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The new Canon EOS 30D.
I should point out that this isn't a photo taken by me: it is a Canon promotional image.
still alive. i can't believe it's been three months since my last post.... working at the portrait studio has kept me busy. i've barely had time for my my own pictures. i miss seeing everyone's pictures...i'm trying get back into the swing of it!
hope you all have been well!
Johnson City, NY. March 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
Fujica had surprisingly good lenses back in the day - if you could find them. Their camera bodies were nothing spectacular as far as features go, but their lenses, like this stout little M2-mount 50mm Fujinon, delivered beautiful, sharp chromes and warm-toned prints. This ST605 is compact and sturdy, armed with all the typical (if minimal) manual camera features you'd need for a day's shooting with the family.
The camera's top shutter speed of 1/700th is a bit odd to see on the dial. But in reality almost all the mechanical shutters of those days marked at 1/1000th of a second could truthfully never hit that number and were actually about the same speed (or slightly faster) than the top speed of this Fujica.
1979
The Fisher RS-3050 receiver from the late seventies to be found in middle-class receiver segment with a unique design, the pretty decent as service-friendly circuit design and the manufacturing quality is "Made in Japan" recognize. There was the RS-3030 with slightly less power and the RS-3050 each in silver or black front. This dark version of the RS-3050 I like it. Do you like it too?
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Den Fisher RS-3050 aus den späten Siebzigern findet man im Mittelklasse Receiver Segment mit einem eigenständigen Design. Der recht ordentliche wie servicefreundliche Schaltungsaufbau und die Fertigungsqualität lässt „Made in Japan“ erkennen. Es gab den RS-3030 mit etwas weniger Leistung und den RS-3050 jeweils in silberner oder schwarzer Front. Diese dunkle Ausführung des RS-3050 gefällt mir gut.
I will be using this camera in week 370 of my 52 film cameras in 52 weeks project:
52cameras.blogspot.com/
www.flickr.com/photos/tony_kemplen/collections/7215762311...
Manufactured by GOMZ , (ГОМЗ), ( Государственный оптико-механический завод, Ленинград = Gosularstvennyi Optiko-Mekhanicheskii Zavod =State Optical-Mechanical Factory), Leningrad, USSR
Model: 1957, Type 1b, (produced only in 1957)
All Leningrad produced between 1956-68, Quantity: 76.385 units.
As to Alexander Komarov
35mm Rangefinder film camera with spring motor driven
Engraving on the front: GOMZ logo and Ленинград (Leningrad)
Lens: Jupiter-8 (ИНДУСТАР), 50mm f/2, coated, Mount: M39 screw,
filter thread 35mm, serial no. 5724763, made by KMZ
Lens release: simply turn to anti-clockwise
Aperture: f/2 -f/22, setting: dial and ring on the lens
Focusing: match the rangefinder split images in the viewfinder, by turning the focusing ring on the lens, w/ distance and DOF scales
Focus range: 1-20m +inf
Shutter: rubberized silk double cloth curtain, horizontal focal plane, speeds: 1-1/1000 +B, setting: dial on the top plate, lift and set
Spring motor drive: a spring-powered mechanical motor and takes about 20 pictures after one full actuation of the spring, it is possible 3 frames per second if you can do it,
Attention: for every frame you must release the shutter. There's absolutely No way to advance film and to cock the shutter other than via the spring motor.
**There are engravings on the right side of the top plate as 0-5-10-15-20, with a pointer beneath the motor drive knob shows the count of frames that will be taken when the spring drive is cocking
Motor drive knob: a big knob on the right of the top plate, after setting, when you take a picture it automatically cocks the shutter and winds the film, film-advance spring in it
Shutter release: on the top plate, w/ cable release socket
Frame counter: an open window, just beside the motor drive knob, advance type, manual resets by a knob on the back of the top plate
Viewfinder: coupled viewfinder/rangefinder, bright frame lines for 35, 50, 85 and 135mm lenses, and a split image rangefinder,
diopter adjustment ring on the eye-piece
Re-wind knob: on the left of the top plate, a flat knurled disc that you have to unscrew by pressing it with the ball of your thumb
Re-wind release: lever on the top plate, set the selector lever to B (Rewind)
Flash PC socket: on front of the camera, flash sync: X 1/25, Adjustable synch delay 5 - 20 milliseconds
Cold-shoe
Memory dial: on the re-wind knob, Peremotna (ПЕРЕМOТНА) word in memo disk, which was typical on some earliest cameras only.
