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After a frantic bidding war on ebay I managed to get my jazz bands on a Contax T2. 'They' reckon this is the best ever film point and shoot camera. Looking forward to get using it over the summer.
The recording and playback circuitry of a Revox G36 Mark III reel-to-reel tape deck, with all but one tube (valve) in a neat row, slider-ized.
This is the 50mm f3.5 macro lens for the Mamiya NC1000 and NC1000s cameras. Quite a rare lens, though becuase it only fits 1 camera (well two very similar cameras to be precise) it is not in high demend, which means it isn't worth very much despite being rare. I only had to pay about 40 quid on eBay for this example.
It is a nice and compact little lens to match the compact dimensions of the NC1000 camera.
After deciding to sell off my Mamiya gear, looking at this camera again I'm starting to have second thoughts.....
Collaborative project Toy-kyo...
Happy Miniature Sunday!
That is the final enter for this mini-series on Toy-kyo. Our origami Robots are hurrying to give a helping robo-hand to miniature Tokyo.
Stay tuned for more toy-some tilt-shift fun in twin-mini-town of Toy-ronto! Bientot a l'ecran!
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Photo of Tokyo (view from the Sky Deck at the top of Roppongi Hills) by Hisako R
Photos of my hand & our Oriland Robots, created & folded by Yuri & Katrin Shumakov --- by Katrin Ray
Tilt-shift processing & photomontage by Katrin Ray
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A note for Origami enthusiasts about Origami Robot
Folds from 29 sheets, no glue, this funny modular origami was created in far 1996. It's a fun model to fold, all you have to do is to comprehend folding of a cube-module, then fold several of them and combine them together into a robot - easy :-) Well, maybe not very easy, but very satisfying for sure! You may try your hands in ori-robotics - its diagrams are available for free in our Oriland On-line Studio. Happy robo-folding! :-)
Technically, a twin to the Panasonic Lumix DMC-LC5, the Digilux 1 was introduced in 2002.
Equipped with a 1/1.76" CCD sensor with an effective resolution of 3.9 megapixels, it can shoot photographs in JPEG or TIFF format, but no raws.
The lens is rather good - though it probably is more Panasonic than Leica, moniker notwithstanding.
It has a fold-up sun-shade that is screwed into the tripod mount but I never use it because on mine it apparently distorts the plastic camera case and the battery then tends to lose contact.
The viewfinder is rather useless, you'll be using the screen for focusing and image composition.
The autofocus is as reliable (or unreliable) as that of modern compacts.
Actually, the Digilux 1 is quite a handful, The term "compact camera" is not really appropriate. It has a very plasticky feel to it, but mine, despite its 15 years of age, works fine (except for the problem when attaching the fold up screen shade).
If you asked my opinion on this camera, I'd say this:
The lens is running rings around the sensor, which is quite normal. Back in 2002, optical engineering was a mature field, while consumer digital imagery was not. So we have here a very good lens fixed to a not really very good sensor.
The issue is not resolution - 4 MP is quite enough for a compact camera. It's also not colour rendering - the sensor acquits itself of that task quite well. It's a CCD, and I always had a preference for those. No, the problem is noise, even at low ISO values.
The image was taken with a Canon EOS600D and a Leica Summicron-R 35 mm lens.
A magic collection of old radios from the 1920s to the 1960s.
Well worth a visit. Just check when they are open before calling.
This picture was actually made by my father. But I thought I'd post it to show off our Pentax kit.
I really love this old battleaxe. It's really a camera you can use in hand-to-hand combat. And it takes 'effing marvelous pictures if you point it in the right direction.
We also have a set of extension tubes which seemed to have dodged out of this group photo.
Dad's x700, bought in the 80s to document the childhood of 4.
Dad's Minolta MD 35-70mm f3.5 is in pretty bad shape, fungus have infested the glass and the rings are very jerky. The body however, is in good shape, apart from the dusty mirror. It doesnt affect the picture quality so it doesn't matter. Seen here the body is fitted with one of my MD lenses, the Makinon MD 135MM F/2.8.
This will be my first full frame experience, haha.
Picture taken with the Sony NEX 5N + Contax G Carl Zeiss 45/2 at f/8.
