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The Columbia Center, formerly named the Bank of America Tower and Columbia Seafirst Center, is a skyscraper in downtown Seattle, Washington, United States. The 76-story structure is the tallest building in Seattle and the state of Washington, reaching a height of 933 ft (284 m). At the time of its completion, the Columbia Center was the tallest structure on the West Coast; as of 2017 it is the fourth-tallest, behind buildings in Los Angeles and San Francisco.
The Columbia Center, developed by Martin Selig and designed by Chester L. Lindsey Architects, began construction in 1982 and was completed in 1985. The building is primarily leased for class-A office spaces by various companies, with the lower floors including retail space and the upper floors featuring a public observatory and private club lounge. The tower has the highest public viewing area west of the Mississippi River. It occupies most of the block bounded by Fourth and Fifth Avenues and Cherry and Columbia Streets.
Columbia Center was designed by Washington architect Chester L. Lindsey. The base of the building is clad in Rosa Purino Carnelian granite. The building's structure is composed of three geometric concave facades with two setbacks, causing the building to appear like three towers standing side by side.
Ground level elevation on the Fifth Avenue side of the building is higher than on the Fourth Avenue side; the part of Cherry Street it faces was identified as one of the steepest streets in the Central Business District with a slope of 17.1%. The tower was originally designed to be about 306.5 m (1,006 ft), but federal regulations by the Federal Aviation Administration (FAA) would not allow it to be that tall so close to the nearby Sea-Tac Airport. Although city land use regulations at the time were intended to limit skyscrapers to about 50 stories, the developer, Martin Selig, obtained the necessary permits for a 76-story skyscraper due to a part of the law that allowed bonus height for providing retail space with street access. Because three separate stories could access the street on the sloped site, the developers were allowed a bonus for each of the three stories they set aside for retail, which was reportedly an unintended loophole in the law. There is an observation deck on the 73rd floor which offers views of Seattle and environs. The top two floors of the building (75th and 76th) are occupied by the private Columbia Tower Club, which houses a restaurant, bar, library, and meeting rooms. The 40th floor is accessible to the public and features a Starbucks cafe. An underground concourse connects the building to the nearby Seattle Municipal Tower and Bank of America Fifth Avenue Plaza.
The tower, originally proposed as Columbia Center, opened under the name Columbia Seafirst Center after its largest tenant and financier, Seafirst Bank, and then changed to the Bank of America Tower, when Seafirst, which had been owned by Bank of America since 1983, was fully integrated into Bank of America. That name gave it the nickname "BOAT" (Bank of America Tower). In November 2005, the building's name was changed back to Columbia Center after the bank reduced its presence in the building. Bank of America still maintains office space within the building, but has since closed the bank branch at the base of the tower.
Development and construction
Martin Selig, a local real estate developer who had recently opened the Fourth and Blanchard Building, announced plans for a 75-story office building at 4th Avenue and Columbia Street in October 1980. The $120 million project, named the "Columbia Center", would be funded by the Seafirst Mortgage Company and constructed by Howard S. Wright. Selig borrowed $205 million in 1981 to develop the property. The Columbia Seafirst Center, as it came to be known, was constructed by Howard S. Wright starting in 1982 with a 120-foot (37 m) deep excavation hole that required 225,000-cubic-yards of dirt and soil to be removed. This was one of the largest foundations for a building in Seattle along with concrete footings extending 134 feet (41 m) below street level. While the structural steel of the building was built at a rate of 2 floors per week, the building itself was completed on January 12, 1985,[10] and opened on March 2 of that same year. U.S. Steel Corporation was contracted to provide 16,000 short tons (15,000 t) of steel for construction. It was approximately 50% taller than the previous tallest skyscraper in Seattle, the 630-foot (190 m) Seattle First National Bank Building (now Safeco Plaza) that opened in 1969.
Financial issues and height controversy
Selig continued to own and manage the building until 1989, when financial problems forced him to sell it to Seafirst Corporation for $354 million. Management was taken over by the Tishman West Company of Los Angeles.
Controversy regarding the skyscraper's size contributed to the passage of a 1989 law called the Citizen's Alternative Plan (CAP) that enforced more stringent restrictions on the size of buildings in Downtown Seattle. In 1990, after rejecting earlier plans for 300-foot (91 m) antennas, Seattle and the FAA granted permission to erect two 192-foot (59 m) antennas on top of Columbia Center, which were expected to be used for broadcasting radio and television throughout the region. Though the FAA was originally worried about the tower's height encroaching the airspace, they deemed the addition of the antennas not problematic. The antennas were not built before the permits expired in 1994, however.
Ownership changes
EQ Office bought Columbia Center from Seafirst in 1998 for $404 million. The New York State Common Retirement Fund bought a 49.9% stake in the building and then several years later sold its share back to EQ Office. In 2007, Columbia Center was sold by EQ Office to Boston-based Beacon Capital Partners for $621 million; Beacon later defaulted on a loan in 2010, the height of the Great Recession, at a time when vacancies reached 40%. On August 7, 2015, Hong Kong-based Gaw Capital Partners purchased the building for $711 million.
