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About RKPhotog

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  1. RKPhotog

    IR Sticky?

    I've been away from here for a while. I wanted to look up something in the IR sticky but I could not find it. What a pity if it is gone - all that hard work and great information disappeared. Ditto for the UV Sticky. Bob
  2. This listing popped up today from my saved eBay searches. http://www.ebay.com/itm/25mm-UV-PHOTOGRAPHY-LENS-FOR-M-4-3-CAMERAS-WIDER-THAN-KYOEI-KURIBAYASHI-35mm-/272007217970?hash=item3f54e4c332 Not sure what to make of it. I asked him if he would make a version for my Fuji-X full spectrum camera. He said he could. Is he known to anyone here? For $50 maybe someone will give it a try. Bob
  3. Hi Andrea, a few minor updates on your UV lens stickie: Schneider Componon-S 135mm - max. aperture is 5.6 Filter is 49mm Mine came with a T-2 mount. I don't use it much anymore as I have 135mm lenses that are more UV-transmissive. Damn sharp lens though. Spiratone 75mm Flat Field Macro. Filter is Series VI. Use Series VI to Series VII step-up, then S. VII to 52mm ring. I think this lens was made by Tokina, possibly Fuji. A sharp lens. Steinheil 105mm Cassar. I hate to admit it but I can't find this lens. I guess that is the problem with owning too many lenses. Will confirm filter size when I find it. It was easy to convert this to Nikon mount using a drill press and thin cutting wheel. Wollensak 74mm Graphic Raptar. Max. aperture F4.5. No filter thread - use S. VI push-on ring 1-1/4 inch (31.5mm), then S. VI to S. VII step-up and a step down to a 52mm ring. I used a retaining ring on the rear to hold it to 52mm stack cap with a holed bored to the appropriate size. Seems hardly worth the trouble unless you already own one. I use the 80mm El-Nikkor or Spiratone 75mm instead. Cheers
  4. Renaud, thanks for reminding me about this. I checked and found that focus peaking came with firmware upgrade 2.0 at least for the X-Pro1 and X-E1, and probably other models too. I will probably have the X-E1 converted. It seems to have sufficient adjustments for what I plan to do. Bob
  5. Thanks Bill_D. Those RRS supports are really nice. But for the price I think I'll cobble up my own support. I have lots of RRS, Kirk and other stuff in my parts boxes that could be used. I'll machine the parts I don't have. The article from Dr. Caldwell was very interesting. The problems he mentions stemming from exit pupil distance and sensor filter thickness are not trivial but I think would be minimizes by shooting at smaller apertures. For UV work I usually shoot at F8 - F16. Heck, for UV work there are so many things working against us, one can't be looking for the perfect solutions! Cheers Bob
  6. Thank you Andrea and Alan. This is useful information. I'm well aware of the lens mount register distances of various cameras. My preference would be for the Sony or Fuji cams because I could use M39, M42 etc. with adapters. One concern I have has to do with longer lenses when mounted on a tripod. The thickness of the body of these mirrorless cams is very thin and that is a concern. Would say, an old 135mm or 200mm Petri lens put too much strain on the camera body causing it to distort. There are lens adapters with tripod mount for Sony Nex; I haven't found any yet for Fuji NX-. I'm tending toward the Fujis. Daniel from Life Pixel tells me that the the Fuji are very popular for conversions cameras. I expect that most of those are for IR shooters. No first hand reports on UV imaging with the NX models. Is there any reason to think that if they are good for IR they would not be OK for UV? Maybe I'll have to buy one to find out. Bob
  7. I have been away from here for a while due to other pressing demands on my time. Now I'm looking to get back to UV and IR shooting. Want to retire my old D40x but am puzzling which way to go for a full-spectrum converted body. Something smaller and lighter would be nice so I rule out a D600. I want to stay with an APS-C sensor so that would rule out Panasonic and Olympus. The Sony NEX and Fuji X series look attractive. Good hi ISO performance is important to me and the Sony and Fujis score well in that regard (from what I read). I want to be able to use M39, M42, Nikon F lenses, maybe even Minolta and Exakta lenses. Autofocus speed, processing speed are not important for this application. I have fond memories of my Fuji S-series cameras for their beautiful color and tone. Apparently the X-trans carries on that tradition. So