I got my hands on the Canon EF 70-200mm f2.8 IS USM L today. Couldn't resist taking a picture of the Canon family.
Next target EF 24-70 f2.8 L. (If Canon only came up with an IS copy of the lens....)
I already have a EF-S 17-55mm and I am not looking to make the jump to full frame till 6D or 7D comes out (expect a 21mp version with 10fps - I can dream). Any thoughts on getting the 24-70mm when I already own the wonderful 17-55?
Taken with the Canon D10
EDIT: Bought a Canon 7D - Updates and pictures coming up!
Recently I purchased a camera (about time!) so as I am no longer borrowing other peoples, I decided I might try a spot of street photography, outside of the Lego world. As I want this account to be dedicated to the bricks, I've created a second account, which you can follow here if you're interested :)
www.flickr.com/photos/138536607@N08
Cheers!
Elizabethtown, PA. October 2018.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
Camera photography lenses variety zoom objectif lentille appareil photo digital Sigma EX DC HSM 10-20 4.5mm Nikon FG-20 F3 F-501 D70 D300 D610 AF-S 28-80 50 Tamron AF 18-200 Macro 80-210 CF TELE MACRO Nikkor 70-300 Samyang Fish-Eye 8mm optical stabilizer ATANA studio Anthony SÉJOURNÉ
Web--> Kowska Portofolio
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A perfect Minolta V2. GAS¡¡¡ GAS¡¡¡ GAS¡¡¡
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Zeiss Ikon Contax II, mine is from 1937. some will say the Contax series was superior to the Leica's of the time, I suppose it just depends on your likes. I personally prefer the Leica camera as a shooter but the Contax for it's looks. The wider more accurate rangefinder is a plus but it seems heavier and more clunky. I don't know, shoot, they're both nice
I got mine (body) for under $50 as an "as is, parts camera". I gave it as much of a CLA as I could without taking the shutter mechanism apart. I also, thanks to the help of forum friends, discovered the reason for the RF patch being off at infinity. I cleaned the RF optics and gave it a good exterior cleaning. I used Kiwi shoe polish to make the leatherette pop!
Here with my post-war Carl Zeiss Jena Sonnar 5cm 1:2 lens.
It looks like I have been bitten by the Mamiya bug. I have shot film in four of these cameras so far and have enjoyed them all.
Scene: "My Gear"
Date: Aug 17 2015
Camera: LG G4
Iso: 400
Exposure Time: 1/20 sec ( "JPG" )
Apature: f/1.8
Focal Length: 4.4 mm
photo development,: Lightroom 6.0
Canon 5D Mark II,Canon 7D Mark II, Canon 550D, Canon Speedlite 430 EX II, Sigma Apo Teleconverter 2x EX DG, Sigma 70-200 f/2.8 Apo DG HSM, Sigma 17-70mm f/2.8-4.0 DC Macro OS HSM Contemporary, Canon EF-S 10-22mm f/3.5-4.5 USM, Canon EF 50mm f/1.8 II, Canon EF 24-105mm f/4.0L IS USM, Canon EF 17-40mm f/4.0L USM, Canon EF 100mm f/2.8L Macro IS USM, Canon EF 24-70 f/2.8 USM, Nissin MF18 Ring flash, Kinotehnik LCDVF 4:3 viewfinder, Triggertrap, Lightroom 6.
لا رغبـة لي بِ الدرآسسة آبداً ،
لـــكن !
بـِ صدري أحلآام قـآتلةة لـن تحققهـآ سسوى درآستي ~
اللهم آرزقني نجـآحاً تدمع عيـن أمـي فَرحَاً بِـه
The Contax RTSII, released in 1982, was the successor to the original pro-level Contax RTS of 1974. In the modern era, if you are looking to shoot film and can get your hands on some excellent Carl Zeiss prime lenses in the Contax/Yashica mount, the RTSII still makes an excellent pro-quality body to use as your platform. The RTSII can bring you into the world of Carl Zeiss glass for serious film shooting and travel with a Contax body that cuts down on weight and size by eliminating auto wind, certainly autofocus (i.e., Contax AX), and excessive electronics. In a way, the RTSII body design and viewfinder display is a bit like the Contax S2/S2b, albeit the RTSII has slightly larger size and weight. (The RTSII is the size of a "standard" manual wind SLR, as opposed to the "compact" size of the S2/S2b). The RTSII has the same right side vertical shutter-speed readout in the viewfinder as the S2/S2b, although it adds a digital display of the lens aperture, which is missing on the S2/S2b. Of course, a big difference between the RTSII and the S2/S2b is that the RTSII has an electronic shutter and other internal electronics, compared with the all mechanical S2/S2b.
