View allAll Photos Tagged AutoFocus
Learn more about taking advantage of the Canon T3i / 600D autofocus system here:
blog.dojoklo.com/2011/09/22/taking-control-of-your-canon-...
Here is a Canon AE-1 with a Cosina 28-70mm 1:3.5-4.8 autofocus zoom in FD mount. This same lens was manufactured by Cosina and sold as a Vivitar lens with slightly different markings.
This was taken with the Lumix G5 and a Tokina AT-X 28-85mm 1:3.5-4.5 zoom lens in FD mount and an Olympus FL-36 flash.
+ 70000 affichages des albums, galeries et photos : Merci pour vos visites, commentaires, récompenses, invitations et favoris.
+ 70000 displays albums, galleries and photos: Thanks for your visits, comments, awards, invitations and favorites.
Type of Camera Integral-motor autofocus 35mm single lens reflex.
Picture Format 24 x 36mm [standard 35mm (135) film format]
Lens Mount Nikon F mount
Lens More than 70 Nikkor and Series E lenses available.
Focus Modes Dual autofocus modes (Single servo and Continuous servo) focus assist and manual focusing.
Autofocus Detection System TTL phase detection system using 96 CCD's.
Autofocus Detection Range Approx. EV 4 to EV 17 using lenses f:2.8 or faster; EV 5 to EV 18 using lenses f:4.5 or faster but slower than f:2.8.
Autofocus Lock Single Servo AF - Possible once focus LED is lit and shutter release remains slightly depressed; Continuous Servo AF - focus detection continues as long as shutter release remains partially depressed.
Focus Assist Available in manual focus mode with an AF Nikkor, Nikkor or Series E lens with a maximum aperture of f:4.5 or faster
Exposure Metering Light intensity feedback measurement (for P DUAL, P HI and A), TTL full aperture centerweighted measurement (for manual exposure) employs one silicone photo diode (SPD).
Exposure Meter Switch Activated by setting film advance mode selector at S or C and lightly pressing shutter release button, remains on for approx. 8 sec. after releasing shutter release button.
Metering Range (at ISO 100 with f/1.4 lens)EV 1 to EV19
Exposure Modes Three Program (dual, normal and high speed) auto exposure modes, Auto, Aperture-Priority Auto and Manual
Programmed Auto Exposure ControlChoose from 3 modes. Camera sets both shutter speed and lens aperture automatically.
Aperture-Priority Auto Exposure ControlShutter speed automatically selected to match manually set aperture
Manual Exposure Control Both aperture and shutter speed are set manually
Shutter Electromagnetically controlled vertical-travel focal-plane shutter
Shutter Speeds Stepless from 1/2000 to 1 sec. in P DUAL, P, P HI and A auto exposure modes. Lithium niobate oscillator-controlled speeds from 1/2000 to 1 sec on manual; electromagnetically controlled Bulb setting is provided
Viewfinder Fixed eyelevel pentaprism high-eyepoint type; 0.85X magnification with 50mm lens set at infinity; approx. 92% frame coverage
Eyepiece cover Model DK-5 prevents stray light from entering eyepiece
Focusing Screen Nikon type B clear matte with central focus brackets, 12 mm circle denotes center weighted metering area; changeable with type E or J focusing screens.
Viewfinder Information Focus indicator LEDs include focus not possible warning, in-focus indication, focus-to-right and focus-to-left arrows; exposure indicator LEDs include shutter speed LEDs, over and under-exposure warning LED's; ready light comes on when Nikon dedicated flash is used.
P DUAL, P and P HI modes LED shows shutter speed selected by camera; top warning light blinks for overexposure, bottom warning LED indicates underexposure, top and bottom LEDs blink to indicate proper exposure.
A mode LED shows shutter speed automatically selected by camera, top or bottom warning LEDs blink to inducate over or under - exposure.
Manual mode Non-blinking LED shows shutter speed set on dial, blinking LED shows shutter speed for correct exposure; 2 blinking LEDs show intermediate shutter speed; no LED in B.
Auto Exposure Lock Operates in P DUAL, P, P HI, and A modes, holding button in locks exposure.
Exposure Compensation +/- 2 EV compensation (in 1/3 increments) possible with compensation dial; when film speed ring is set at DX with ISO 5000 DX coded film, exposure compensation is possible from - 1 1/3 to +2; with film speed ring set to ISO 1600, -1 to +2 is possible; at ISO 3200 only + compensation is possible; at ISO 25, -2 to +1 is possible; at ISO 12, only - compensation is possible.
