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Nikon F2 - the one analog camera that I didn't give away. It's a keeper, even though I won't turn back to film.
Strobist info: Black velvet underneath and behind.
- Metz AF 48 N with Polaroid 10" softbox strapped on from the right
- Metz AF 48 N from top rear, set to 24mm lightcone
- Yongnuo 622N trigger and receivers
#Photopaddler
CC -by -nd
It's the game REACT! that we soldered together in electronics.
Taken with a reversed FD mount Canon 50mm 1:1.8 lens that I held up to the camera.
At last my 50 € Pentax 67 is back from the dead. This mean, but lean machine will be the star of a personal project that I have in my mind. As usual, I had to wait quite a bit to find a cheap lens for th 67 and a wide angle to boot. I don't like tele lenses, so, enter the 55/4.
The camera is not a nightmare to use, the contols are smooth and effortless, from the speed dial to the advance lever. The lens is exceptional in smoothness when focusing. Exceptional is the word about everything in this camera, from the size, the weight, the build, the finish and the quality of the photographs. I am a bit nervous about using it, as I fear I might not be up to this camera standards!
Analog SLR: Pentax ES (1971) with Takumar 1:1.4 50 mm Super-Multi-Coated Prime - Image by Kodak DX7590 Zoom - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
1960 Zorki 4 with Jupiter-8 pose for some more Sunday morning camera porn. I just disassembled and cleaned/relubed the Jupiter which now focuses like buttuh.
Finally have my own Hasselblad 500CM. Soooo pumped to use this on the regular. The 5D2 is now going on the back burner.
It's a New Year's resolution of sorts (just not so resolute) to shoot some film. I've fixed a couple other old cameras, and this one needs some love. I got some B&W film, a development tank, and some monobath a couple months back...
L-Prakticas are simple, all-mechanical M42 screwmount cameras that were produced in vast numbers (a total of almost 9 million cameras for all models) in East Germany. The EE2 and EE3 models are based on the L-series but are also radically different, as the shutter is electronic, offering aperture-priority autoexposure and manual mode. The shutter (vertical, metal) is stepless in auto mode (1-1/1000s) and speeds range from 1/30 to 1/1000s in manual mode. The shutter is totally battery-dependent (the camera uses a rare PX-21 4.5V cell) and without battery the camera is simply dead, the shutter does not open at all.
The EE cameras offer open-aperture metering with the "electric" line of Zeiss and Pentacon lenses (the usual kit lens was the 1.8/50 Pancolar). Other M42 lenses need to be stopped down for correct metering. ASA range goes up to 1600 and there is an exposure compensation (+2 to -2) switch. The camera is equipped with viewfinder blinds to avoid stray light during long exposures and a battery check switch is available.
The camera unmistakably derives its design from the L-series, but it feels heavier (perhaps due to more electronics), the prism housing is wider and the leatherette is thicker, providing better grip. Overall feel is a bit improved over the L-Prakticas, including fit, finish and action of the various dials and buttons. Film advance and shutter release are typical Praktica though, as is the average viewfinder. Luckily, mine came with a forgotten but still working battery and everything seems to work, although the meter behaves as if in spot mode with non-electric lenses attached. A very nice camera overall, surely the pride of Pentacon when it was released, its major drawback being the rare and expensive battery, although alternatives exist, if one feels creative!
-- Nikon F film camera
-- Waist-level finder
-- NIKKOR-S Auto 1:1.4 f=5.8cm lens
Taken with a Canon 20D and Canon 100mm f/2.8 Macro lens at f/8. 16 1-second exposures at ISO100 in a focus stack were combined with Helicon Focus lite 5.0
Just lined up the three beauties for a quick comparison of how they measure up in terms of size and length.
The 85's obviously the most compact of the lot, but the 180 is a nice, light, slim lens. That 135 is actually the heaviest of the lot.
Hopefully, I will be able to post a comparison of their optic qualities soon.
Note: shot with the AF-S 24mm f1.4 G, ambient lighting only.
A bit of 35mm film gear love. My Pentax SP500 (Spotmatic) on the left, and my Pentax ME Super on the right. I really do resist the urge to be a brand fan, but hats off to the company. They made some cracking SLR cameras. The SP500 dates to circa 1972 - and the smaller ME Super to around 1981. Both of these cameras are loaded with film and are in my "working" stable. They are both a pleasure to use.
So I’ve been looking to buy a Rollei 35 camera for some time and my delay was due to my criteria. It had to be black and made in Germany. Recently I came across two cameras that met this and purchased them both for a decent price. This is the first. It is in cosmetically excellent condition but it does have some fungus in the rear elements.
Lighting by Marcel.
Please respect copyright. Do no use without written permission.
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.
I have lots of different home-made plexiglass shapes but always seem to be drawn to the plain rectangular shape or the hoop. I have been taking a couple of small shapes out with me recently as they fit in with all my other gear but have not been inspired to paint with them as I find it takes a lot of concentration and time to create something I'm happy with. So drawing on inspiration from my LP friends, I set up my trusty circuit board and fixed the small "flame" plexi shape to a wheel attached to a tripod and using the Ryu's Lightworks V2 torch and my SonyA7iii mounted on a rotation gimbal, I rotated the flashing blade and capped between each of the 8 points of rotation using a Samyang 14mm lens. This had been preceded by a shot of the circuit board using a Minolta MD 50mm f1.7 with macro extension tubes, then lens capped and swapped mid-exposure for the Samyang. Chuffed at the 1 successful attempt. Packed up and a cup of tea.
PDS-02140
From 1965, one of the last TLR cameras made by Minolta.
It features a CDS uncoupled meter, giving to the camera an unique appearance amongst TLRs.
There were 3 versions of this camera, CDS, CDS II and CDS III, being the only difference the option for different film sizes. CDS (as seen in this picture) uses 120 film while CDS II and III can use both, 120 and the now discontinued 220 film. All of them feature the iconic Rokkor 75mm f/3.5 lens.
Ahoy! New Leicas around is always good news! :)
I've been shooting with my wonderful Summicron-R 50mm ver.2 for over a year now and I can say, that it is one hell of a lens, probably my favourite of them all. To be honest, it's the only genuine Leica lens I owned until now. But the magical blend of good sharpness (excellent when stopped down a bit), lovely bokeh and absolutely fabulous rendering makes this lens something special. The rendering is neither clinically modern razor sharp, nor too imperfectly vintage to be an all-arounder. The rendering is fantastic, and it's something, that I can proudly prove with some photos.
Never owning a Leica R camera, I sometimes used my Summicron with with Canon 5D for digital, but most of the time with the film Canon Elan 7. I began to notice, that this is pretty much the only lens I use with the film Canon, and its handling on an alien camera is far from perfect. There are no focusing aids in the autofocus film Canon camera.
Well, and now the Canon Elan 7 retires with honour, and the Leica R5 takes its place.
Together with the R5 I grabbed the Elmarit 90mm f/2.8 ver.1. That 90mm focal length might turn out to be a useful one for occasional portraits or for more distant street shots. Anyway, the Elmarit is yet to be trialled in work.
Now this powerful trio forms a ground for my small Leica R family.
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This photo taken with Canon 5D + Carl Zeiss Pancolar 50/1.8