Self-timer: a lever on the front of the camera, an inoperable self-timer is a common problem on the Leningrad because if the timer is set without the camera being wound, it breaks
Back cover: Removable with the bottom plate, opens turning the pop-up lever on the left side of the bottom plate, then unscrew a knurled ring on the other side, concentric with the rewind disc by a folding lever, on the bottom plate
Film loading: The film take-up system is unique as it ignores sprocket holes on 35mm film. Instead it winds the film onto a fat take-up spool like a drum. No account is taken of the increasing diameter of this spool as film is wound onto it, resulting in increasingly wide gaps between the frames on a roll. Modern automated negative cutting will not adjust for the unique frame layout, and negatives and slides must be ordered from labs uncut.
Tripod socket: 3/8’’
Strap lugs
Supporting leg on the bottom plate
Body: metal; Weight: 850g
serial no. 573581, first two digits show the manufacturing year, in the cold shoe
This type 1b is a rare one. With type 1a this camera is earliest so far known productional version of Leningrad.
Built very sturdily, and to a very high degree of precision (unlike most Soviet rangefinders), the Leningrad is said to be the most advanced (and expensive) Soviet rangefinder ever made. Many were given as presents to party members and visiting dignitaries. At the 1958 World Exposition in Brussels, the Leningrad was awarded the "Grand Prix de Bruxelles”. Modified Leningrads were used in the Soviet space program.
Note: If Leningrad suddenly decides not to advance the film after you've taken try turning the shutter speed dial slightly counterclockwise against spring tension, then letting it snap back. Often this will release the mechanism and let the film advance to the next frame. And since (as noted above) there's no alternate manual way to advance the film, you'd better hope this trick works!
More info: by Aidas Pikiotas in SovietCams, by Karen Nakamura, Camerapedia
Asheville, NC. May 2017.
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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
I am very honored and excited to be featured on this lovely blog today! Thank you so much Claudia! ♥
Estoy super contenta de estar en este blog hoy! Muchas gracias Claudia!! Es un honor! ♥
Although Vivian Maier is mostly known for her medium-format work, she also used this wild 35-mm Zeiss Ikon Contarex, known as the Bullseye Camera. This was kindly shown to me by John Maloof, who owns most of Maier's photo work and her possessions. Taken on February 24, 2011, in Chicago. 55/365
Another new product shot from this weekend. This is my recently picked up Mamiya 645E. I'm really pumped about this new camera (which conveniently included a variety of lenses) and can't wait to get the first couple rolls developed.
430EX II in 24" softbox camera right, 430EX II in 22" beauty dish camera left, and 580EX II camera mounted and pointed up for fill light.
Thats a part of my Pentax-Motor-camera-collection.
I have a special passion for the Pentaxes from the 70s and the 80s and here are some of my favorites: The K2DMD and the KX from the mid of the 70s, the MX from the end of the 70s and the LX from the beginning of the 80s.
Mon nouvel appareil: un Mamiya RB 67 Pro S. Il ne me reste plus qu'a mettre des film dedans!
My new camera, a mamiya RB 67 Pro S
Strobist : Camera in a light tent, on nissin flash gun on the right of the camera
You will find here an other picture of this camera, this time with a waist level finder : www.flickr.com/photos/64667396@N00/3411644164/
Vous trouverez ici une autre image de cet appareil, cette fois avec un viseur de poitrine: www.flickr.com/photos/64667396@N00/3411644164/
I just got this camera last week and ran a roll of black and white film through it this past Friday. It takes the Minolta MD mount lenses, and you can see I've got one on in the picture. The reason it takes the Minolta mount lenses is because it is an officially licensed camera by Minolta, made in the Chinese Seagull factory and is actually a rebadged Minolta X-300. When Minolta moved their production to China in 1990, they had the Seagull factory take over building their manual-focus cameras. This was one such camera and Seagull used many different names for this camera. I have found at least 13 different names their Minolta X-300 copy went under.
Finally the Carl Zeiss Jena Flektogon f4 40mm lens arrived today. I instantly fell in love with the size of this camera, I think, it's the first that fits my tiny hands. And so lovely: Fully mechanic, nothing that distracts from shooting.
If I had ORWO films, I'd take images just like they did on the other side of the fence back in the day.
Nikon D5100 unboxing - just a quick shot as I took it out.
Nikon D5100 Top Ten Tips and Tricks:
blog.dojoklo.com/2011/05/03/top-ten-tips-and-tricks-for-t...