Film Speed Range ISO 25 to 5000 for DX-coded film; ISO 12 to 3200 can be manually set for non-DX coded film.
Film Speed Setting At DX position, automatically set to ISO speed of DX-coded film used; manual setting possible
Film Loading Film automatically advances to first frame when shutter release button is depressed once
Film Advance In single-frame mode, film automatically advances one frame when shutter is released; in continuous shooting mode, shots are taken as long as shutter release button is depressed; shooting speed is approx. 1.7 fps to approx. 2.5 fps depending on focus mode in use.
Remote Film Rewind Use optional MC-12A.
Audible Warning Alarm With switch on, beeps; (1) when non-DX coded film is used with film speed dial set at DX;(2) when DX contacts require cleaning; (3) for under and over-exposure and possible picture blur in auto exposure modes; (4) at end of film roll; (5) during self timer operation.
Red indicator Lamp Blinks; (1) when non-DX coded film is used with film speed dial set at DX;(2) when DX contacts require cleaning; (3) for under and over-exposure and possible picture blur in auto exposure modes; (4) when shutter is released.
Frame Counter Additive type; counts back while film is being rewound
Self-timer Electronically controlled 10 sec. delay; blinking LED and beep sound indicates self-timer operation; cancellable
Reflex Mirror Automatic, instant-return type
Camera Back Hinged back with film cartridge confirmation and film advance indicator; changeable with Data Back MF-19.
Accessory Shoe Standard ISO-type hot-shoe contact; ready-light contact, TTL flash contact, monitor contact
Flash Synchronization Up to 1/125 sec. with electronic flash.
Flash Ready Light Lights up when Nikon dedicated flash is ready
Autofocus Flash Photography Possible only with Nikon SB-20.
Power Source Four 1.5V AAA batteries; with Nikon AA battery holder MB-3, four 1.5V AA batteries can be used.
Dimensions (W x H x D) Approx. 5.8 x 3.8 x 2.1 in.
Weight (without batteries) Approx. 21.3 oz.
Simulated view of Canon 80D Viewfinder, showing the autofocus points and Zone AF Area Selection mode.
Example image from Canon 80D Experience guide to the Canon EOS 80D.
Photographer: Fred H. Politinsky
Subject: Nature
*View this image in the largest format possible.
There are 86,400 seconds in a day. Capture one of them.
---- Fred H. Politinsky, photographer
A good politician should know when their goose is cooked.
View my photography on the following websites:
www.fluidr.com/photos/jackpot999
www.flickriver.com/photos/jackpot999
www.flickr.com/photos/jackpot999
GOOGLE at NPR JAZZ PHOTOGRAPHY POOL - FLICKRIVER (Click on "Recent.")
ALL OF MY PHOTOGRAPHIC IMAGES ARE COPYRIGHTED. ALL RIGHTS ARE RESERVED. DO NOT USE, COPY OR EDIT ANY OF MY PHOTOGRAPHS WITHOUT MY PERMISSION.
...that's what I got for Christmas! Of course, I had to take some snapshots of our decorations with it right away, and I am very pleased. Yay Nifty Fifty!
+ 70000 affichages des albums, galeries et photos : Merci pour vos visites, commentaires, récompenses, invitations et favoris.
+ 70000 displays albums, galleries and photos: Thanks for your visits, comments, awards, invitations and favorites.
Simulated view of Nikon D500 Viewfinder showing the 1.3x crop Image Area, and all 153 autofocus AF points, including the 55 selectable points.
Example image from Nikon D500 Experience e-book guide.
Minolta AF-C
Japanese 35mm format Autofocus point-and-shoot. Produced c.1982
Lens: 35 mm f/2,8
This is the second broken Minolta AF-C
Except for the problem of a firmly stuck film advance wheel (see earlier notes) it also had a bad "Slide Door Open Contact".
Next remove 3 screws on the Front left side.
.
.
.
WARNING :
This image is intended as a reference for the more experienced camera service man. If you have no experience in camera repair please do yourself a favor and send your camera to a professional service shop. It would be a pity to lose a vintage camera in a failed repair attempt
Simulated view of Canon 80D Viewfinder, showing the autofocus points, Grid, Level, and Single-Point AF Area Selection mode.
Example image from Canon 80D Experience guide to the Canon EOS 80D.
