View allAll Photos Tagged electronics
Kissimmee, FL. April 2019.
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Considering the amount of work I usually get in the business, it seems that people assume I am a seven-handed freak or something... :)
WEEK 51 – OB WM, Set III
Instead of an electronics desk, the Olive Branch Walmart just has two checkouts, kinda like you usually see in the garden center. Of course, these checkouts are the old black ones just like up front! The poster features a similarly old photograph of Don Robertson, the store manager, wearing his old Wal-Mart nametag.
(c) 2015 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Hier gibt es mehrere gute Oldtimerrestauratoren.
Einer hat eine große Ausstellungshalle mit sicher fünfzig Oldtimern drin. Alle zu schön restauriert und glänzend wie Lackaffen. Von innen sind sie allerdings sehr schön, riechen gut und man sieht die abgenutzten Stellen. Dieser Adenauer ist schon sehr eindrucksvoll von innen. Mit der Sektbar und dem Luxus vergangener Jahre.
Just recently scored this mint Rolleiflex. After some research I discovered it's a type A, or a K7A. I'm not sure what's the correct type specification :-)
Ordered a load of 6x6 film and just finished my first roll. Hope to see some results soon!
This camera is a real cool piece of equipment but it has no lightmeter! So you have to rely on this little table of info that's on the back side of the camera.
Electronics hobby
Designing and building a high power amplifier capable of driving low impedance (as low as 2 Ohm’s @ 50 Vpp) loads.
www.diyaudio.com/ see alias FdW
History of DIY audio
Audio DIY came to prominence in the 50s to 60s, as audio reproduction was relatively new and the technology "complex," audio reproduction equipment, and in particular high performance equipment, was not offered at the retail level. Kits and designs were available for consumers to build their own equipment. Famous vacuum tube kits from Dynaco, Heathkit, and McIntosh, as well as solid state (transistor) kits from Hafler allowed for consumers to build their own hi fidelity systems. Books and magazines were published which explained new concepts regarding the design and operation of vacuum tube and (later) transistor circuits.
While audio equipment has become easily accessible in the current day and age, there still exists an interest in building one's own equipment, including amplifiers, speakers, preamplifiers, and even CD players and turntables. Today, a network of companies, parts vendors, and on-line communities exist to foster this interest. DIY is especially active in loudspeaker and in tube amplification. Both are relatively simple to design and fabricate without access to sophisticated industrial equipment. Both enable the builder to pick and choose between various available parts, on matters of price as well as quality, allow for extensive experimentation, and offer the chance to use exotic or highly labor-intensive solutions, which would be expensive for a manufacturer to implement, but only require personal labor by the DIYer, which is a source of satisfaction to them.
The Asahiflex collection to date:
2 x Asahiflex IIB, model II (one early and one late version)
2 x Asahiflex IIA
1 x Tower 23 (Asahiflex IIB, model I)
Lenses:
Asahi Kogaku Takumar 1:2.4 f=58mm
Asahi Kogaku Takumar 1:3.5 f-50mm (model III)
Canon 1D-Mark III
Canon EF 100mm Macro f/2.8
Manfrotto 055/804RC
May 27th. 2010
© text & photos Dutch.Dennis
This is the "Polaroid Time-Zero OneStep (SX-70 Rainbow)" camera, it is a Polaroid Land Camera that was produced by Polaroid in 1981.
This is a classic example of a Polaroid instant camera from the 1980s. The body of the camera is made entirely out of plastic. The camera features a 1 element plastic lens with a fixed aperture (f/14). An exposure compensation control dial which is combined with an “electronic eye” (light sensor) located on the front of the camera. The camera would have originally came bundled with the "Polaroid Flash Array"; which was a row of miniature flashbulbs that would have attached to the top of the camera (although other flash devices were also available at the time; such as the "Polaroid Q-light" flash attachment) This camera was meant as a replacement for the original "OneStep", which was produced from 1977 to 1980. The original "Polaroid OneStep SX-70" features a white face plate, while the later version (the "Time-Zero" shown above) had an all black chassis; both versions featured the classic Polaroid "Rainbow" stripe on the front of the camera.