Renovations
On July 1, 2013, the Columbia Center's observation deck, known as the Sky View, was remodeled from 270 degrees to a 360 degree viewing area. The observation deck underwent further renovations in 2018, adding two express elevators and a new lounge. The 4th Avenue entrance was also renovated.
(Wikipedia)
Das Columbia Center ist das höchste Gebäude in Seattle und im US-Bundesstaat Washington. Mit einer Gesamthöhe von 285 Metern war es bei der Fertigstellung 1985 der höchste Wolkenkratzer westlich des Mississippi, wurde allerdings 1989 durch den U.S. Bank Tower in Los Angeles mit 310 Metern übertroffen. Die Höhe des Columbia Centers beträgt einschließlich einer Antennenkonstruktion auf dem Dach 295 Meter. Diese wird jedoch nicht als Teil des Gebäudearchitektur angesehen, und somit nicht zur formalen Höhe gewertet.
76 oberirdische Etagen dienen als Büroraum, die sieben Kellergeschosse werden vielseitig genutzt. Der Wolkenkratzer sollte ursprünglich etwa 306,5 Meter hoch werden. Die FAA erlaubte die Höhe nicht, da sich das Gebäude dafür zu nah am Flughafen Seattle/Tacoma befände, wodurch ein höheres Sicherheitsrisiko entstünde. Es wurde in das Projekt Raum für die Öffentlichkeit und Einzelhandel einbezogen, damit die zulässige Höhe nicht zu sehr eingeschränkt werden kann. Das 73. Stockwerk dient nun teilweise als Aussichtspunkt, von dem sich Seattle und seine Umgebung überblicken lässt. Der Columbia Tower Club verteilt sich auf die beiden obersten Stockwerke (75 und 76) und besteht aus einem Restaurant, einer Bar, einer Bibliothek und einigen Tagungsräumen. Ein unterirdischer Gang verbindet das Columbia Center mit dem nahegelegenen Seattle Municipal Tower und dem Bank of America Fifth Avenue Plaza.
Mehrere größere Unternehmen mieten Büros im Columbia Center. Dazu zählen vor allem die Bank of America, Heller Ehrman LLP und Amazon.com.
Ursprünglich trug der Wolkenkratzer seinen heutigen Namen. Später wurde er nach der dort ansässigen Seafirst Bank als Columbia Seafirst Center bezeichnet. Diese gehörte seit 1983 zur Bank of America, wurde im Laufe der 1980er Jahre jedoch vollständig integriert. Daher bekam das Gebäude den Namen Bank of America Tower mit dem Spitznamen BOAT. Im November 2005 wurde es wieder in The Columbia Center (TCC) umbenannt.
Am 16. Juni 2004, noch vor Herausgabe ihres 9/11 Commission Report, machte die Untersuchungskommission zum 11. September 2001 nicht in die Tat umgesetzte Pläne der Terroristen bekannt, die vorsahen mit zehn entführten Passagierflugzeugen die höchsten Gebäude in Kalifornien und im Staate Washington zu beschädigen bzw. zu zerstören. Neben dem Columbia Center in Seattle habe auch der U.S. Bank Tower in Los Angeles zu den Zielen gehört.
(Wikipedia)
The inside electronics of telephone equipment.
Photographed with a F100/2.8 Macro, with some strong colour contrast processing, hopefully not too strong! #Macro Mondays #Inside electronics
my camera/enlarger lens favorites: Sony A6000 with Schneider Kreuznach Componar 50/4.5 enlarger lens, and Fujifilm X-A1 with Fujinon EP50/3.5 enlarger lens. The Sony/SK is sharp, bright, nice color rendition, and has unusual squarish bokeh. The Fuji/Fuji is very sharp, highly saturated colors, and has fine bokeh. Both lenses are mounted on focusing helicoid adapters, as enlargers typically have no focus rings. Thanks to MES Photography for many generous contributions.
Explored 21 Sept, 2012. Best position 281
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
The Nikon FM2n is the best medium-compact mechanical shutter SLR camera ever made. There are other bodies from other manufacturers that have been favorably compared, such as the Olympus OM-3 and the Leica R6.2. These other cameras indeed have certain features, e.g., spot metering capability, that are not found on the FM2n. However, they have disadvantages, too. The Olympus system is smaller than Nikon, and lenses and accessories are presumably less abundant on the used market. The Leica system is substantially more expensive used, especially the lenses, and the Leica R series never became that popular (as opposed to Leica's M-Series). The design of the FM2n has been highly refined over several generations of the FM product line. It is part of the enormous Nikon system of manual focus and auto focus cameras. Many Nikon bodies are available on the used market. And the FM2n is just an absolutely great camera.