Van's US Open 2014 Huntington Beach with pro surfers Alana Blanhard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomers Nikki Van Dijk and Tatiana Weston-Web, and more!
The new Nikon D810 rocks for sports photography! New Instagram!
Goddess videos! vimeo.com/45surf
Nikon D810 Photos Pro Women's Surfing Van's US Open Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !
I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracles took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 14mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the brigth sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS< but still awesome and enough I felt!
What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!
Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!
Tamron SP 150-600mm F/5-6.3 Di VC USD Autofocus lens for Nikon AF-D Cameras.
The new Nikon D810 rocks for sports photography New Instagram!
A very peculiar (and ugly) 35mm autofocus "compact" (quite large) offering from Konica. Additionally labelled on the back "High Precision Autofocus Camera".
The remote control slots into the grip, below the shutter release. There is a fold-out foot, for tilting it upwards on a flat surface, under the lens. The control on the right of picture is labelled "EME" and Infinity - so "EME" is presumably something to do with the focus. The back has an LCD display, with next to it, EV adjust/flash select button, a "drive" button labelled S (single?), C (continuous?), (self-timer) and R (remote), plus four buttons for setting the date and ME (Multiple Exposures), TE (long Time Exposures) and INT (Interval exposures), which are hidden by a strange fold-out cover (see rear view).
40-80mm (2x) zoom lens, motor drive, 2CRV5 battery. Other versions exist in a gold-flecked plastic and a white top lamp, called Z-Up 80 Limited Super Zoom; Sylvain Halgand dates this as introduced in 1988.
This one does not work. There's a small red lamp missing from beside the flash, which may have something to do with the non-working - so shown here with the lens retracted, and I'm a little unsure what all the controls do.
Strobism: an experiment - remote YN-565EX above & behind photographer's left shoulder, pointing up at about 45° to reflect off of (~9foot high) ceiling, in addition to and fired from the camera's built-in flash.
Polaroid SX-70 Time Zero Autofocus Model 2
IMPOSSIBLE Frog-Tongue
Clip-It Filter Holder with ND4 Filter
IMPOSSIBLE Gen2 Color 600 Pioneer test film
Here are the first test shots of the new Gen2 Color Film From IMPOSSIBLE...it develops in about 2-5 minutes!
After this shot I realized the film is a little contrasty...
Van's US Open 2014 Huntington Beach with pro surfers Alana Blanhard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomers Nikki Van Dijk and Tatiana Weston-Web, and more!
The new Nikon D810 rocks for sports photography! New Instagram!
Goddess videos! vimeo.com/45surf
Nikon D810 Photos Pro Women's Surfing Van's US Open Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !
I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracles took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 14mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the brigth sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS< but still awesome and enough I felt!
What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!
Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!
Tamron SP 150-600mm F/5-6.3 Di VC USD Autofocus lens for Nikon AF-D Cameras.
The new Nikon D810 rocks for sports photography New Instagram!
Simulated view of Canon 80D Viewfinder, showing the autofocus points and Zone AF Area Selection mode.
Example image from Canon 80D Experience guide to the Canon EOS 80D.
One of the close to modern Polaroid Cameras produced by the original company that has that classic Type-600 Clamshell design! Not to mention modern enough to be still running after a decade or two.
You can read the full review online
www.alexluyckx.com/blog/index.php/2018/07/09/ccr-review-9...
