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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.
Copyright © 1997-2015 Timothy A. Rogers. All rights reserved.
(DSC_1584mod1BR25 Rev1)
Nikon D5600 - Autofocusing - Simulated view of the D5600 Viewfinder, showing a single autofocus point placed over the subject.
Example Image from Nikon D5600 Experience
Autofocus failed me here, but I like it.
Jamie hugs his stepfather on the day of the his wedding to Jamie's mother at House for an Art Lover.
Glasgow, 2010.
Sony A7RII +Techart Techart Pro M/E Autofocus Adapter* + Leica Summilux-M 50mm f/1.4 ASPH.
Handheld. Edited in Lightroom CC + VSCO.
From Hong Kong.
* Somehow the Techart Pro Adaptor will register as DT 40mm F2.8 SAM in the Sony A7RII...not sure if that will be fixed in future firmware release.
Press "L" to view large scale.
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)
Normally, I always focus with a single point. But the mirrorless Canon R also has face tracking, something I never use. But on this day I gave it a go. Looks like it prefers pretty girls. And who doesn't like a pretty girl, or two.
Photographer: Fred H. Politinsky
Subject: Gary Smulyan, jazz master
This photograph has been featured in The NPR Jazz Photography Pool and at flick river.com.
THANK YOU GARY FOR THE COMPLIMENT!
View my most recent photographs at www.flickr.com/photos/jackpot999.
PLEASE DO NOT PUBLISH THIS OR ANY OF MY IMAGES WITHOUT MY PERMISSION.
Music is the strongest form of magic.
----Marilyn Manson
Jazz is the ultimate example of our potential as human beings.
----Patrick Bartley, alto sax player
Olympus IS-10 (1994)
Specifications from the user manual
Type: Fully automatic 35mm autofocus single-lens reflex camera with built-in 28mm ~ 110mm zoom lens.
Film format: 35mm standard DX-coded film (24 x 36mm).
Lens: Olympus lens (filter available, 52mm filter diameter) 28mm ~ 110mm F4.5 ~ 5.6, 11 elements in 9 groups (5-group zoom construction).
Shutter: Electronic control system vertical focal plane shutter. Shutter speed 1/2000-sec. ~ 2-sec.
Focusing: TTL phase-difference detection system autofocus with focus lock. Auxiliary flash activation in low light. Autofocus beep available. Focusing range — 0.75 m (2.5 ft) ~∞
Viewfinder: Single-lens reflex system, magnification ratio 0.72 (at 50mm). Finder view-field — 85% of actual view-field.
Viewfinder information: Autofocus frame, spot frame, autofocus indicator, flash indicator (to be used as flash warning), overexposure/underexposure indicator. Diopter adjustment: -2 ~ +1.
Light metering system: TTL light metering system — Fuzzy logic ESP light metering, center-weighted average light metering, spot metering.
Exposure modes: (1) Program AE (Full-Auto, Stop Action, Portrait, Night Scene, Landscape), (2) Aperture-preferred AE.
Exposure counter: Progressive type, displayed on LCD panel.
Film speed range: Automatic setting with DX-coded film (ISO 25, 32, 50, 64, 100, 125, 200, 250, 400, 500, 800, 1000, 1600, 2000, 3200. Other intermediate film speeds will be automatically set for next lower speed).
Film loading: Automatic loading (automatically advances to first frame when camera back is closed).
Film advance: Automatic film winding.
Film rewind: Automatic film rewind (automatic rewind activated at end of film, automatic rewind stop). Rewind is possible at any point with rewind button.
Selftimer: Electronic selftimer with 12-sec. delay. Remote control (optional): Infrared remote control unit, 3-sec delay.
Flash: Built-in IVP (Intelligent Variable-Power) flash system. Manual activating system, 54 recycling time of about 0.2 ~ 3.5 sec. (at normal temperature).
Flash range: Wide — 0.75~4.3 m (2.5~14.1 ft), Tele — 0.75~3.5 m (2.5~11.5 ft) with ISO 100 negative color film); Wide — 0.75~8.6 m (2.5~28.2 ft), Tele — 0.75~7.0 m (2.5~23.0 ft) with ISO 400 negative color film.
Flash modes: A u t o (automatic f l a s h activation in low-light), Auto-S (red-eye reducing, same as Auto otherwise), Fill-in (forced activation), OFF (when flash is retracted).
Battery check: Displayed on LCD panel.
Power source: Two 3V lithium batteries (CR123A or DL123A) (replaceable).
Dimensions: 123(W) X 88(H) X 110(D) mm (4.8 X 3.5 X 4.3 in) (excluding protrusions). Weight: 615 g (21.7 oz) (without batteries)
I invite you to visit my camera site at Classic Cameras in english.
Convido-os a visitar o minha página Câmaras & Cia.
© István Pénzes.
Please NOTE and RESPECT the copyright.
11 June 2013
Leica M9
Visoflex III
Elmar-V 65/3.5 Black
OTZFO
Just testing the Rigel autofocus setup on my WO Star71. Unfortunately, the clouds rolled in as I started imaging.
Ha:12x100s
WO Star71-II, ASI 1600mm-Cool, AVX, SSAG, Rigel USB nStep..