Take control of your Nikon D5100 autofocus system. See the article on my blog Picturing Change
Learn more about the Nikon D5100, and how it compares to the D3100 vs. D7000 vs. D90 here:
blog.dojoklo.com/2011/04/14/nikon-d5100-vs-d7000-vs-d90-etc/
Manufacturer: Bond Cars Ltd, Ribbleton Lane, Preston - UK
Type: Equipe 2-LITRE GT MKII
Engine: 1998cc straight-6
Power: 115 bhp / 5.300 rpm
Speed: 166 km/h
Production time: 1968 - 1970
Production outlet: 441
Curb weight: 965 kg
Special:
- The Equipe GT was Bond's first four wheel car and designed by Lawrie Bond.
- This sports car (MKII) was restyled by Trevor Fiore, who’s true name was Trevor Frost (Carrozzeria Fissore in Turin) and made of fibreglass en Triumph parts but modified by Alan Pounder of Bond Cars in order to fit the Triumph components.
- It was a Vitesse chassis and a Vitesse engine, powered by two Stromberg carburateurs.
- Four-speed manual with an optional Laycock-de-Normanville overdrive.
- There were advanced plans to build this MKII in Germany. The German-language leaflets were printed, but it was canceled.
- A MKIII version of the Equipe 2-Litre was planned by new owners, Reliant, but it progressed no further than prototype stage.
- Total built: 1,431
* 600 MKI
* 441 MKII
* 390 Convertibles
- Bond was finally laid to rest beneath the Terra firma at the ERF factory in Sandbach. Moulds, jigs, paper work everything "Bond" was ploughed into the ground.
Presentación • Mi galeria • Lo mas interesante • Mis expos • Fluidr
Era 2002 y por aquellas fechas tenía previsto un viaje a Egipto.
Poseía una réflex analógica con la que había hecho miles de fotografías pero un viaje tan largo y con carretes, me decía que posiblemente no podría sacar todo lo que quisiera.
Me compre esta Nikon E2500 que aunque no era lo que yo quería, podía cubrir otras expectativas y la falta de carretes en algunas situaciones y experimentar el mundo digital.
Con ella hice cientos de fotografías en los lugares mas insospechados. En el Valle de los Reyes, estaba prohibido hacer fotos en los panteones y quien las hacía, le quitaban la cámara.
Gracias a una opción que posee, se puede hacer fotografías en casos extremos de poca iluminación, sin flash y sin llamar la atención.
Durante unos años fue mi arma secreta, disparé en museos, eventos, medios de comunicación y en la calle sin apenas darse cuenta nadie de ello.
Lo que mas me obligó a dejarla fue su poca capacidad de memoria y la pantalla tan pequeña que tenía. Si la volvieran hacer con pantallas actuales, no dudaría en comprarla de nuevo. Debo deciros que el objetivo giratorio Nikkor tiene una luminosidad espléndida.
Con la evolución de las cámaras, pronto salió la primera réflex digital y esta quedó postergada en un cajón hasta que con motivo de la compra de la tercera generación me puse ha enredar con ella y tomé esta instantánea para el recuerdo.
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Big and beasty camera, or the Japanese Hassy. I am not a great fan of medium format cameras, but when practically given, they become highly interesting! This Bronica weighs in at 2 kgs with the metered prism and the 80/2,8. I thought the Pentax 67 was heavy, but this one is also porky. Surprisingly, the SQ-A has very few plastic parts. It has all the flexibility of a system camera, even today, thanks to the interchangeable backs, it is possible to use a LEAF Digital back. The camera, itself is a mere cube, everything comes off. For the rest, in all my medium format ignorance, the camera seems well built, the lens seems well coated and will do a roll of film in order to see its quality.
Some of the police cars used in ITV's THE BILL. Parked up at Action Vehicles Sales in Willand. They Have 2 BMW Area cars, 2 Astra IRVs and a Mercedes People carrier van. The cars had 2 sets of number pates they had the bill plate on first then over the top they had the real plate but some of the real plates had fallen off.
Looking for solar power systems? Gosolar will guide you how much does a home solar power system & solar panels cost? How much is solar installation.
Deneb feat. Ramesh Shotham - Jazzit Musik Club Salzburg - 22.02.2019, weiter Fotos unter:
www.jazzfoto.at/konzertfotos19/deneb/Index.htm
Besetzung:
Gudrun Plaichinger: voc, vln, fx
Georg Degenhardt: ney, fula, dombak, fx
Ramesh Shotham: tavil, ghatam, kanjira
Thomas Kleinschmitt: synth
Walter Schulz: keys, fx
Tobias Ott: perc