The FM2n is the final all-mechanical version of the FM Series that began with the FM in 1977 as an upgrade to the classic Nikkormat FT3 (early 1977). The FM was subsequently updated and modernized with various versions of the FM, FM2 (1982) and FM2n which were developed over the years, with the FM2n finally introduced in 1984. The FM2n remained in production until 2001. There was actually one additional major upgrade after the FM2n, which was the FM3A (2001-2006; 1991). The FM3A is the most advanced of the FM Series, with a hybrid mechanical/electronic shutter, an FE2 style readout, and all of the other features of the FE2. From a technological point of view, the FM3A is really cool and unique. However, due to some of the feature advantages that I will discuss below, the FM2n is still a very attractive option for all manual film shooting . The FM3A is relatively more expensive on the used market, with relatively high prices for the occasional NIB sample, or even very clean used camera.
Check out the FM3A here:
www.flickr.com/photos/trphotoguy/23145338649/in/album-721...
The standard FM2n was available in silver chrome and black paint. Both look great.
There were a few special versions of the FM2n that were introduced. The most interesting one is the FM2/T (1993-1997). The FM2/T is exactly the same mechanically as the latest FM2n, except that the top and bottom covers are made out of titanium. Please refer to my separate page on the FM2/T, which is one of the most beautiful SLR cameras ever made:
www.flickr.com/photos/trphotoguy/16514084188/in/album-721...
My own experience with the FM line actually started with the FM2n. Previously, I had been using the Nikon F2 Photomic AS and Nikon FE combination; my F2 was the reliable all-mechanical body, and I used the FE as an electronic backup when needing something smaller than the F2, or when wanting to shoot quicker with the FE in aperture priority mode, or just for a different kind of film. (Back then, photographers still looked askance at electronic cameras compared with tried and true mechanical ones.) However, when I finally upgraded from the F2 to the new F3HP, it was time to switch around and get the FM2n as a mechanical backup to the electronic F3HP.
Since my experience with the FM Series started with the FM2n, and given that the FM2n would be the best body of the series to go with on the used market today, I will focus my comments on the FM2n.
As with the prior models of the FM Series, the FM2n takes either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. Quite standard for Nikon bodies of the that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too, as needed. Since the small batteries are used only for the light meter, they seem to last forever and are not necessary for camera operation at all shutter speeds.
The FM series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FM2n to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the concurrent F3HP. It is not as small as the Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FM2n weighs in at only 540g without lens, and of course the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. The FM2n fits great in a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses. It is an excellent size for travel use.
The FM2n body by itself, like all those in the FM Series, feels a bit light and even insubstantial when held without a lens attached. However, once a lens is attached, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod filler ring to keep the lens rings from touching the tripod head.
Operation of the FM2n is really smooth. All of the top controls are on the right side of the camera. The shutter speed ring is tall, large and has an easy-to-turn knurled grip. It is easy to grab with thumb and forefinger when the film advance lever is pulled out to turn on the camera. The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stoke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is embedded into the top of the shutter speed dial. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FM2n is 12 - 6400, wide enough to handle virtually all situations. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The mechanical shutter release button is large and located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button has a fairly long travel, but it works well with just the right amount of resistance to allow you to half press for an exposure reading, and then make a short continued push to achieve an immediate shutter release. The shutter has a relatively quiet, pleasing and precision-like sound. The film counter is just in front of release crank and is easy to read.
One of the biggest advantage of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses (pre-G type) can be used on all old manual focus bodies. I don't know of any other SLR manufacturer that can make such a claim. Thus, it is convenient to use the FM2N together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.
Loading Nikkor lenses onto any FM Series is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meet pin on the body; this old system became obsolete after the Nikkormat FT2/EL generation. Unfortunately, the FM Series lens mount lost the retractable meter coupling lever after the original FM body; thus the FM2n won't accept (in stop down mode) any pre-Ai or non-Ai's lenses that you might own. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.
The only control on the top left of the camera is the film rewind/back opening mechanism. Twist the back opening lever counter-clockwise and put the rewind crank upwards to open the camera back. Since the camera only has a manual exposure meter mode, unlike the FE/FE2, the rewind crank mechanism includes no exposure compensation dial. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the latch in the spool engages a film perforation. This system is more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. With the FM2n, if you are careful when you load the film, you can get an extra exposure on frame 0.
