawing of the lenses for a similar AOV. 45-65mm is wide, 75-90mm is the "normal" focal length, 120-180mm covers short tele, 250-500mm are standard to long tele. This does impart a different "look" to things, but to ber honest I think digital is well ahead now in the general image quality stakes. Some will argue that film is still better, but from a convenience and practical point of view, digital wins hands down. I did post an article here with regards to B&W comparing 16MP Fuji X, 16MP Sigma and RZ67 side by side a while back: but the current generation of sensors leaves those Fuji & Sigma Merrill Gen1 sensors for dead, so expect that the difference now would be better than the relatively close results I got in that comparo. Interesting that in my conclusion I stated that I would not be going back to film and darkroom but would be pursuing digital B&W in a quest for the best B&W. Given my latest purchases and direction, I think it's fair to say that two years later I'm sticking rather well to that commitment...
  2. Hugely quicker to load here.
  3. It's not the Bronica ETRS that I would contemplate, but one of the 6x6 SQ range. The SQ was more like a Japanese version of the Hasselblad which began originally as the Z, and matured considerably into the long-running S2 form before the SQ arrived. At uni in the early '70's the Mamiya C330 and Bronica S2 were popular student medium format cameras for those without the budget for a Hasselblad or Rollei SL66. A couple had Kowa Six cameras, and for some unfathomable reason these bring an excessive amount of money on the used market these days. I always thought they were both ugly and uncomfortable to use.
  4. The only time one of my RB 67s fell apart was when the Manfrotto hex plate didn't latch properly at the beginning of a wedding and before I even took the first shot the brand new camera tipped off the tripod and hit the floor, which was just unbacked carpet tiles on concrete. The camera exploded into four pieces (body, lens, viewfinder and magazine all separated), and a bit of the light baffle on the film magazine broke off. With no backup I reassembled the bits, forced the bent focusing rack to at least travel its length with some muscle behind it, patched the broken magazine piece with a bit of roll film foil wrapper and shot the wedding. If nothing else, photography in such situations definitely teaches you to improvise with equipment at times. The camera, to its credit, went on to another four years of service without even being sent to the repair shop before I finally traded it in. Still a bit stiff in the focus, and an epoxy putty patch of the light baffle, didn't seem to affect the trade-in price at all, either.
  5. I gave mine away last year to someone who could use it - the battery lock was dodgy on that as well. I hadn't used it for over a decade but it still worked just fine.
  6. A C33 Mamiya will be a bit long in the tooth by now - anyhow you'd be better served by the later C330 if you did go for an ILC TLR. The C220 was the budget model, but still very serviceable and uses the same lenses. Correct, they are 6x6. There are more practical (and cheaper) 6x6 SLR cameras to be had, however. Perhaps an underrated 6x6 SLR is the Zenza Bronica (several models, all 6x6) which used Nikkor/Nippon Kogaku lenses. For some reason they're not so well regarded by the collector market, which means they can be bought relatively cheaply (around the same or a bit more than RB/RZ gear). I'm only chasing a Kiev-60 6x6 because I have three lenses that will fit it without needing any adapter, otherwise the Bronica would be my choice, given that Hasselblads these days are escalating faster than property prices. If you're willing to chance Communist build quality, the Kiev-60/Pentacon Six cameras are still the cheapest medium format, although both them and the lenses are escalating in price, particularly the later MC Zeiss Jena versions. I'm not so sure if RB/RZ gear is the best choice for that fancied trip of yours, either - it's gear that's really meant for a studio environment and there is zero attention given in design/build against dust or rain - although I will add that my RB's ran faultlessly for the decade or so that I used them for weddings (although the majority of those were in late spring, summer and early autumn, of course, so the weather was rarely a taxing consideration). They are also bloody big and awkward in handling - while you can hand-hold shoot with them, it's very much a hit-or-miss thing as to the results when used that way. They really belong on a sturdy tripod. RZ needs a battery to work, RB is purely mechanical (which is why I have both, although the RB only has one compatible lens, all three lenses will work with the RZ).