The camera would have originally used Polaroid's SX-70 instant film; which is no longer produced by Polaroid. However, the SX-70 film can still be obtained through "The Impossible Project" website. The main breakthrough with the SX-70 film pack was that it allowed for a much faster development time, hence the name "Time-Zero". It also reportedly featured richer and brighter colors than pervious instant films. An interesting fact about the SX-70 series is that the actual "battery" for the camera is contained within the film pack itself. The "PolaPulse" battery is simply a thin flat 6 volt zinc-chloride battery; which was responsible for powering the internal electronics. Which includes the motors, exposure control, and light sensor; as well as signalling flash device to fire.
A PDF version of the manual for the "Time-Zero StepOne" can be found at:
www.cameramanuals.org/polaroid_pdf/polaroid_one_step_sx70... (Part 1)
www.cameramanuals.org/polaroid_pdf/polaroid_one_step_sx70... (Part 2)
The personal electronics that I carry on a daily basis. Top to bottom:
Samsung ACH A-670 phone (with belt clip)
Apple iPod Model MA146LL (with protective "rubber" sleeve and Philips earbuds)
Olympus SP-560UZ camera (in nylon carry case)
Amazon Kindle e-book reader (in "leather" cover) (I don't think there's model info for these yet?)
Asus Eee PC 701 (in neoprene slipcover)
Total weight of these items: 5 lbs 7.7 oz
Total weight of backpack with these in it: 8 lbs 7.1 oz
(taken with Mac webcam because the other cameras were all in the picture!)
It started as a thought, a small niggle that just wouldn't go away. What would shooting with film be like? We've been totally digital in this house since 2003 and when I started this doing-it-seriously thing I was dismissive of it. But in learning more about photography I started to realise a few things.
The picture one takes is inextricably bound to the thought processes of what you are doing in that moment. If you change that equation with kit you will change the thought processes and the pictures. I am used to going out the door and getting 200 pictures. If I am forced to think more with only 36 chances to make something good, at 50p per chance, with a fixed lens, with manual focus, with a manual rangefinder, with no chimping and a fortnight until I can see the result - will it change my brain?
I was also thinking about how contrast, grain and colour in photographs make up our syntax of how we interpret photography. Like when we hear someone's accent, the words they say are made to mean more than they are by the interpretation of what that accent means. The syntax of photography is completely wound up in how film has rendered images, and not knowing what that means leaves me floundering. We spend hours fiddling with sliders and curves, applying filters but I'm not sure most of us know what it means. Sometimes I think we are squawking like a parrot that has managed to pick up a few phrases of tourist human.
I was interested in medium format with a Mamiya 6, but I feel it is too expensive as a proof of concept. I thought about Leicas and Voigtlanders but again it was too much of a leap of faith. I thought about a Nikon FE but I thought an SLR would just lead me to think it was my usual Nikon and I'd behave in the same way.
So for virtually no money I give you an immaculate Olympus 35 RC. It feels solid and it is dirt simple. The battery will last for ages and it won't get dust on the sensor. Hopefully when I pick it up I will see the world in a different way again and, most importantly, maybe take a good picture.
I have no idea what I'm doing again and it feels great.
My Nikon D90 with the recently acquired AF-S VR 70-300 mm Nikkor lens. Lens at 70 mm. Combined weight 1.365 kg (3 lbs).
The 70-300 mm lens mounted on a Nikon D7000
© 2009 CP Cheah. All rights reserved.
My old and battered noct... still working perfectly after all these years, especially wide open!
Note to self, need to use it more often, hehe...
NIKKOR - The Thousand and One Nights Tale 16 : Ai Noct NIKKOR 58mm f/1.2
The Noct NIKKOR that was said to be named after "Nocturne" was released in 1977, the same year the release of the Nikon Photomic A. This lens, as was called "Noct", was designed for taking a picture at night with fully opened aperture stop.
D7000
Tokina 11-16mm f/2.8 AT-X116 Pro DX II
Nikon AF-S DX NIKKOR 18-105mm f/3.5-5.6G ED VR
Nikon AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G IF-ED
Orlando, FL. April 2019.
