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Leica M6 + 50mm f/1.4 Summilux
Hasselblad 500 c/m + 50mm T* f/4
Rolleiflex 2.8e TLR
Speed Graphic + Kodak Aero Ektar 178mm f/2.5, Jo Lommen
Polaroid SX-70
Photo taken with a Sinar F1, 4x5 large format body and a custom made lens board on the back that allows me to hook up a Canon 35mm DSLR body.
Polaroid 195
All Rights Reserved - Forbidden Any Type Of Use
Tutti i diritti riservati - Proibito qualsiasi tipo di utilizzo
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Shoter: Luca Rusconi
Location: Rusko's home
Camera: Canon EOS 450D
Flash: Canon Speedlite 430EX II Tripoded
Shot: 50mm | f/8 | ISO 100 | t1/250
Data e ora di scatto: 23/12/10 @ 20:14
Tripoded
Info Flash:
Vedi foto backstage. ^^
Il flash è stato controllato a distanza con il Trigger Wireless Phottix PT-04 II.
Info Post-Prod:
HDR Single RAW con OLONEO PhotoEngine.
Luce soffusa + Moltiplica 50% con PS5.
Primi scatti di prova in stile Splash.
ll soggetto è una simpatica macchina fotografica subacquea che mi ha regalato la mia sorellina con un tempismo eccezionale, suggerendomi un azzeccato soggetto aggiungerei. ^^
Ispirated by: Dan. D.
Newest flea market pick-up.
Nice camera. The only bummer are the mercury batteries which are no longer available. But it works fine manually without light meter as well. Might very well become my new ever ready walk around camera.
Olympus 35 RC
35mm rangefinder camera
lens: Zuiko f=42mm 1:2.8
Camera: Sony IPELA SNC-CH260
Output resolution: 1920x1080
all 30 minutes via SMTP
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Camera: Sony IPELA SNC-CH260
Output resolution: 1920x1080
all 30 minutes via SMTP
all 30 seconds via FTP
The Yashica Mat 124 is probably the best known of Japanese TLRs. Largely a copy of the Rolleiflex Automats, it does not match the Rollei in ruggedness and build quality but its built-in coupled light meter is a better job than anything Rollei had ever done.
Copyright © Matthew Phypers
My first shots from my new Instax 210 camera. I love this ugly beast.
For some reason the scanner I used washed them out so I change the levels slightly to get a truer representation. But other than that I've not altered or used any processing.
The "normal" contents of my camera bag. Taken by a Nikon D40x at ISO 400 with a Nikon 18-55mm VR kit lens. (at 18) Camera's on-board flash fired. This is the first picture I've posted taken with the VR version of the kit lens - I've previously posted pictures from one of the two non-VR versions I own, both of which now have broken lens mounts. (M#@$f#@$in' plastic mounts!)
Naturally, since this is a working photographer's bag, some items are in constant flux: the film and batteries, for example!
See the notes for equipment ID: the top edge has various dishes that are on my dining room table, the backdrop for the shot...
I normally carry at least one, usually two (as seen) spare SD or SDHC memory cards for my digital camera; I normally carry a 4 Gb in-camera, with a 2 Gb and an 8 Gb as spares. (the blue card above is a 4 Gb) My 2 Gb card is a Class-2, my 4 GB cards are class-4, and the 8 Gb card is a class-6. Yes, I have run out of the house with the digital camera but no card in it! (the card was in the computer card reader...)
Normally, the camera taking the picture (a Nikon D40x) is shoulder carried with the kit lens attached; however if a birding expedition is in progress, the kit lens will be in the camera bag, and the Sigma 70-300 will be attached to the D40x. The FT2 may be out of the bag, too, for macro photography... (typically wildflowers)
Now the obvious question: why do I load all these? I tend to keep the cameras specialized: the FT2 for macros, the OM-1 for portraits, the SP-1000 for low-light non-flash, the Ikonta for B/W self-portraits, (It's the only one other than the digital with a reliable self-timer...) etc...
Note also that three different film/image-sensor sizes are represented: four if you count the taking camera. (35mm ½ frame, 35mm full frame, 6x6 and a 1.5 crop factor Digital camera)
Update (12/2011): The Sigma is gone (AF stopped working) replaced by a Promaster 100-400 used on the N75, the Nikkor 50mm ƒ1.4 isn't normally carried any more, and there is an addition: a Nikkor 35mm ƒ1.8 DX (and it's case) that is used on the D40x taking the shot for available (but low) light situations. (and sometimes for other shots, too) The Olympus Pen FT has gotten a shoulder strap...
Further update: (6/2012) Add a Zeiss-Ikon Nettar 515/2 camera to the mix, although it is usually carried in a jacket pocket, not in the camera bag... add another film format, too, the Nettar is a 6x9cm camera...
Further update: (3/2013) A Nikon F4s has been added:it is normally carried with either the kit lens from the N75 or the 100-400 zoom lens (replacement for the 70-300...) on-board, although it takes any of the Nikkor lenses shown.