  7. And here's me buying up old stuff to use on my Sigma sdQ-H.... I thought I'd left that behind when I sold all my Nikon AI-s lenses, but I have to admit the pro medium format Eastern Bloc lenses I've bought have reminded me just how fantastically well made some of the lenses from the 1950's to '80's were. My favourite at the moment is the as-new (seriously, I don't think it was ever fitted to a camera, there's not a mark on it) 50mm f/4 Carl Zeiss Jena Flektogon, dating from around 1980. For once I appear to have got in at the first floor, because the prices for these things are rising steadily, and the good ones are already becoming rarer. The Flektogon cost about a tenth of what a new Zeiss 4/50 medium format lens would cost. Not so much in demand (given that the lenses don't have a focusing helicoid and thus cannot be easily adapted to other cameras) is my Mamiya RZ/RB 67 outfit, which I'd love to sell but they're simply not worth the effort for the return I'd get (again, the lenses were all new in their unopened boxes when I got the gear from KEH in 2010). I don't like using these 6x7 cameras anyway (they're just way too big and cumbersome), and now with three Pentacon P6 lenses in my possession I am trying to get a decent Kiev-60 or Pentacon Six camera body at a reasonable price for occasional use of film, always having preferred the 6x6 format after years of working with Hasselblads. I won't disturb them by taking them out of their backpack, but I guess they qualify as "retro": I have also recently bought an old Praktica 35mm SLR ($20) which can use some of the M42 Russian lenses I also bought to use with the Sigma and intend for student use when I get around to offering a B&W film use and darkroom course in a few months' time - I'll add a photo of all that stuff later. Other than that, I've always traded in or sold equipment I wasn't using. As I use this stuff for business and not a hobby, I never got the collecting bug for old photographic gear, and definitely never saw the need to deliberately hang onto stuff I wasn't using for sentimental value. If I had I would have a couple of cases of Hasselblad gear....
  8. What a wanker. Sorry to disappoint him, but I've been a professional photographer for well over 40 years (meaning that I trained and gained tertiary qualifications as a photographer, and have never earned any income from any other form of employment), and for the past four years have used Fuji X series cameras almost exclusively (although sometimes I also use Sigma mirrorless, of course), having long given up DSLR for the antiquated, adapted film camera design that it is. Film is so 19th-20th Century. I guess that then means he's wrong when he says "no professional" uses Fuji, although he's adopting the modern way of making statements that are completely baseless but just sound as if they are quoting results of actual research. Watch his quote get endlessly repeated as gospel on the Net, however. And to put it bluntly, what on earth would the standout "in denial" company (Nikon) know about mirrorless cameras, anyway? They've steadfastly refused to develop their own past a token, half-arsed attempt, which, given that everyone else has at least tried to develop a contender system, doesn't exactly give them much credence in taking the pulpit and preaching about how things shall be.
  9. Perth was a suburb of England then as well, probably moreso. You still have to be up with regional English accents when visiting the place .
  10. Perth is a suburb of England, Mike - that's the only reason you were let off. I wouldn't try that in any city on the east side of Australia, though...
  11. Wouldn't happen like that here, Mike - the red Mini would be wearing two infringement fines parked like that in Australia: 1. Parking facing into the traffic (we have to park facing the same direction as the flow of traffic here - we also dive on the left), 2. Obstructing a driveway. (Got a good head-on view of the VW, though.)
  12. As usual the early detail at such announcements is brief (the biggest missing thing for me is what formats the output will be available as), but here's what Fuji reportedly said about it: “Fujifilm X Raw Studio’ enables users to quickly and easily convert RAW files with outstanding image quality, once a camera is connected to a Mac or PC via USB cable. The company points out that the ever-increasing size of RAW files has caused major slowdowns for photographers who often do batch conversions of RAW photos. Fujifilm’s solution is to use the X Processor Pro found inside its cameras to process the digital files so your CPU can be freed up to handle other things you’re working on at the same time. “Using the high performance “X Processor Pro” processor, this batch conversion is handled far more efficiently as a result,” Fujifilm says. The RAW files will need to have been taken by the same camera model as the connected camera, so you won’t be able to process other RAW file types with this software. Features of the software will include converting single and batch RAW files on the computer, previewing converted photos, and saving/loading/copying conversion profiles. Fujifilm X Raw Studio will be available for download starting in late November 2017. Compatible cameras at launch will include the X-T2, X-Pro2, X100F, and GFX 50S medium format DSLR (which produces 121MB uncompressed 14-bit RAW files)."
  13. The problem is that after I click on the photo in Flikr in any way at all, even just to advance to the next one, everything goes black, all I'm left with are the browser thumbnails at the bottom. Clicking on them just loads a black canvas. The forum displays the Flikr-linked photos at a smaller size than was the case before, and while they took a while to load, at least they opened at full size straight away on my 30" monitor, not a reduced-size linked thing. Obviously if no-one else is having the problem it may well have something to do with my Internet security settings, but they work well enough with every other site and I'm not about to go messing with those settings just to suit Flikr. I learned a long time ago that there's no such thing as being too security conscious when running Windows - it is, and until another OS eclipses it for popularity will continue to be, the number one target for hackers.
  14. I hate Flikr. The photos load OK on this site, but click on them to show at original size and Flikr initially opens, displays the image, but click the magnifier on it and it disappears, leaving just a black canvas. From then on selecting any photograph from the bottom browser strip displays the image for a fraction of a second, and then it disappers. Whether it's some setting or other on my computer is moot - Flikr is the only site that does this. If anyone else has had the problem and fixed it, please post the cure - I'm out of ideas as to why this would be happening.