The viewfinder of the FM Series has been gradually improved over the life of the series, but remains essentially the same in the FM2n version. A slight disadvantage of the FM series viewfinder is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FM's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in will be captured on your film. (Maybe it wasn't a problem with mounted slides?) The viewfinder contains all of the information that you need for convenient camera setting. There is a mechanical readout for the selected shutter speed on the left side of the viewfinder. There is also a aperture direct readout (ADR) at the center top of the viewfinder. The exposure meter indicator on the right of the viewfinder utilizes three red light emitting diodes. This is my favorite type of exposure meter readout design, which I learned to like on the earlier Nikon F2 Photomic AS. It is also the same system as that on cameras such as the Leica M6TTL or current MP. First of all and most importantly, the diodes are easy to see in all lighting conditions, light and dark. The LEDs are bright enough to be clearly visible on a sunny day, but also not so bright that they blind you in a dark location. Also, exposure adjustment is extremely rapid and precise.
I normally set the shutter speed first, depending on what I am trying to do. Then push the shutter release button down half way and twist the lens aperture ring on the lens until only the center LED circle lights up. As you move away from correct exposure, the LED display changes to a combined +o or o- (when you are over or underexposed by between 1/5 and one stop-), and finally to a single + or - (when you are over or underexposed by more than one stop).The three-diode system of the FM Series is superior to the match needle system of the aperture priority capable FE Series and the hybrid FM3A. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments - although the meter itself is very sensitive. On the other hand, an advantage of the match needle system is that you receive direct visual indication of a wider range of exposure divergence, compared with the LED system. Also, you can directly see intermediate shutter speeds in Aperture Priority mode.
The FM2 and FM2n exposure meter uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the original FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FM2n is EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports a aperture/shutter speed range of 1 sec. at f/1.4 through 1/4000 sec. at f/8. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FM2n is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the Nikon F4.
Since the FM Series cameras have manual exposure mode only, there is obviously no exposure lock button. Exposure lock is one thing that can be frustrating on cameras like the F3HP and FE/FE2. It is often easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. It is quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button down will recomposing a shooting. Anyway, you don't need to worry about any of that on the manual mode only FM2n.
The center of the viewfinder display, with the standard K2-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings, focusing is quick and accurate. The FM2n system provides three different interchangeable focusing screen types for various applications.Mostly, the standard K2-Type screen is sufficient. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens were further improved on the final FM3A to avoid split-image blackout with lenses with maximum aperture of f/5.6 or less.
The outer circle encloses the central area which carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to manually compensate the exposure by appropriately changing the aperture or shutter speed.
Two contemporaneous Nikon bodies with the FM2n, the F3HP and the FA had different exposure metering patterns. The F3HP applies a heavier weight of 80% to the viewfinder's 12mm circle, making it easier to isolate an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include a multi-segment metering pattern, in addition to 60/40 centerweight. The 5-segment pattern on the FA and first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most low contrast situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, which was found on the FM2n. Of course, you have to know what you are doing in such situations! On later-generation cameras, the more highly refined high-tech multi-pattern (matrix) systems, such as on the F5, F6 and the newest digital SLRs, finally do a good job even with difficult lighting. Modern Nikon bodies generally use a 75/25 weight in their default center-weight metering modes.
The latest FM2n incorporates a vertical-travel, metal focal plane shutter with aluminum curtains. Older versions of the FM2N have shutters with titanium curtains. Shutter speed range on the FM2N is 1 sec. through 1/4000 sec. For those of us who started back when the fastest shutter speed as 1/1000 sec. or even slower, 1/4000 sec. sounds amazingly fast. In fact, 1/4000 sec. is plenty fast enough for most situations with film. On the slow end, the camera itself can only operate up to 1 sec., but it is an easy matter to calculate and shoot exposures of any length at the Bulb setting, using a tripod, a standard shutter release cable, and a hand-held light meter. Of course, since the camera has a mechanical shutter, you can shoot exposures of any length and never worry about draining your battery. One slight disadvantage of the FM2n's mechanical shutter is that it cannot be set for intermediate shutter speeds. On an electronic body such as the FE2 or FM3A, you can utilize any intermediate shutter speed in aperture priority mode. (Of course, unlike the FE/FA series, the FM-series meters can't measure Bulb setting shutter speeds.)
There are just a few more features that should be mentioned. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set to maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FM Series bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.
Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. The FM2n does not support automatic TTL flash control. You need to use an FE2 or FM3A if you want that feature. (If you know how to use guide numbers and manual flash, you can still do full-flash or fill-flash photography without any problem, of course). However, the FM2n, like the FE2, has a very fast maximum flash synch speed of 1/250 sec. There is an extra contact on the hot shoe that communicates the flash charging status to the camera a lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FM2n works with any Nikon flash unit. The contemporaneous SB-24 and SB-26 work great. However, if you will be doing a lot of flash photography in the FM line, the FE2 and FM3A are more useful as they both offer automatic TTL flash control.
In addition to the vast selection of Nikkor (and third-party) lenses that are available for the Nikon F mount, the FM2n also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive. This motor drive unit works on all FM Series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. Years ago, I used to keep it attached to the camera and carried it around much of the time. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack (particularly useful for the FM2n, which would be the perfect camera to take on a dog sled expedition to the North Pole!), the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.
Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.