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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
BODY:
Manufactured by Nippon Kogaku K. K., Japan (Nikon Corporation since 1988)
Model: c.1968, model Photomic FTN that produced between 1968-1974.
All Nikon F produced between 1959-74
35mm film camera, fully mechanical, (except posemeter)
Engraving on the top plate: Nikon and serial no. 6944460
Lens Mount: Nikon F bayonet type
Lens release: by a button on the right front side of the camera, just beside the lens mount
Focusing: screen Matte fresnel Split-image prism rangefinder, Type A, provided as standard, interchangeable with 16 other type finder screens
Shutter: Mechanical, horizontal-travel, titanium foil focal-plane shutter
speeds: 1-1/1000, +T and B, for X sync 1/60 is red
setting : dial on the top plate, coupled with the speed dial of the finder Photomic FTN
Shutter release: Threaded collar, accepts Nikon F, F2 type cable release, on the top plate
Cocking lever: also winds the film, short stroke type, retractable,
automatic film advance possible when motor drives F36 or F250 are used.
Frame counter: on the cocking knob, Additive type, auto-reset
Reflex mirror: Automatic instant-return type
Mirror lock-up: by a lever on the right side of the lens mount
DOF preview: by a button, on the right front side of the camera, just beside the lens mount
Viewfinder: Photomic FTN, metered, SAI, eye level SLR pentaprism,
center-the needle pointer, shutter speed and apertures index visible in it, to f/32 and T&B settings, T appears as 4 sec. and B appears as 2 sec. in the finder,
Maximum aperture scale: on front of the finder:
After setting the lens to f/5.6 or lower, mount the lens on the camera and cycle first back and then forth between the minimum and maximum apertures, some spring-loaded gizmo in the finder automatically communicates the maximum lens aperture to the metering circuit
(check the maximum aperture scale)
For Nikon F cameras classic Eyelevel prism finder was standard, interchangeable with 7 other types including 4 metering prisms
Finder release: main prism release is the small silver button on the back of the top plate and second is a lever on the right side of FTN, pushed in towards the finder after the main prism release is pushed-in.
Meter switch On/Off: On button on the right side of the finder, Off button on the top-right of the finder, when the on button pressed, the meter switch-off button will pop up and a red line around its circumference will be visible. This serves as a warning that the meter is on.
Battery check: depressing the off button while the meter is off, which will cause the meter needle to move slightly right of the center notch if the battery is still good.
Exposure meter: Cadmium Sulfide cells (CdS) in prism, through-the-lens, center-weighted exposure metering, (corresponds to the 12mm in diameter ring on the screen),
Film speed range: ASA 6-6400, setting: dial on the finder
Metering range: EV 2-17
Exposure setting: manual, set the ASA then center-the-needle pointer moving between horizontally arranged +/– (over / under exposure) markers at the lower part of the viewfinder, by turning the aperture ring or speed dial, speed and aperture are visible in the viewfinder.
The needle array was duplicated on the top of the finder head to allow exposure control without looking through the viewfinder
Re-wind lever: folding crank type,
A red dot on top of the shutter release button rotates while the film is being rewound,
Re-wind release: by switching the shutter release collar to R
Flash PC socket: Possible at all speeds up to 1/60 sec with electronic flash; sync terminal provided for off camera or multiple-flash photography; sync terminal is switchable to work with flashbulbs at speeds of up to 1/1000 sec (type 6 flashbulbs)
Hot-shoe: special Nikon F-type located at base of rewind knob,
adaptors available to convert to ISO or F3-type shoes
setting: the flash sync, lift up on the milled ring around the shutter speed dial and rotate, left or right, setting which visible in the small window just forward of the shutter speed dial,
For electronic flash sync 1/60th or slower, set the white and red letters FX,
the rest of settings for using flashbulbs
Memory dial : for ASA 25-1600, on the left of the bottom plate
Self-timer: dual purpose, a lever-type, rotate it clockwise, small black tick marks for an approximately 3, 6, 10 second delay, on the ring surrounding the self-timer hub, an aid for hand held exposures at slow speeds also
