View allAll Photos Tagged Compact,
From where I sit at this moment, Orkney seems so remote. It's easy to forget that it sits just off John o' Groats and was a bit of Scotland nibbled away and submerged at the end of the Last Glacial Period. Prior to that, the lowered sea levels left Doggerland high and dry — a convenient stepping stone for humans to repopulate Britain from the rest of Europe. Yes, I've been to the very north of the archipelago, to North Ronaldsay. Today I'm away to South Ronaldsay — ironically juxtaposed at opposite ends from its northern namesake. This won't take me to Orkney's most southerly isle, Stroma, which to be honest has less water between it and Scotland that it has between itself and the rest of Orkney.
Here's a reminder of how compact these islands are. This is the northern tip of Glimps Holm looking back across Lamb Holm to Mainland. By now I've crossed two of the causeways constructed as navigation barriers in WWII. There are what appears to be military installations, there on the cliffs of Lamb Holm. In the middleground lie relics of the block ships sunk here early in WWI. I think this was the SS Numidian, an almost 5000 ton steel hulled steamer scuttled here on 30 December 1914. She was sunk in the company of SS Aorangi, SS Thames and SS Minieh with, I think, Numidian in the shallow water near this spot. I could be wrong. If you need a better answer there's a kind of trainspotters' guide to the wrecks of Scapa Flow.
Orkney is so user-friendly. It's a small place, compact, packed to the gunwales with history; so much that with sea level rise its, Plimsoll line is in peril of disappearing beneath the waves. Getting about is quick and easy; all that and it has a village named Twatt.
For when I'm not able to bring along the DSLR. Those vintage good looks made hard to resist taking a shot.
If there’s one company in Australia with heaps of dino compactors, that company will be Suez, or SITA as I wish they were still known. Maybe in the past the company had more dino work on a national scale, but the high majority is now subject to their Sydney operations, with most of their bulk bin trucks indeed dino roll-offs. I’m sure the company has a good couple hundred open top containers, compactor containers and integrated units in Sydney, a lot of which appear to be young or freshened up. However, a few years ago I came across one of their older pieces of equipment outside their Wetherill Park transfer station, just sitting on the road unattended while its transporter was somewhere else. I love seeing a compactor just sitting on the road out from a dock, especially at night in the Sydney CBD haha It’s not often you would find a compactor of this capacity being used for garbage, so I think it’s safe to say this is a dry waste container or more likely one for paper and cardboard. You can tell this one is an oldie, with very faded paint and signage, plenty of scratches and a decent amount of rust. You can see the front of the container has been punched inwards... a result of the many times this steel box has been pushed into its resting position by the bail hook and frame. I reckon the “No Parking Day Or Night” signs should feature an additional “Offending Vehicles Will Be Towed” - not hard to do with the truck!
Instructions for my custom models for the Death Star Escape & Compactor are now ready. You can buy downloads on my website
I gave the little Konica C35 EF to a group of swimming friends and asked each person to take 56 shots. This one was one I used up at the end of the roll. Moments after one of the group handed the camera back to me. Two paragliders appeared from the hills above and there were still three frames left on the film.
showing the collection of treasures inside. it seems i can't resist the rhinestone rondelles whenever i find them.
I normally don’t fall in love with AF zoom compacts, but I did with this little Konica Lexio 70 W! It is incredibly small and (to my eyes) a very handsome camera. I can’t call it a plastic wonder as it is made out of metal. It feels like an expensive camera, the Yashica T4 feels positively 3rd rate compared to the solid and chic Konica.
Specs wise, it manages to pack a 28-70 zoom with a very respectable aperture of 3.4 at the 28 mm setting. This is a bit Pentax Espio 928, but in a body of an Espio Mini. The large LCD is backlit in indigo blue, very nice touch. The camera has all the usual modes including a backlight compensation of 1.5 EV. There is no dedicated button to cancel flash, but there is a curious feature. If you select to cancel the flash and turn the camera off, next time you turn it on, just press the mode button once and the camera reverts to your previous setting, very cool!
This is the very first time with an AF zoom compact camera that I can’t complain about the viewfinder. For the first time I have a compact zoom camera with a big viewfinder, in fact so big that I can compose with my eye at 15/20 mm from it, remarkable. Konica has profited from this big viewfinder and incorporated not LEDs but icons at the bottom of the frame like macro, AF confirmation, flash and infinity focus. Also, the viewfinder is very bright and has a dioptric correction.