(DSC_6157fin1)
Biomorph desk
Mac Pro on right side (2TB storage, 8gig ram, etc.)
Powermac G5 on left (800gig storage, 4gig ram, etc.)
Both computers are mounted to desk legs to keep them up off the floor.
One Mac 30" cinema display in center
Two Mac 23" cinema displays on left and right
Deck keyboard and Logitech Revolution Mouse control both computers via Teleport
5.1 Speaker system with Titanium casing
Snowball microphone
ISight
Ambient Orb tracks visitors to web site
Polycom Clarity phone (work)
Panasonic wireless (home)
LED light clock directly under 30" monitor
Docks for 60Gig iPod video, 8Gig Nano and and 4Gig Nano on a concealed shelf to the left of the Mac Pro.
Art work
Commerical grade blue LED backlighting for when lights are off
Noufii thnx for helping me choose el shot xD (F).
El idea was inspired by etoooo’s shot: www.flickr.com/photos/fa6iima/2931307232/
wish u best of luck (K)
and alsoo i wanna wish guciiaa <33
and '3azoool <33 wish u all the best fe ur studies (K)
“Respect cannot be learned, purchased or acquired - it can only be earned”.
Some people say that with fear comes respect but totally disagree with this saying “Nothing is more dreadful than respect based on fear.” Because Respect is value (appreciation) or a sense of the worth or excellence of a person. and i would like to call it an ability since people earn it. And it all starts with in the person him/her-self.
Gente, comecei um blog hoje! Ainda está meio desorganizado, mas que quiser ver, seguir, comentar: sardinhaeletrica.blogspot.com.br/
:)
The flat floor of the plains was created by a Pleistocene lake (Lake San Agustin). The Plains of San Agustin were purportedly the site of a UFO crash landing in 1947, an event thought to be connected to the Roswell UFO incident.
Karl G. Jansky Very Large Array
Plains of San Agustin
50-miles west of Socorro, New Mexico
Dec 2016
Back in the 1970's I wanted a 'proper' camera to capture the sights as I travelled the world in the Merchant Navy. On my first trip I was only armed with a tiny 110 Agfamatic pocket camera which only produced nasty grainy little pictures. Having accumulated many cartridges whilst I was at sea for five months I returned home and dropped them at a chemist only to discover a week later when they were processed that many of the images on the 24 or 36 exposure cartridges were horribly blurred, underexposed or overexposed ...............a complete waste of money, and special memories lost forever.
So I decided I would get an SLR, but what brand and model? The choice was enormous from Nikon, Olympus, Pentax, Yashica, Contax, Canon, Minolta, etc, etc. And there were others such as Fujica, Ricoh, Miranda, Petri, Nikkormat: and a lot of people had Zenits and Prakticas.
In the end I made my choice based on budget and went for a Fujica, but it was always the Minolta adverts that lured me. I don't know what it was but there was something cool about their cameras. They were innovative and trendy compared to the professionally staid but war-zone tough Nikons and Nikkormats.
I was in a nostalgic mood when I started searching ebay for a classic 35mm SLR. I just wanted to feel the weight and the cool metal of a precision instrument in my hands again. I eventually came across this series 1 Minolta SR-T101 (pictured). First launched in 1966 (can you believe it?) this design had many ahead-of-its-time features (see below). Compared to a largely plastic and rubber covered modern DSLR the old Minolta feels wonderfully tactile, so dense and solid, so cool and hard. The all metal lens and focusing rings were engineered in a different era when mechanics, not electronics, were king. Handling the camera is a world apart from a modern DSLR.
There were tiny alterations during the 10 year manufacturing period. The exact features of this camera date it to around 1967 making it around 48 years old and as far as I have been able to check it is all working. Best of all it cost me just £ 6.50. It's a classic. Made in Japan
The Minolta SR-T 101 is a 35mm manual focus SLR camera with Through-The-Lens exposure metering - TTL for short, that was launched in 1966 by Minolta Camera Co. Staying in production for ten years with only minor changes, proves the thorough effort being put into the development of the camera before the introduction. The design is based on the innovative Minolta SR-7 model V camera of 1962, but the principal design is inherited from the original 1958 Minolta SR-2. The SR-T 101 however, has several significant features apart from the TTL meter. The most significant one is perhaps the full aperture metering facility, automatically compensating for the at any time fitted lens' maximum aperture, a feature it took twelve more years for Nikon to accomplish
Meet the Nikon D5. Faster, sharper, and easier to handle, everything about the Nikon D5 is geared towards a smoother experience. Engineered to incorporate feedback from agency photographers who spend all day shooting, this camera reduces the stress factors that come with the demands of professional photography.