the ideal camera would have between 10 and 16 megapixels - more would not be needed and could mean worse noise at high ISO. But I don't know. The Fujis look and feel like a real camera to me; The Nex cameras look just plain weird. There is also Samsung making a mirrorless APS-C camera. They seem to get good ratings and praise from users. Kolari list some Samsungs in their list of conversions. Custom white balance capabilities are important. Anybody have experience with this on the Sony or Fujis? I'm aware of some of the complaints about converting Raw X-trans files. Most of that has to do with ACR. I use Aftershot Pro and Capture One usually. I also have Photo Ninja but haven't use it much yet. Both LifePixel and Kolari Vision do full spectrum conversions on these camera models. I know we have at least one Sony Nex UV shooter here. Anybody using a Fuji X- for UV? Any advice would be appreciated. Thanks Bob
  8. It should but it doesn't seem to in my case. Something must have gotten corrupted. I can't remembering this happening before. Bob
  9. I don't see an "open as" pop-up. My choices are "save file as" or "open image" Either way a the pop-up screen for profile mismatch comes up and shows the file as Adobe RGB. I click keep existing profile, it opens and show me an 8-bit file. I am not choossing "Raw" Bob
  10. I noticed something puzzling while processing images for a client. I open the raw files in Aftershot Pro or Capture One and make adjustments. Then export as a 16-bit tiff in ProPhoto RGB. When I open the tiff in Photoshop CS4, it presents me with the settings screen for raw images. It also reports that the embedded colorspace is AdobeRGB and is 8-bit! What just happened? Also, when I bring in a tiff rendered in Capture One, CS4 also opens the raw file adjustment screen only now the image shows as a high contrast sepia toned images. I have PS set to have the working colorspace as ProPhoto RGB and to respect existing profiles. Do I need to reinstall my apps to fix this? Bob
  11. I'm hoping to get advice about setting up a Petri 35mm Kuribayashi lens. I know others have worked with this lens. I removed the mount with flange using three set screws in the knurled black ring. The chromed flange on the back has an inside diameter of 42mm. I presume that it mounts with a standard 42x1mm thread but need to confirm if that is the case. My other Kuri is a 135mm and the flange screwed off after removing one screw revealing an M42 mountain thread. There is a small ding on the collar that may make unscrewing difficult unless it it is repaired. On the other hand if the chrome ring is just a swaged fit to the mount the I would try to pry it off. It looks like I can set infinity focus using adjusting the focusing ring. The lens is in great shape optically and mechanically and I got it dirt cheap. All suggestions welcome. Bob
  12. John, do you mean to say that they produced two breech mount lenses with different register distances? That would be crazy. I have both the Orikkor and the Acall lenses here. I removed a flange from the Acall IIRC so that they both have M42 mounts. Both focus to infinity on an old Pentax Spotmatic. I may have had another before that but I don't remember anything that looked like a K-Mount. I can't find the flange that I removed so I can't answer your question about the pin. The Orikkor (SN 130XXX) is slightly longer than the Acall (SN 23XXX). The Acall is surprisingly heavy - 428g vs 291g for the Orikkor. Bob K
  13. There are "value added resellers" who are actively tracking down these Petri lenses to resell to industrial and institutional clients. At a big mark-up I suppose. I know at least one of these. Bob K
  14. Andrea, yes do add the 28mm Tokina. There were I think two versions of the lens, both look the same. One may be called RMC II and the other just RMC. Perhaps there were others also. My understanding is that they are all basically the same. I will tell you what version mine is when I find it. Bob
  15. I seem to recall that one of the Petri/Kyoie/Acall lenses I received had the flange with tabs (breech lock?) and when the flange was remove it revealed an M42 mount thread. Is this what you are calling breech-lock? I had a 135/3.5 Kyoie Acall lens and found that it was less UV-transmissive than my 135mm El-Nikkor, so I don't use it much and have acquired since, the Kuribayash Orikkor version. But I have not been able to test it yet because there has been almost no sunshine here until recently. Bob K
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