There is really no reason today to buy an original RTS instead of the newer RTSII. Actually, the two generations of RTS body look very similar on the outside. However, the four major improvements of the RTSII over the first generation RTS are: (1) The RTSII has a wider shutter speed range of 1/2000 sec. to 16 sec., compared with 1/2000 sec. to 4 sec. on the RTS; (2) The viewfinder display of the RTSII is more high-tech compared with the older technology display in the RTS; (3) the RTSII supports TTL flash metering, while the RTS does not; and (4) the RTSII viewfinder displays a bigger 97% of the frame area, compared with only 92% for the RTS.
In many ways, the RTSII is very similar to a Nikon F3HP. Both are manual wind pro-level cameras with similar size and weight (around 700 grams). Both have electronic shutters with shortest shutter speed of 1/2000 second, although the longest officially rated shutter speed on the RTSII is 16 sec. versus 8 sec. on the F3HP. Both have center-weighted exposure metering, with manual and aperture priority exposure modes, although the sensitivity range of the RTSII is wider, at -1 EV through 19 EV, versus 1 EV through 18 EV on the F3HP. The Nikon F3HP meter assigns 80% weight to the central circle. I have not been able to find any official specification on the central weighting of the RTSII, but it seems to be about 60%. Both offer TTL Flash control, although the maximum electronic flash shutter speed is slightly higher on the F3HP at 1/80 sec. versus only 1/60 sec. on the RTSII. Both come with complete systems of high-end lenses and accessories, although the Nikon system is certainly broader than that of Contax. (Of course, Nikon lenses are still in production, while you need to find the Contax/Yashica mount CZ lenses, which are widely available at reasonable cost, on the used market.) Both have bright viewfinders, with 100% (F3HP) or close to 100% frame coverage (RTSII). Both can be fitted with motor drive units (more important back in the day). Unlike the Nikon F3HP, the Contax RTSII does not have interchangeable viewfinders, although both have interchangeable focusing screens, proper mirror lock-up capability, and a single mechanical shutter speed (1/50 second for the RTSII, versus 1/60 sec. for the F3HP). Finally, the F3HP supports single or multi-stroke film wind, although the RTSII is only single-stroke.
The user interface design concept is very different between most Contax and most Nikon bodies, and the RTSII has the typical Contax interface. On the RTSII, the exposure compensation dial is located where you would find the shutter speed dial on a classic Nikon, and it looks a bit like a Nikon shutter speed dial. The RTSII on/off switch is located around the exposure compensation dial, which also has another dial on the top of it to adjust ISO. The shutter speed dial of the RTSII is actually located around the rewind crank and looks somewhat like the film ISO setting dial on a classic Nikon. I think this reflects the Contax expectation that the user will primarily use aperture priority exposure setting, with the shutter speed set to Auto and exposure fine tuned with the super-convenient exposure lock lever and exposure compensation dial. Aperture priority mode also allows the shutter to use any quartz-controlled interim shutter speed. Shutter speed can still be adjusted manually by pressing the shutter speed release button to move the dial off of Auto, then pushing the dial's protrusion to rotate the dial to the selected shutter speed. Still, subsequent Contax body designs improve on the basic concept of the RTSII by upgrading the shutter speed ring to a proper easy-to-grip dial, albeit still on the left top of the body. This setup actually works well, because you can use your left hand to adjust shutter speed and right hand to adjust exposure compensation, all while looking through the viewfinder. One slight anachronism of the exposure compensation dial is that it only works in half-stop increments, unlike modern shutter compensation that is typically adjusted in 1/3 stop increments.