Ergonomically, improvements include buttons with more defined ridges and curves, which enable more intuitive control, especially when shooting through the viewfinder. Learn more bit.ly/NikonD5flr
The Nikon FE2 is a significant upgrade to its predecessor, the Nikon FE. The FE2 came out in 1983, about five years after the release of the FE in 1978. Like the FM2N, the design of the FE2 was highly refined over two generations and various other upgrades. The FE2 is a great travel camera for film. It is relatively small and light, compared with both large fully-automated film SLR cameras and large full-frame FX or even crop sensor DX digital SLR cameras. However, the quality of the images it can produce are the same or better than those of a full-frame digital camera, especially when the film is scanned with a commercial-grade scanner. You can fit the camera with two or three small prime lenses and an electronic flash in a regular size fanny pack. The FE2 has most of the advantages of the FE and then some. The main improvements in the FE2 over the FE, which will be discussed in more detail below, are (1) TTL flash metering capability, (2) maximum shutter speed increased from 1/1000 sec. to 1/4000 sec., (3) 1/3 stop exposure compensation instead of only 1/2 stop, (3) brighter viewfinder than the FE, with improved focusing screens, and (4) flash synch speed and mechanical shutter speed both increased to 1/250 sec. from 1/90 sec. for mechanical shutter speed and 1/125 sec. maximum flash synch speed on the FE.
I became a constant user of the original FE soon after it came out in 1978 as a backup body to my pro-level Nikon F2 Photomic AS. Then, for a long time, I variously used an F3HP, F4 and F90X together with an FM2N for a second body. Of course, after that, digital SLRs started to take off and film became obsolete for most applications. However, for travel, especially in the modern age of restrictions on flight check-in and carry-on baggage, I like to keep my travel camera system as small as possible but still keep maximum image quality. The fully mechanical FM2N itself is almost the perfect travel camera. However, may people like to use flash with film lots of in addition to shooting landscapes and street images, may shooters like to take pictures of my friends and family, sometimes inside a building or at night. So the ability of the FE2 to support TTL flash is a big advantage over the FE or FM2N.
The FE2 was in production from 1983 to 1987, concurrent actually with the experimental and more high-tech FA. Finally, in 1988, both the FE2 and FA were replaced with the new style F801 (N8008), which had the metering system of the FA plus autofocus and built-in auto-wind. There was actually one additional major upgrade to the FM2N/FE3, and that is the FM3A, which was released much later (2001-2006; 1991). The FM3A is the most advanced of the FM/FE Series, with a hybrid mechanical/electronic shutter, an FE2 style metering indicator, and all of the other features of the FE2.
The FE2 was available in silver chrome and black paint. I have the black paint version, and the finish still looks great today, with only a bit of very minor wear and tear. When I compare the black finishes on the FE and FE2, the finish on the FE's black metal plates and dials is significantly more matte than the relatively shiny finish on the FE2. Comparing side by side, the matte finish on the older FE is definitely cooler. I have not looked closely at a chrome FE and FE2, but I have read that the chrome FE's finish is also slightly nicer than the chrome finish on the FE2. Anyway, the black FE2 also looks great. Although my FE2 has been to the shop a few times for regular maintenance, it has thankfully never had any breakdown. Some might argue that the all mechanical FM series is more repairable than an electronic camera like the FE2 over a multi-decade lifespan, and that may be true. But the FE2 is relatively simple compared with later advanced electronic cameras, so I am hopeful that my favorite camera technician will be able to keep my FE2 running for a long time to come.
All FM/FE-style bodies work great today with a wide variety of old and modern Nikon F mount lenses. Some people prefer the FE over the FE2 due to its ability to shoot more images per roll, slightly more convenient battery check, and most importantly, ability to mount pre-Ai lenses with the camera’s retractable meter coupling lever.
Unlike the single large 6 volt battery in the older Nikon EL-2, the FE and FE2 alike take either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. This was standard for Nikon bodies of that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too. Even though the small batteries control both the light meter and electronic shutter (but obviously not film advance or any autofocus), they still seem to last forever. I really liked the battery check lever on the back left of the FE, which is missing on the FE2. On the FE, you just need to push the lever down with your left thumb, and if the batteries are good, the red diode will light; no need to look through the viewfinder to check the batteries. On the FE2; you have to check battery power by movement of the viewfinder needle instead.
The FM/FE series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FE2 to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the F2AS or F3HP. It is not as small as the (mechanical) Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FE2 weighs in at only 550g, without lens, even less than the FE's 590g. Of course, the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. You can actually hang the FE2 with a small lens around your neck or shoulder and almost not notice the weight. The FE2 fits great into a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses.
The FE2 body, like all cameras in the FM/FE series, feels a bit light and even insubstantial when held without a lens attached (The FE2 weighs virtually the same as the FM2N, which is only 10g lighter at 540g). However, once a lens is attached in the wide-angle to medium telephoto size range, especially any Nikkor manual focus primes, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used, although the sound is perhaps not as pleasing as that of the FM2N. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod spacer ring to keep the lens rings from touching the tripod head.