Update 7/2013: a Nikkor 50mm ƒ 1.8 AF-D has been added to the mix... (8/2013): a Nikkor 35mnm ƒ 2 AF-D was added. Note that the F4s, the 100-400, the 28-80, the 50mm ƒ 1.8 and the 35 ƒ 2 are normally carried as a set and not in the camera bag... Update 12/2013: a Nikkor 20mm AF-D has been added, while the plastic mount on the 28-80 finally gave way. The 28-80 was replaced by a Nikkor 35-105 AF (NOT D) ƒ 3.5-4.5...
Further update (1/2015): I no longer carry all this: I've switched to individual camera bags for various cameras.
my latest restore/customize camera effort.
its a tan snake skin leather and it is much softer than it looks.
This was supposed to be a candid shot, but the camera shy girl turned and rushed into her courtyard. The Nikon's stellar AF performance has saved the day once again.
What better way to kick off a photography project with a picture of a camera? This is an antique Reflekta II camera (actually made in Germany) presented to me by an old family friend.
My camera gear during my London visit. Inside the Skin 50 pouch I carried the Zenitar 16mm and the Canon 50mm f1.4 as well as the Pixel Pocket Rocket card holder, extra battery and other assorted items. I used it strapped to my belt on the right side and it's very comfortable and convenient. It's my most common gear loadout.
Mounted on the 5D mk2 is a 24-105 f4 IS, my primary lens.
Wood, cardboard, screws,...
the sliding rail is a piece of bamboo parquet. The focusing system needs some developments...
waiting for the lens (industar 51)
Manufactured by: Zeiss Ikon, Dresden, Germany
Model: 1935, Zeiss catalog no.520, Produced between 1932-1938
Folding film camera, film 120 roll, picture size 6x4.5 cm , 16 frames
Lens: Novar - Anastigmat f: 3,5 / 7 cm, serial no.1310428
Aperture: f/3.5 - f/16, no click stops,
setting by a pointer and dial on the front lower side of the lens-shutter barrel
Focusing: manual front focusing, guess the distance,
Focus range: 1.2 -10m, +inf.
Shutter: Compur leaf shutter, speeds: 1-1/300 +T, B, no click stops,
setting: dial and ring on the lens-shutter barrel
T and B not cock via the shutter lever, they works only via pressing shutter release
Shutter cocking lever: on the shutter
Shutter release lever: on the shutter
Cable release screw: a separate screw on the top of the shutter
Winding knob: on the right of the bottom plate
Viewfinder: folding optical finder, self-erecting, on the top plate
Landscape shot: when the camera on vertical position (reverse due to the frame size)
Portrait shot: when the camera on horizontal position (reverse due to the frame size)
Viewfinder release button: on the top plate, beside the finder
Bellows release: Automatic opening, by a button on the top plate, right side of the finder
Bellows closing: by pressing two small silver handles on top of the struts
Flash PC socket: none
Back cover: Hinged, opens by a latch on the right side of the camera
Engravingson the back cover leatherette: Zeiss Ikon logo and 520
Red windows: Two, due to the old, not standardized numbering of the 120 roll films, at that time no numbers for half frames, so with two windows you can use 6x9 numbering: To start, the film is wound until the numeral "1" is seen in the first window. After the exposure, the same numeral is advanced to the second window for the second exposure. You must do some exercise for not winding past the mark as the film is traveling a very short lateral distance.
Hand strap: leather, w/ strap lugs
Tripod socket: old type 3/8''
Body: metal, Weight: 442g, Dimensions: 11.5x8.5x3.5cm (folded)
Serial no. 1229521 (on the shutter)
Ikonta A catalog number 520, the 4.5 x 6cm format not receiving a suffix to it's number.
The first of the Ikonta cameras were the 520 series. They were available as 520 (4.5 x 6cm), 520/2 (6 x 9cm), 520/14 (5 x 7.5cm), 520/15 (6.5 x 11cm), 520/16 (6 x 6cm) and 520/18 (3 x 4cm). Ikonta 520 is the smallest Ikonta camera, and the letter designation to its size is A.
Having tested the Zeiss Ikon Ultron and found it to be seriously sharp, I wanted to try it on really fine-grained film. I also wanted to test Cinestill Daylight 50, so why not combine the tests?
Cinestill is Kodak Cine film converted such that it can be developed with the C41 process.
Actually, my impression is that this film wants a bit more light than it had here. This is still OK, but not all that fine-grained. Otherwise I found Cinestill D50 very easy to use, with well-predictable results. In that respect, it's a typical Kodak emulsion. I'm rather looking forward to using Cinestill Tungsten 800, which I'm told is a bit more tricky. I'll wait until late autumn or winter for that test. There will be more D50 shots later. Stay tuned.
Seen in Filmmuseum, Frankfurt am Main, Germany. Part of a major exhibition commemorating the 50th anniversary of Kubrick's "2001 - A Space Odyssey"
Camera: Zeiss Ikon Voigtänder Icarex 35S TM
Lens: Carl Zeiss Ultron 1.8/50 M42
Cinestill Daylight 50 professional grade colour negative film
Developed and scanned by www.meinfilmlab.de