Polaroid SX-70 Time Zero Autofocus Model 2
Polaroid Tele 1.5x 119A
10/15 IMPOSSIBLE Black Frame Color SX70
1 notch to Light
It was cloudy and the light was nice and even lighting, so I brought out the SX-70, and my tele lens for a brunch and a walk to the farmer's market.
It was the hood and the soft light that started this shot...well, and my "portrait" lens, the Polaroid Tele 1.5x 119A. I think it's just such a great lens for portraits!
Simulated view of Canon 80D Viewfinder, showing the autofocus points and Single-Point AF Area Selection mode.
Example image from Canon 80D Experience guide to the Canon EOS 80D.
Lunedì 21 Marzo 2016
Palmanova Outlet Village
Ore 20:30
L'evento su facebook:
www.facebook.com/events/1042669295771631/
Le foto by Giovanni Contessa photographer:
www.facebook.com/media/set/?set=a.10209052143090332.10737...
I’d actually picked a picture to post about 2 frames forward of this one (when the autofocus had caught up and the rider had a better expression) but I noticed the she wasn't holding the reins. It made me curious so I went back and looked at the whole sequence. She had cut in too close to the end pole and made it wobble. So she let go of the reins, steadied the pole (look at her left hand), while grabbing the saddle horn and kicking her horse into a gallop coming out of the turn. 4 frames later (at around 5 frames a second) she has the reins back in hand and is looking as cool as a cucumber.
At the Georgia High School Rodeo Association rodeo in The Rock, Georgia.
Nikon D7000 -- Nikon 80-200mm F2.8 ED
185mm
F5.6@1/800th
ISO 400
Cropped
(DSC_8993 - 2)
©Don Brown 2016
Snowy Egrets are so beautiful and active. The bright white provides perfect contrast for the camera's autofocus. And I have learned to move the autofocus point to the top of the frame so the frame includes the reflection.
Au petit matin, sur la digue du port du Château. ça a l'air de suivre, même en basse lumière. (pdv :7h38, lever du soleil : 7h30 derrière les nuages) Et à pleine ouverture, il donne pas mal ( j'ai juste légèrement accentué sous LR)
At dawn, on the breakwater of Brest Castle harbor . it seems to follow, even in low light. (shooted at 7:38, sunrise: 7:30 behind the clouds) And even when fully open, the result is ok (I have just slightly increased accentuation in LR)
D700 + Sigma 150-500 DC HSM F5-6,3 : 3200 ISO 500mm F6,3 (pleine ouv.) 1/320s Monopod , VR on(1) AF: C
Elikon Autofocus with Industar 95 f2.8/38mm. Kodak Proimage 100 expired more than 10 years ago. Lab scans
From the test roll with the Elikon
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!
My Polaroid SX-70 Sonar Autofocus was dead on arrival. I found that lens was stuck in the infinity (fully retracted) position, both manual mode and autofocus mode doesn't turn the lens a bit even though I can hear the autofocus motor's sound during half-way pressing the shutter button.
Since there was no free disassemble guide available I posted to Yahoo's SX-70 group, got some helpful responses but still ....
I decided to see what's going on inside. I first used two stationery clips (super useful!!) to pry open the silver lens housing bit by bit, then the sonar unit's front part, luckily both parts are not secured by screws, so I just had to figure out where the notches are, 4 in the lens housing, 4 in the sonar unit. Interestingly, the red button on the housing is connected to the electronic board not by wire but through contact points, so I could completely remove the silver lens housing and the sonar unit front cover, exposing the gears and electronics.
I was facing the gears and found no objects that stuck the lens gears, dispaired then I just touch every possible electronic contact points (using the clips), switching on and off the sonar unit, manually turn the focus wheel harder away from the infinity position..... no luck. Finally by shorting the shutter button's 3 electronic circuit points frantically out of despair, vola!!! the lens suddenly turned and the camera started to focus whenever I short the autofocus circuit!
Eldo (from Yahoo SX-70 group) was right! The lens can be stuck in the infinity (fully-retracted) position. Brutal force alone didn't work. This fix was done by removing the housing so that I had access to the focusing wheel completely using opposing fingers and shorting the circuits frantically.
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!
+ 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.
Η μια εκ των δύο (δύσμοιρων) τίγρεων του ζωολογικού κήπου των Τρικάλων.
Shot in the zoo of the city of Trikala, Greece.
🌹 Next series of sunset photos at a country house wearing a traditional Bavarian garb aka "Dirndl" while drinking Paulaner beer
🔭⏱ I've used an old Cyclop T3C-2 / Zenit Helios 100mm F2 Night Vision Lens adapted with the TechArt LM-EA9 manual lens to autofocus adapter which worked very well.
👗 You can find more photos of this beautiful woman within her album here and on her Instagram account
👠 More photos of her coming soon.
🌹 Follow me to don't miss any new photos of her and other beautiful models!
Simulated view of Canon 80D Viewfinder, showing the autofocus points and Single-Point AF Area Selection mode.
Example image from Canon 80D Experience guide to the Canon EOS 80D.
Supergirl 2014 Oceanside Pier with pro surfers Anastasia Ashley, Alana Blanchard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomers Nikki Van Dijk Djik 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!
Seconds after I took this he looked straight at me and took off,straight into my living room window.All I could do was sit and watch as he flew toward me almost in slow motion and then hit the glass. He looked a little dazed on the sill for a few seconds, then flew to mom who was sitting on the fence. Bless!