Another interesting feature of the RTSII's interface is the location of the exposure check button on the front of the camera, rather than as a half press of the shutter release button. At first, this system is disconcerting to those who are used to Nikon or even newer Contax bodies. However, the exposure check button is located in an extremely convenient location on the front of the body, which you can access with your right middle finger while keeping your index finger on the shutter release button. By separating the two buttons, you don't have to worry about pressing too hard and triggering the shutter release by mistake. Also, separating the buttons allows the shutter release to have a hair trigger touch; just slight pressure on the shutter release button causes the shutter to smoothly fire with no perceptible delay. Another great benefit of this design is the location of the exposure lock lever around the exposure check button. Just use your middle finger to lift up the exposure lock lever, which stays locked until you press it back down to release. While exposure is locked, you can change to any aperture/shutter speed combination with the same EV by simply turning the shutter speed or aperture rings. The only disadvantage to the RTSII setup is if you are habitually used to the Nikon shutter release half press to check the exposure, you will end up wasting a lot of film! Actually, newer high-end Contax bodies include both the legacy Contax front-mounted exposure check button, as well as the more modern half-press of the shutter release button to do the same thing.
A slight disadvantage of the RTSII film advance lever is that it is only single stroke. Although it works fine, a multi-stroke lever like on Nikon pro bodies would have been a nice professional touch.
Also on the front right of the body are the lens release button, self timer switch and button, depth-of-field check button, and mechanical shutter release. The self timer is of electronic type. Twist the lever on the self timer ring to turn the self timer function on, then press the electronic button inside the ring to start the timer. A red LED begins to flash every second for nine seconds, then flashes rapidly for the last second before exposing the frame.
Simply press in the depth-or-field check button to temporarily stop down the aperture. Twist the ring around the stop-down button to turn on the mechanical shutter release function, then press the same depth-of-field check button to release the mechanical shutter at a fixed 1/50 second. Finally, the lens release button is located on the right side of the body's front. The button location, lens mount twist direction, focusing ring and aperture ring all work in the opposite direction of Nikon bodies. The only control on the left front of the body is the mirror lock-up switch.
I should say a bit more about the view inside the viewfinder, which is great. First, the viewfinder is extremely bright, with almost 100% frame coverage. The standard focusing screen includes only a central microprism focusing circle on a plain matte field. At first, I was concerned that the microprism focusing aid would be harder to use than a split image rangefinder. However, in combination with the very bright viewfinder, the microprism clearly pops into focus when distance is set correctly. Several other types of focusing screens were originally available for the RTSII, although they are hard to find today. Sadly, adjustable viewfinder diopter correction is not built in; this did not become available until the release of certain later Contax bodies, such as the RTSIII. However, you can still find Contax eyepiece diopter lenses on the auction websites. All information that you would need is conveniently displayed inside the viewfinder. In aperture priority mode, the automatically selected shutter speed lights on the right of the display. In manual exposure mode, change the aperture and shutter speed dials until for two lighted shutter speed indicators coincide. The selected aperture is displayed digitally at the bottom the viewfinder image. The viewfinder also has indicators for exposure compensation, over and under exposure, and flash ready/after flash signal.
The RTSII is compatible with the same Contax TLA 360 electronic flash that was later produced for newer Contax bodies. The flash is very powerful and works great. Since the flash unit does not need an infrared rangefinder, there is a secondary smaller light emitter that can optionally be turned on in the case of bounce flash, providing a balance between bounce and direct flash. To use the flash, just set the shutter speed dial to Auto or any speed of 1/60 sec. or less, make sure that the film ISO and aperture value are set correctly on the flash unit, then press the shutter release button to photograph a subject at any distance within the indicated distance range. To use fill flash, set the ambient exposure manually, then use the exposure compensation dial on the camera to reduce the amount of flash exposure. Fill flash works just as well as on a modern film or digital SLR, just with manual compensation.
To sum up, if you are looking for a pro-level, classic manual wind film SLR that can take advantage of the amazing range of Carl Zeiss lenses for Contax/Yashica mount, and which has a wide-range electronic shutter and very sensitive exposure meter, the RTSII may be exactly what you are looking for. These retro cameras can be found used at Ebay for reasonable prices, even after taking into account the possible need for a CLA.
Copyright © 2015 Timothy A. Rogers. All rights reserved.
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