Polaroid OneStep AutoFocus - Polaroid Lens 100mm f/11.5 - Polaroid Originals Duochrome Black & Pink
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
1994
Type of camera Integral-motor autofocus 35mm single-lens reflex (SLR) with built-in TTL flash
Picture format 24mm x 36mm (standard 35mm film format); Panorama (F70D only): 13mm x 36mm, changeable by Panorama switch
Lens mount Nikon F mount
Lenses Nikkor and Nikon lenses having Nikon F mount with some limitations; see chart below
Viewfinder Fixed eyelevel pentaprism high-eyepoint type; 0.78x magnification with 50mm lens set at infinity; approx. 92% frame coverage
Eyepoint Approx. 18mm
Viewfinder illuminator: Automatically activates when exposure meter is on
Autofocus area Wide and Spot selectable
Focus modes: Autofocus, and Manual with Electronic Rangefinder
Autofocus modes: Single Servo AF and Continuous Servo AF
Autofocus detection system: Nikon CAM274 autofocus module
Autofocus detection range: Approx. EV -1 to 19 (at ISO 100)
Autofocus lock: Possible once stationary subject is in focus in Single Servo AF
Electronic rangefinder Available in Manual focus mode with AF Nikkor and other AI-type Nikkor lens with a maximum aperture of f/5.6 or faster
Focusing Screen New Nikon advanced B-type BriteView screen II; fixed
Focus tracking: Automatically activated with a moving subject
Exposure Modes Programmed Auto (Auto-Multi Program and Vari-Program), Shutter-Priority Auto, Aperture-Priority Auto and Manual
Programmed Auto exposure control: Camera sets both shutter speed and lens aperture automatically; Flexible Program possible in increments of 1/3 EV. Vari-Program: Eight kinds built-in: Portrait Program, Hyperfocal Program, Landscape Program, Close-Up Program, Sport Program, Silhouette Program, Night Scene Program, and Motion Effect
Program; each has its own program line
Shutter-Priority Auto exposure control: Aperture automatically selected to match manually set shutter speed
Aperture-Priority Auto exposure control: Shutter speed automatically selected to match manually set aperture
Manual exposure control: Both aperture and shutter speed are set manually
Shutter speed/aperture adjustment: Rotating the Command Dial changes shutter speed in and modes or aperture value in mode in 1/2 EV steps. To change aperture value in mode, rotate the Command Dial while pressing the aperture button
Quick Recall function By QR button the original or favourite camera settings can be recalled; up to three settings can be memorised
Auto exposure lock: Available by pressing the AE-L button while the exposure meter is on
Viewfinder information LCD: Focus area, focus indications, exposure metering system, exposure mode, Flexible Program, shutter speed, aperture, electronic analogue display, exposure compensation and flash output compensation are all shown in LCD readout; also shows flash recommended light and ready light LEDs
LCD panel information: Shutter speed, aperture, QR, focus area, film speed setting mode, film advance mode, focus mode, exposure mode, exposure metering system, flash sync mode, exposure compensation/flash output level compensation, All-Mode Exposure Bracketing/Flash Exposure Bracketing and frame counter/compensation value, film loading, film rewind, self-timer and battery power
Metering range (at ISO 100 with f/1.4 lens) EV -I to EV 20 for Matrix and Centre-Weighted metering; EV 4 to EV 20 for Spot metering
Exposure Metering Switch Activated by lighdy pressing shutter release button; stays on for 8 sec., after finger leaves button
Exposure control Modes Three built-in exposure meters - Matrix, Centre-Weighted and Spot
Exposure compensation With exposure compensation button; +-5 EV range, in 1/3 EV steps
AE Lock By pressing AE-L (auto exposure lock) button while exposure meter is activated
Film speed range ISO 25 to 5000 for DX-coded film; ISO 6 to 6400 can be manually set
Shutter Electromagnetically controlled vertical-travel focal-plane shutter
Shutter speeds Lithium niobate oscillator-controlled speeds from 1/4000 to 30 sec in 1/3 EV steps; electro-magnetically controlled Bulb setting is provided
Shutter Release: By motor trigger
Automatic film advance automatically advances to first frame when shutter release button is depressed once. In single-frame and single-frame silent rewind mode, film automatically advances one frame when, shutter is released; in continuous high or continuous low shooting mode, shots are taken as long as shutter release button is depressed; in continuous high mode, shooting speed is approx. 3.7 fps, and in continuous low approx. 2.0 fps
Frame counter Additive type; counts back while film is being rewound
Film rewind By pressing IN and Ps button; fast rewind or silent rewind is selectable
Self timer Electronically controlled; blinking LED indicates self-timer operation; cancellable
Dioptre adjustment: -1.5 to +1.0 dioptre
Reflex mirror Automatic, instant-return type
Camera back Hinged back with film cartridge confirmation window; unchangeable
Accessory shoe Standard ISO-type with hot-shoe contact, ready-light contact, TTL flash contact, monitor contact; mount receptacle for Posi-Mount system provided
Built-in TTL flash: Guide number: 14 (ISO 100, m); flash coverage: 28mm or longer lens; Red-Eye Reduction, TTL flash control including 3D Multi-Sensor Balanced Fill-Flash, Slow Sync and Rear-Cuttain Sync are possible
Flash synchronization Up to 1/125 sec. TTL Multi Sensor Five-segment multi sensor used for TTL auto flash control; Automaffc Balanced FiD-Flash with TTL Multi-Sensor Possible when AF Nikkor or AI-P Nikkor lens is used with built-in Speedlight or Nikon Speedlight SB26, SB-23, SB-22, SB-20, etc.