Operation of the FE2 is really smooth. The shutter speed ring is large and has an easy to turn knurled grip, although it is not quite as tall as that on the FM2N. The shutter speed dial on the FE2 offers noticeably more resistance than the dial on the FE due to the more robust click stops on the FE2. But still, it is easy to grab the shutter speed dial with your thumb and forefinger when the film advance lever is pulled out to turn on the camera. For safety purposes, you need to push the central button on the shutter speed dial to turn it off of "Auto". The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stroke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is set by a ring that surrounds the rewind lever. The exposure compensation setting is located on the same ring as the ASA/ISO setting, and has a range from -2 to +2 EV in one-third stop increments, an improvement over the half-stop increments on the FE. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FE2 (and also the FE) is 12 - 4000, wide enough to handle virtually all situations, though slightly narrower than the FM2N, which reaches up to 6400. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The shutter release button is located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button on the FE2 (and FM2N) is a more modern, wider design compared with the relatively narrower release on the FE. The shutter release button on the older FE seems to have a slightly shorter travel than the FE2 and FM2N, and therefore feels slightly more instantaneous. Anyway, the shutter release on the FE2 works well with just the right amount of resistance to allow you to half press for an exposure reading, with just a short continued push to achieve an immediate shutter release. The electronic shutter on the FE2 has about the same loudness as the mechanical shutter on the FM2N, but the character of the sound is different. My FE2 has a honeycomb titanium shutter. Apparently, on later serial numbers, the FE2's shutter was changed to an even more improved aluminum design. The film counter is just in front of release crank and is easy to read.
One of the biggest advantages of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses can be used on all old manual focus bodies. I don't know of any other manufacturer that can make such a claim. Thus, it is convenient to use the FE2 together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.
The FE and FM were the last bodies in that line to directly accept unmodified pre-Ai lenses because they included a retractable meter coupling lever. Of course, with pre-Ai lenses, you still need to use stop-down exposure metering. There are many excellent pre-Ai lenses available on the used market, and to use any such lenses that have not been converted to Ai, the FE and FM cameras would be a better choice than the FE2 or FM2n. Alternatively, you can probably still get an independent camera technician to convert any pre-Ai lens to Ai using scavenged parts, although Nikon itself presumably long ago stopped providing such service.
Loading Nikkor lenses onto any FM/FE Series body is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meter pin on the body; this old system became obsolete after the Nikkormat FT2/EL-W generation. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.
To load or unload film, twist the back opening lever counter-clockwise and pull the rewind crank upwards to open the camera back. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the sprocket in the spool engages a film perforation. In my experience, this system is slower but more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. Unlike the FE, the FE2 prevents you from accidentally loading the film with the shutter speed dial set to "A" and ending up with very long shutter activations if you try to wind to the first frame with the lens cap on. I can't count how many times I ran into this problem on my old FE. The FE2 defaults to M250 until the first official frame is reached. The slight downside is that you are unable to squeeze a few extra exposures off the beginning of the role (unless you use 1/250 sec. and Sunny 16 or an external exposure meter!).
The focusing screens of the FM/FE Series were improved and brightened with the release of the FM2/FE2. The original screens on the FE are about 1 stop dimmer than the later second generation. (Note: first and generation screens are interchangeable with exposure compensation). A slight disadvantage of the FM/FE series viewfinders is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FE2's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in the viewfinder will be captured on your film. The viewfinder contains all of the information that you need for convenient camera setting. There is an aperture direct readout (ADR) at the center top of the viewfinder, same as on all FM/FE series cameras. The exposure meter uses a match needle system on the left side of the viewfinder. I actually prefer the three red light emitting diode system of the FM series, which is easier to see in all light conditions. However, the match needle system on the FE2, like the FE, is perfectly fine and is just as easy to see in most normal lighting conditions. The viewfinder of the FE2 is exactly the same as the FE, except that the shutter speed display range has been expanded beyond 1/1000 sec. to 1/4000 sec. Also, the FE2 adds a red LED on the right side of the viewfinder that lights up then exposure compensation is set to other than "0". This fixes a problem on the FE, where you could easily set exposure compensation then forget to turn it off, since there is no indication in the viewfinder that it is still on.
I often use both Manual exposure measurement and Aperture Priority exposure measurement on this camera, depending on the situation. In Manual metering, you simply adjust the shutter speed and aperture until the green and black needles line up. The black needle indicates the recommended shutter speed for the given aperture, and the green needle indicates the set shutter speed. In Auto metering (Aperture priority) you set the shutter speed dial to Auto which causes the green needle to lock on "A" in the viewfinder. The camera automatically selects the appropriate shutter speed, and the black needle indicates that speed in the viewfinder. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments. On the other hand, an advantage of the match needle system is that you receive direct visual confirmation of a wider range of exposure divergence, compared with the LED system.