I suppose there must be a catch, but I have failed to find it just by playing with the camera. Possibly the week point of the camera is in the lens. I have to try it and confirm my suspicion, if the lens performs decently, then this Konica Lexio 70 W will be the first zoom P&S camera that I will use with pleasure.
I was given a box of old compact digital cameras to see if I could resuscitate any of them. This one is awaiting a battery and further testing. Kodak made a ba-jillion types of early digital cameras. They tried everything to satisfy a fickle marketplace. What they DID succeed in doing (at least for this guy) was to make wonderfully colorful cameras. We could use more of that these days. Lots more. IMHO.
Link to article on Apartment Therapy: www.thekitchn.com/thekitchn/kitchen-spotlight/kitchen-spo...
I am very intrigued by small space design, and while I don't really want a galley kitchen I like seeing how things are arranged to make the best use of space. I like the heavy moldings and the glass front cabinets.
Why cant these camera manufacturer's produce a Owners Manual that not only names the buttons, levers & dials but actually tells you what each of them does and why you would want to use them in the first place, some of us are NOT techies or Rocket Scientists.
This was the Agfa of salvation, the one that would keep the brand afloat as a camera maker. Presented in 1980, it was the stubborn Germanic answer to the Japanese tsunami that killed the German camera industry in the 60’s and 70’s. This was a moment of hope for AGFA, a return with a very interesting camera, where the attention to the design was surprising. The styling is very pleasant, a very small and original shape created by Schlagheck design of Munich. It faithfully follows the Bauhaus credo, from follows function, but the result here is an original and pretty camera. The master stroke is the sliding On/Off switch that covers the camera’s viewfinder. Slide it and the camera comes alive, the lens cover opens and the Solinar pops out, very neat. All this done electrically, something that would become the norm up to the present days. The lens was brand new, but it was another variation of the old Solinar, AGFA’s version of the Tessar. Here we have a rather surprising 39 mm /2.8 lens. I believe it to be a 40 mm lens, they chose the 39 mm to clearly send the message that this lens wasn’t the old Solitar 40/ 2.8 of the Optimas of old. The big splash was the electric motor responsible for popping out the lens and wind the film at a speedy 2fps. This looked like a cracking little camera destined for fame and success. Sadly, it was not to be.
It is easier to find a person born in the 19th century and breathing than to find an Agfa Compact in working condition. This lack of reliability eventually killed the camera and AGFA as camera maker in 1983. It seems underdeveloped, that scale focusing is out of pace with the rest of the camera, as is the viewfinder devoid of any sort of info, just a red lamp for flash turn on. While the manually wound previous Optima series had an automatic loading of the film, with this one you get a motor but you have to put the film tip in the reel’s slot. The flash is just like the Olympus XA, Canon MC or Minolta AF-C, a separate unit that connects to the left side of the camera. There is provision for a cable release, but oddly no self-timer. The electric motor emits a noise as If all the gears were about to break when the camera is switched on. Film winding is not exactly silent either, but not remotely comparable to the Canon ML
The camera’s Bauhaus design might be impressive, beautiful, functional, daring, but the Konica C35 AF already existed and had what people really needed, autofocus, integrated flash. No electric motor, a very dull design, but a coherent concept. Still, this little AGFA is very engaging, but I am not very sure that it works well, fingers crossed for the Tmax 100!
I will be using this camera in week 325 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
abandoned near a construction site, whoever left this poor thing here tried (and failed) to protect it with a tarp.
Some compact 35mm cameras side by side.
Olympus Pen S
Olympus Trip 35
Olympus XA + A16
Olympus Mju I / 1
Olympus Mju I / 1 limited , serial number 00001xx
Olympus Mju II / 2
Olympus Mju II / 2 Zoom 80
Nikon L35AF
Nikon L35AF2
Nikon L35AF3
Yashica T
Yashica T2
Yashica T3
Yashica T4
Yashica J-Mini Super
Pentax Espio Mini / UC-1
Pentax PC35AF-M
Minolta Hi-Matic 7s II
Minolta AF-C + EF-C
Minolta Riva Mini ( same thing as Leica Mini )
Canon G-III QL17 + Canonlite D
Canon MC + MC-S
Minox 35 GT + TC 35
Ricoh FF-1 + SL 121A
Konica EU Mini Peanuts
Belomo Agat 18k
Lomo LC-A+
Vivitar 28mm fixed focus