Monitor Pre-flash Built-in TTL Speedlight or Nikon Speedlight SB-26 fires Monitor Pre-flash(es) for TTL multi sensor when AF Nikkor or AI-P Nikkor lens is used
Flash recommended light Lights up when flash is recommended
Flash ready-light When Speedlight is off: blinks when using flash is recommended; when Speedlight is on: lights up when built-in Speedlight or Nikon dedicated Speedlight is ready to fire; blinks after shooting to warn of insufficient light for correct exposure
Batteries Two CR123A-type lithium batteries
Battery power confirmation: for sufficient power; indicates batteries are nearing exhaustion; blinking indicates batteries are just about exhausted; no indication/symbol appears when batteries are completely exhausted or improperly installed
Body finish: Silver and Black available
Dimensions (W x H x D): 151 x 103 x 70mm (F70), 151 x 103 x 71mm (F70D)
Weight (body only) 585g (F70), 600g (F70D)
Camera: Sun 660 Autofocus
Film: PX-680 Color Protection
Although the side facing Rand blew-out years ago; the other side facing Wauconda, while obscured by overgrowth, remains as one of the last surviving Amoco signs in the state (another being down at a vacant lot in Cairo). The Amoco station itself was demoed long-ago and a modern BP was built on its site.
(UPDATE Summer 2013: They actually flipped the oval to the other side, facing Rand again! This side now had a blank-white oval in place, for filler.)
Autofocus, Case 5.
"For erratic subjects moving quickly in any direction." Just for the record, it's pretty damn hard to auto-focus on steam.
Fun with the Nikon AF-S Nikkor 50mm f/1.4G Autofocus Lens ! Nikon D800 Photos of Pretty Cowgirl Model, Blue Jeans Cutoffs, Cowboy Hat, Cowboy Boots, & Gun! The Gold 45 Revolver -- the famous golden gun ! She has a pretty smile!
Join Johnny Ranger McCoy's Hero's Journey Mythology Goddesses facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to Johnny's youtube for epic goddess videos! www.youtube.com/user/bikiniswimsuitmodels
Twitter: twitter.com/45surf
Follow me on facebook! facebook.com/elliot.mcgucken
The pretty model goddess with blue-green eyes and sandy brown hair with blond highlights was modeling a red 45SURF shirt and Goln'N'Virtue Gold 45 Revolver lingerie! Wearing cutoff blue jeans with a leather buffalo nickel cowboy hat and black snakeskin cowboy boots!
The Colt 45 Revolver comes directly form Clint Eastwood's/Sergio Leone's Fistful of Dollars--my favorite Western--heck my favorite all-time film, exalting the classical, archetypal themes I seek in all my photography!
She was tall, tan, thin, pretty, and fit with gorgeous blue eyes and long, long legs! Shot with the new D800E and my favorite workhorse lens the very sharp Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens. A slight change of pace for all my flickr fans!
All the best on your Epic Mythological Hero's Journey from Johnny Ranger McCoy!
Van's US Open 2014 Huntington Beach with pro surfers Alana Blanhard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomers Nikki Van Dijk and Tatiana Weston-Web, and more!
The new Nikon D810 rocks for sports photography! New Instagram!
Goddess videos! vimeo.com/45surf
Nikon D810 Photos Pro Women's Surfing Van's US Open Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !
I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracles took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 14mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the brigth sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS< but still awesome and enough I felt!
What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!
Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!
Tamron SP 150-600mm F/5-6.3 Di VC USD Autofocus lens for Nikon AF-D Cameras.
The new Nikon D810 rocks for sports photography New Instagram!
Photographer: Fred H. Politinsky
Subject: Jazz Greats
Great art speaks across time. American abolitionists read Dante's Divine Comedy for inspiration. Five hundred years from now, people will be listening to Satchmo's "West End Blues" for the same reason.
---- Wendell Pierce, actor and author of The Wind in the Reeds
Music does something to the molecules. I think that music is one of the only things that really collectively can change the molecules in all of us and gosh what an immense blessing to be able to have that impact on people. (reference to the healing power of music)
---- Sheryl Crow, musician
Music has a tendency to let everybody see your own convictions; music tends to reveal more of the kind of person you are than any other medium of expression.