activates by pressing the small silver button appears when you moving the self-timer lever
Back cover: removable with bottom plate, opens by turning open/close folding lever,
interchangeable with 250 exposure magazine back (and motor) F250
Engraving on the bottom plate: MADE IN JAPAN
Tripod socket: 1/4''
Strap lugs
Body: Weight: 1049g, approx with Tn or FTn finder
Battery: Two PX-625 1.3V mercury battery (accepts PX625A / LR9, but better is 1.35v Zinc/air), for light meter only
Battery chamber: on the bottom of the finder
F body serial no / manufacturing year data, F body features / typology are as to:
LENS:
Zoom-Nikkor Auto 43-86mm f/3.5
Manufactured by Nippon Kogaku, Japan
Mount: Nikon F bayonet type non-AI lens , automatic diaphragm ,
Solid meter coupling prong, (no nostrils), single coated, filter thread: 52mm,
serial no. 486556
as to this serial no. Lens model is c.1967
All of this 43-86mm F mount lens manufactured between 1963-74 with many modifications
Aperture: f/3.5-f/22, on the scale number 16 blue coloured
Focus range: 1.2-20m +inf
Focus and zoom ring is same, zooming by sliding it,
scale with coloured lines 43-50-60-70-86mm
F mount with 5 slot screws, Chrome lens Barrel, scalloped aperture setting ring
White coloured LENS MADE IN JAPAN engraved on the black focusing ring,
the character M has vertical sides
The distance scale on the focusing ring is calibrated in feet and meters. Infinity setting is on the left side. The feet scale is yellow and is situated above the white meter scale.
The lens manufacturing year / serial no. data, model features / typology are as to:
For Nikon F cameras the lenses 50mm f2 Auto S Nikkor and later 50mm f1.4 Auto Nikkor-S was standart.
Non-AI lenses fit on the Nikon F, early F2, Nikkormat FT, FTN, FT2, EL and ELW, and the Nikkorex F. They can be used without meter coupling on the earliest AI camera bodies such as the FM and FE, but they must not be mounted on later ones such as the FM2, as it is possible to damage the camera body.
Nikon brought semi-automatic aperture indexing (SAI) from the Nikkormat FTN into the professional F with the FTN finder.
The F is the first member of the long line of Nikon F-series professional level 35 mm SLRs that began 1959 and followed each other in a sort of dynastic succession as the top-of-the-line Nikon camera. The other members were the F2,F3,F4,F5 and F6 (2004–present).
The F-series do not share any major components.
All Nikon professional F-series SLRs are full system cameras. This means that each camera body serves as only a modular hub.
May is ASIACAMERA RETRO month, and I have been re-visiting my cameras from the past…I grew up with Nikon, and my first Nippon Kogaku camera was a Nikon F2S. Since my original copy was sold long ago, I re-purchased a mint copy from a Japanese collector in Tokyo via Ebay.
I had forgotten how heavy this beast is…all metal. It used “state-of-the-art” LED’s to indicate the exposure, which you set manually. Everything (except the meter) worked without batteries. You set the shutter speed and aperture based on the meter, and based on your knowledge as a photographer…
This copy, manufactured in 1976, looks mint – I thought of the waste of a pro Nikon camera sitting in a collection for 38 years instead of creating images. This was the camera that pros used in the 1960-70s … Canon was just a shadow of its current form.
I thought of the irony that this image was taken with a technology that wasn’t even dreamed of in the days that this camera was manufactured. Also, the lenses that were made back then to fit on this camera can also fit on the newest Nikon DSLR (with manual focus of course). This camera is wearing a 1990's auto-focus Nikon 85mm lens.
The crappy plastic Sony kit lens that I used to take this image (in auto-everything mode of course) decided to use the widest aperture, resulting in a narrow depth-of-field, so not all areas of the cameras’ body are in focus. With a manual lens, as I usually use on my NEX7, I think I would have set the aperture to f/8 for better DOF and used a shutter speed of 1/100 (to avoid camera shake).
I’m running a few rolls of film through this camera for nostalgia sake…
Bernhard Fleischmann - Festival der Zukunftsmusik - 10.06.2023 - Jazzit Musik Club Salzburg
www.jazzfoto.at/konzertfotos23/_festival-der-zukunftsmusi...
Bernhard Fleischmann: electronics