The FE2, like the FE, FM2 and FM2n exposure meters uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FE2 is the same as all FM/FE series cameras, i.e., EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports an aperture/shutter speed range of 1 sec. at f/1.4 through 1/1000 sec. at f/16. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FE2 is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the later Nikon F4.
Exposure lock is one thing that is slightly inconvenient on the FE/FE2. I sometimes find it easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. I find it quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button in while recomposing and shooting. However, exposure lock on the FE2 is certainly usable. On the older FE, while locking exposure locks the shutter speed at the time the lock button is pressed, the black shutter speed needle in the viewfinder continues to move. This situation was fixed in the FE2, where the black shutter speed needle locks in place when the exposure lock is pressed. By the way, I am more apt to use Aperture priority exposure measurement and exposure lock with electronic Contax SLRs, which allow you to turn on the exposure lock by turning a switch after you achieve the proper exposure setting, and it stays on at a fixed EV until you turn it off. In other words, in the Contax world, after locking the exposure, changes in aperture affect the shutter speed and vice versa in order to keep correct exposure. The Nikon exposure lock only locks the shutter speed, so any changes to the aperture after the shutter speed is locked will change the exposure.
The center of the viewfinder display, with the standard K-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings on the Ai-S lenses, focusing is quick and accurate. The FE2 provides three different interchangeable focusing screen types for various applications. I never needed to use any except the standard K2-Type screen. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. As indicated previously, FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens on the FM3A were further improved so that their split-image rangefinders don’t go dark with lenses that have maximum aperture of f/5.6 or less.
The outer circle in the viewfinder encloses the central area that carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on a Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to compensate the exposure by appropriately changing the aperture or shutter speed in Manual mode, or by changing the exposure compensation dial in Auto mode.
Two contemporaneous Nikon bodies with the FE/FE2, the F3HP and the FA, had different exposure metering patterns. The F3HP, with its 80/20 heavy centerweight, makes it easier to find an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include, in addition to 60/40 centerweight, a multi-segment metering pattern (called AMP or "Automatic Multi-Pattern" in the FA; in later Nikon bodies, this metering pattern is referred to as "Matrix Metering"). The 5-segment pattern on the FA and its first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most normal situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, as is utilized on the FE2. Of course, you have to know what you are doing in such situations! Newer film cameras, such as the F5 and F6, as well as advanced digital Nikons, with their advanced color matrix systems, finally do a good job even in difficult lighting situations. Modern Nikon bodies generally use a 75/25 weight in their center-weight metering modes.
The FE2 incorporates a vertical-travel, metal focal plane shutter with honeycomb titanium or aluminum curtains. Shutter speed range on the FE2 is an expanded 8 sec. through 1/4000 sec, which is acceptable even today. This is a big improvement over the shutter on the original FE, which maxed out at 1/1000 sec. On the slow end, the longest 8 sec. shutter speed (same as the FE) is a convenience to those of us who were previously used to using a shutter release cable for any exposure longer than a second. One advantage of the FE2's electronic shutter over the FM2n's mechanical shutter is that when in Auto (Aperture Priority) mode, the FE2 can select any intermediate shutter speed. In manual mode, you can only select the standard shutter speeds that are indicated on the shutter speed dial. The FE2 has one mechanical shutter speed, 1/250 sec., which is a separate selection on the shutter speed dial. The single mechanical shutter speed on the earlier FE is 1/90 sec. Users might argue whether it is better to have a backup speed of 1/90 sec. for available light, or 1/250 sec. for bright daylight. In any event, given the FE2's great reliability and long battery life, I have never had a need to use the 1/250 sec. mechanical shutter speed.
There are just a few more features that I want to mention. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set for maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FE2 bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.
Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. As already mentioned, the FE2 supports automatic TTL flash control with a four-contact hot shoe. The older FE only had a two-contact hot shoe for manual and non-TTL auto flash exposure. The FE2's maximum flash synch speed is 1/250 sec. This capability is still basically current today, significantly better than 1/125 sec. on the FE, and an improvement over all prior Nikon bodies except the FM2. On both the FE and FE2, one of the flash contacts communicates the flash charging status to the camera and lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FE2 works with any Nikon flash unit. I use my SB-24 and SB-26 and they work great. If you will be doing a lot of flash photography, the FE2, along with the FA and FM3A, with TTL flash support, are better choices than the FE and prior Nikon bodies.
In addition to the vast selection of Nikkor and third-party lenses that are available for the Nikon F mount, the FE2 also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive (and also the earlier MD-11). This motor drive unit works on all FM/FE series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack, the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.
Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.
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My good ol' GF1 has come back to life again now that I've reunited it with it's prime partner: the 20mm f1.7.
More than a year after I bought it and after running only one test roll through it before the shutter gave up on me, the Canonet is ready to shoot again after a full service and extensive CLA. The viewfinder is crystal clear and everything runs as smooth as new.