---- Ornette Coleman, jazz alto saxophonist
Music magically makes a difference in everyone's life. It is the fire that drives us on and gets us through our rougher, harder times.
---- John Carter Cash, music producer
Dena DeRose's music is innovative, direct, and swinging. Like the iconic singer-pianists Nat King Cole and Shirley Horn, DeRose is recognized among the best artists in both areas, with acclaim from DownBeat and other major jazz publications. In 2010, she participated in Marian McPartland's live 30th Anniversary Piano Jazz radio program, playing with piano legends Cedar Walton, Kenny Barron, and Mulgrew Miller. An educator as well, DeRose is professor of jazz voice at the University of Music and Performing Arts in Graz, Austria. Her latest release, We Won't Forget You...An Homage To Shirley Horn on HighNote Records, features bassist Martin Wind and drummer Matt Wilson.
View my photography at www.flickr.com/photos/jackpot999 and at www.flickriver.com. (Click on "Users" and enter Bebop18.)
View my jazz photography on GOOGLE at NPR JAZZ PHOTOGRAPHY POOL- FLICKRIVER. (Click on "Recent.)
Please do not publish this or any of my other images without my permission.
Royal River Park
Yarmouth, Maine
Photo taken with a Minolta Maxxum 7 and Minolta Maxxum AF Zoom 100-200mm F/4.5 using Kodak Portra 400 color print film.
The AX is the first autofocus Contax SLR produced by Kyocera. The AX achieves autofocus capability with the standard manual focus Carl Zeiss lenses by utilizing a specially-developed automatic back focusing system. With this system, the fixed mirror box, pentaprism assembly and film plane move as a unit along a ceramic rail to achieve focus. Contax later introduced the N1/NX series of autofocus film SLRs that used a new generation of autofocus Carl Zeiss lenses. The later model N1 and NX are not compatible with manual focus Contax/Yashica mount Carl Zeiss and Yashica lenses.
Being a long-time manual focus SLR user when the AX first came out, I at first did not know how to react to this camera. Recall at the time that many photographers were still shooting manual focus SLRs, such as the Nikon F3, Contax ST,etc. The AX generated a lot of commentary in the press and especially on the Internet soon after its release. Some thought it was great that Contax took this approach to finally develop an autofocus SLR. Others though this was an admission of defeat by a camera maker that waited far too long to get onto the autofocus SLR bandwagon. Looking back from a historical standpoint, the AX was a brilliant solution by Kyocera to try to compete in the autofocus SLR market while maintaining compatibility with their existing base of Contax line Carl Zeiss lenses. In a way, the RX and AX were stepping stones by Kyocera on their way from traditional manual focus to a complete autofocus system with the N1/NX.
For those who are used to the image of sleek, thin SLRs such as the RX and the ST, the AX does not immediately appear to be beautiful. The camera has the cosmetics of an RX, but the AX body is much thicker from front to back to make room for the moving focus assembly within the camera. However, once one gets used to the camera's bulky image, at least for a 35mm SLR, one realizes that it is packed with useful technology and really does combine the best features of automatic focus capabilities and compatibility with Carl Zeiss manual focus lenses.
The AX continued the tradition of providing the tank-like over-engineered feel common to most Contax bodies. The camera has a titanium top cover and an aluminum alloy die-cast chassis, and is made with the same attention to detail and finely-machined parts for which Contax cameras are renowned. All of the controls are consistent with the design of other high-end Contax cameras, employing the switches and knobs representative of a traditional analog user interface but which are actually electronic controls connected to state-of-the-are electronic circuitry within the camera. The camera weighs in at 1,080 grams without battery, so it is no lightweight. However, its weight is still acceptable when compared with certain other contemporaneous professional-level bodies from Contax (RTSIII), Nikon (F4 and F5) and others, especially after battery weight is factored in.
Let's check out the various features of this fascinating camera. Basically, the designers have successfully combined the best and most important features of the RX, ST and RTSIII, and then gone a step further by adding autofocus. The AX has a shutter speed dial positioned at the standard Contax location on the top left of the camera. While shutter speed can only be set from 4 sec. to 1/4000 sec. in manual and shutter priority mode, the shutter has an increased range from 32 sec. to 1/6000 sec. in Av and P modes. Surrounding the shutter speed dial is an exposure mode selector lever, which permits selection of the following metering modes: Av, Tv, P, M, X and B. The same lever is also used for selecting modes to directly adjust film ISO and to modify the custom functions of the camera. Custom functions such as film leader out on rewind are actually set using the two adjustment buttons on the top right of the camera. The AX has the standard Contax exposure compensation dial on the top right of the camera, which allows very easy and quick adjustment of exposure compensation in the range of +-2 EV. The exposure compensation dial is surrounded by the automatic bracketing control ("ABC") lever, which permits a series of three photographs to be taken with +- 0.5 or 1.0 EV exposure compensation. The ABC function works either by making one exposure with each press of the shutter release button, or a continuous burst of three frames as long as the shutter release button is held down, depending on how the drive mode selector dial is set (single or continuous exposure). The top-mounted drive mode selector dial allows adjustment for single frame exposure, continuous exposure (at 3 or 5 fps), multiple exposure, and self timer (2 or 10 second delay). Surrounding the drive mode selector dial is the focus mode selector lever. This lever allows rapid selection among manual focus, single autofocus, continuous autofocus, and a macro setting. A combination button/dial just under the thumb position on the back right of the camera body works with the focus mode selector lever to adjust the operation of the focus system. The main switch surrounding the shutter release button has the usual Contax autoexposure lock functionality. However, the AX adopts the RTSIII's very convenient placement of the exposure meter selection switch to the left side of the lens mount. Other controls include the standard Contax exposure check button and electronic depth-of-field preview button on the right front of the camera. The exposure check button activates the viewfinder information without the risk of tripping the shutter when trying to press the shutter release button down only half-way. The camera also provides built-it dioptric adjustment and a shutter for the viewfinder eyepiece.
The viewfinder of the AX is very good. The camera uses an oversized prism, providing a very bright view of the subject and a 95% field of view. While it is an autofocus camera, the AX, like the RX, also sports the traditional horizontal split image, microprism collar, and of course matte field optical focusing aids. All of the viewfinder readouts are located on a LCD display below the viewfinder image. This display includes an exposure frame counter, spot/average metering indicator, exposure compensation indicator (+ or -, as well as a numerical readout of the amount of compensation), flash indicator, back focus position indicator, in-focus indicator, aperture indicator, over/under exposure warning, and shutter speed indicator. Because of the packed real estate on the viewfinder LCD readout, there is unfortunately no room for a graphical indication of the exact amount of exposure compensation, or any indication of the amount of over/under exposure when setting exposure in M mode. Metering patterns are a 5 mm spot meter, which includes the area within the microprism focusing collar, and a wide area center-weighted average pattern. In addition to the standard FW-1 focusing screen, Contax also provides four other selections of focusing screens for various applications.
The flash functionality of the AX combines the best features of both the RX and the ST, but does not offer the pre-flash spot meter found on the RTSIII. Flash synch is at a fastest speed of 1/200 second. Among Contax electronic cameras, only the RTSIII offers a faster maximum synch speed (1/250 second). This speed should be fast enough for fill flash in most available light conditions. TTL flash appears to be based on a fairly narrow center-weighted pattern. The AX shares the RX's five-point flash contact on the accessory shoe, providing enhanced camera to flash communication, as well as a locking slot to keep the flash unit from falling off. With this improved communication, the Contax TLA flash readout panel will automatically reflect the film ISO and lens aperture, as well as activate the direct flash exposure compensation functionality on the flash unit itself. With this system, balanced fill flash is implemented by setting the appropriate negative flash compensation on the flash unit.
The AX can be fit with an optional multi-functional data back (D-8). This highly advanced data back allows the recording of data (such as shutter speed and aperture, date, time or exposure mode) between the film frames or on frames one and two at the beginning of the roll. Somewhat uniquely in its class, the D-8 also provides an intervalometer that can be set to trigger exposures from every two seconds to 99 hours, 59 minutes, 59 seconds.
The AX works on one 6V lithium 2CR5 battery. The battery is inserted on one side of the camera base, allowing the tripod mount of this relatively weighty camera to be placed at the body's center of balance. Kyocera claims that the battery has a capacity of about 50 rolls of 36-exposure film under their test conditions. The automatic back focusing system of the AX appears to be relatively energy-efficient. As I mentioned in my separate review for the RX, I prefer the use of lithium batteries in Contax cameras, which provides for longer time between battery changes, better cold weather performance, and lighter travelling weight.
The autofocus system of the AX utilizes an AF-assist beam, which is emitted from the right front of the camera. The camera’s autofocus capability is relatively fast and accurate for general use, especially for the time when the AX was released. It was not as fast as the autofocus systems on high-end sports-oriented cameras, such as the Nikon F5 or the Canon EOS 1n. Nevertheless, the AX's focusing speed and accuracy compared very favorably with other autofocus bodies offered by the competition. A very nice feature of the AX's autofocus system is its ability to turn almost any lens into a macro lens (by eliminating the need to use extension tubes). In normal (non-macro) autofocus mode, some care must be taken when focusing floating element/group lenses at relatively close distances.
Carl Zeiss Vario-Sonnar 28-85/3.3-4.0
The Carl Zeiss Vario-Sonar T* 28-85mm f/3.3-4 (MMJ) is an amazing precision work of metal and glass. This lens provides one of the most popular zoom ranges with photographers, and is also my favorite zoom range in the 35mm film world. I use this lens when I only want to carry one Carl Zeiss lens on a trip or outing and the 50/1.4 by itself won't do. The 29-75 degree angular field will cover you in most everyday situations. The f/3.3-4 maximum aperture range is not the greatest, but it is acceptable for normal use. (I generally won't use a zoom lens if the maximum aperture is smaller than f/4.) Anyway, this lens is already about maximum acceptable size and weight for hand-held use, and that is the purpose for which this lens was designed. Imagine how big and heavy the lens would be if it had larger maximum aperture! The lens is engineered in two parts; the rear barrel is fixed to the camera and includes the aperture ring. The front barrel twists for focus and slides in and out for zoom. The lens is at maximum length when it is zoomed to 28mm.
If you are using a Contax AX, you even get autofocus with all of your CZ lenses. Normally, you just set the lens focus to infinity and the AX autofocus function takes it from there. However, this lens if one of a few CZ lenses where you need to move the lens off of infinity to autofocus at the minimum end of the range, which is not a big deal. The focus/zoom movement is silky smooth.
The CZ 28-85/3.3-4 does have some disadvantages. It does not work well on a tripod, with the single ring design and lack of a tripod socket. It can be used on a sturdy-tripod with a heavier Contax body to support and balance the lens, but however irrationally, I would avoid doing it too much to avoid stressing the bayonet and mount on the lens and camera. (As mentioned in the introduction to the Carl Zeiss lens section, the metal mounting ring on the lens is relatively thin compared with the weight of CZ lenses and can be damaged if stressed too much. Indeed, I once damaged the mount of this lens by twisting it on while it wasn't exactly perpendicular to the camera body. Another disadvantage of the single ring design is that it is difficult to adjust the focus without nudging the zoom and vice versa. When carried over your shoulder while attached to the a camera body, the lens will always zoom out to maximum wide angle due to the weight of the front barrel. I have a habit of zooming the lens all the way out before slinging the camera over my shoulder. (Don't sling it around your neck, especially when attached to an RTSIII or you may cut off all blood flow to your brain! Still, its size and weight is about the same as a modern large-aperture autofocus zoom lens.)
I once had the infinity focus of this lens go out of adjustment. I couldn't turn the focusing ring far enough to focus at infinity. A trip to the authorized repair shop solved the focusing problem and above bent bayonet ring problem about 15 years ago, and the lens still appears fine to this day. One other quirk I noticed is that this zoom lens does not communicate the current value of the variable aperture to the camera. Thus if you zoom the lens all the way to telephoto while the lens is set to maximum aperture, for example, the aperture setting displayed in the viewfinder does not change to reflect the actual aperture value. Actually, it does not matter because the light meter still exposes the film properly; only the displayed value is slightly misleading.
How to carry this lens and body combination? As mentioned above, I usually use this lens when it is the only lens that I carry. For this purpose, I have a camera bag that is designed for a modern digital SLR body with a large zoom lens. I can attach this lens to any full-size Contax body and the combination fits in the bag like a glove.
The 28-85/3.3-4 lens takes large screw-in 82mm filters. Contax provided a very nice W-1 metal lens hood, which is matched to the zoom range of the lens and screws right on top of your filter. Also, Contax made a matching metal 99mm K-94 lens cap that snugly fit right on top of the W-1 lens hood. There is never any need to remove the filter and hood from the lens for storage or to use the smaller original lens cap.
Copyright © 1997-2015 Timothy A. Rogers. All rights reserved.
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