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Nikon FE with Konica Minolta DNG 200 negative film and an assortment of manual focus lenses and accessories. I shot with the 24 f2.8, the 50 f1.4 and the 200mm f4. I used the BR-2 reversing ring and some closeup lenses. I also used the 2x teleconverter. I have made no attempt to keep track of which combination was used with each shot.
The subject was on a (not always visible) black velvet background. Lighting was with a close softboxed SB600 and a distant grided SB26 at full zoom.
Man! I'm missing my Nikon scanner. These are scanned with my very own Konica Minolta DiMage Dual Scan IV film scanner. As regards resolution it is quite good. As regards colour and subtlety of tone it's not bad (but not as good as the Coolscan). As regards ICE -- well, that's where it all breaks down. It has no ICE. This means that all dust and scratches are fully visible. I only recently found a way to get my locally processed film (which comes back very grungey) clean enough for scanning but it is labour intensive and still needs work on the scan afterwards. Sigh.
Sony A99 SLT + Mirex Shift Adapter + Mamiya Sekor 55mm f2.8 N
Photo self-restrictions: 2 axis camera leveling + tripod + peaking manual focus + wide DOF
Raw to Tiff & Jpeg (Capture One)
Developed for print in Hahnemühle Photo Rag paper w/UltraChrome pigment inks
Experimenting with f1.8 and manual focusing.
Tried to nail the eyes on my 10 week old son.
Took several pictures, this one I consider the best.
The minimum focus distance of 16cm really provides new photographing opportunities.
F2 Photomic, FE2 with motor drive, Nikkormat FT2 with Nikkor 180mm f2.8 ED, FM2n, F3hp with motor drive. Taken with Bronica SQ-A on Cinestill 400D
It's typically London weather... rainy, gloomy, cold & grey to start off the week.
But I love the gorgeous, ethereal quality of light from my manual focus-only Nikkor 50mm f/1.8 AIS. Just lovely.
© 2009 alex.aia
Nikon Nikkor-H.C Auto 85mm f/1.8, AI'd.
Nikon D60 | Nikon Series E 75-150mm @ 75mm | ƒ/16 | 1/4s | ISO 100 | Manual Exposure | Manual Focus | Preset White Balance | DIY Lightbox | Tripod
And with that brief "Ta-ta for now" goodbye, the Ibis flew away and left our backyard lake for parts unknown!
This particular Ibis' feathers are "morphing" from a "juvenile brown" to "mature white," hence the bird looks "gray." :)
X-T1 + Vivitar manual focus f2.8/135mm
I wanted to show the lenses I use on my Sony bodies. All perform amazing and are manual focus and manual aperture lenses.
4/15/16 2:25 PM
This is neat stuff if you are beyond auto mode in photography. To be ready for tomorrow I always check my memory cards and have spent a day or two charging batteries. Rather than random shooting tomorrow I need to get at least 6 good shots. Now you might think that is easy but a great photographer can take 2,000 and get one good shot. Old school photographers are used to paying a minimum of 2 bucks a piece if they developed their own film. That was with bulk loaders etc. So you would go to an event like East Bend with maybe three rolls of high speed film usually that was 108 shots unless you were backed by a newspaper and had a bulk roll and motor drive. You have spent 200 bucks if you sent them off or one long night in the dark room if you wanted your shots in the morning paper. Some of us in the group are learning photography as well as interested in Motocross. So there are sure shots and then creative shots. Photographers shooting racing can’t resist creative shots. So just within ten minutes I shot a quick example of creative vs standard. I only gave myself a quick shot. Not one where I could follow you across the track. Like I had a piece of jump I covered and couldn’t watch for a distance. I pick a focus point and hold the lock focus button even if I am on manual because Auto Focus is too slow for you guys. Shots can be called pan shots where the shutter speed is slow. The object is followed and it blurs the background. I nailed the plate on the car in a pan and blurred the woods. That car was doing 60 easy. The guys in the truck were shot with a higher shutter speed. The woods aren’t blurred as much. It was a pan shot. A photographer would say it was a hand held pan. Using a Tripod would be better but with a long lens it takes practice to do it hand held. The best can do a thing called zoom pan. It blurs the background and kind of sucks you into the photo. So I’ll mix things up a lot. I do know though that I am intentionally shooting with a higher depth of field because in a cropped shot if you are in the way background you might still want that shot even if you are a bit out of focus. You will learn to spot these things after awhile. There may be a test! And tomorrow when you are racing concentrate on the race and not hot dogging for the camera. After my initial experiment I will try to include as many as I can.
My Olympus 45m f/1.8 M.Zuiko has arrived from Japan! First impression is how small the lens is. Build quality is nice, the manual focus ring is smooth and fit and finish first class. Glass looks nice. Will test it during the weekend. :)
Canon 100 3.5 LTM (M39 Range Finder Lens)
Shot at 8 or 11.
Lens is small and sharp, easy to carry and use. Manfrotto 171 Mini Clamp and Manfrotto Mini Ball Head used to clamp camera to a railing at the Observation Deck of the Rockefeller Center.
D850 with manual focusing Nikon 105mm 2.8 AiS micro
Zeiss GFL 654-632, das "kleine Schwarze". Für viele das schönste Mikroskop, was je gebaut wurde (Ende der 1950-1960er Jahre).
6.7 kg, nur Metall und Glas, KEIN Plastik.
Bei der Fotografie am Mikroskop-Okular kommt nur ein möglichst flaches Objektiv an der DSLR infrage. Das Nikkor 50mm f1.8 Ai Pancake oder flacher ist optimal.
Ganz nebenbei ist das 50mm Pancake etwas abgeblendet fast so scharf wie das 50mm f1.4 Referenzobjektiv von Sigma der Art-Serie.
Zeiss GFL 654-632, the "little black". For many the most beautiful microscope ever built (late 1950-1960s).
6.7 kg, only metal and glass, NO plastic.
When photographing through the microscope eyepiece, only a flat lens on the DSLR is possible. The Nikkor 50mm f1.8 Ai Pancake or flatter is optimal.
Incidentally, the 50mm pancake is a bit dimmed almost as sharp as the 50mm f1.4 reference lens from the Sigma Art Series.
© 2009 alex.aia
Nikon Nikkor-H.C Auto 85mm f/1.8, AI'd. Shown here with hood HN-7.
Nikon D60 | Nikon Series E 75-150mm @ 75mm | ƒ/16 | 1/6s | ISO 100 | Manual Exposure | Manual Focus | Preset White Balance | DIY Lightbox | Tripod
It started as a preowned $15.00 Vivitar prime telephoto, manual focus, M42 mount, lens won online. The seller charged $4.00 for shipping so that brought the total to $19.00. But the seller got the flu and couldn't ship the lens out as quickly as promised. So to make up for the delay he shipped the lens from California via two-day Priority Mail instead of parcel package (which cost him $12.00 instead of $4.00).
Deduct $12.00 from $19.00 and I would have paid, theoretically, only $7.00 for the lens. And a pretty sharp lens, too!
But vintage manual focus lenses have jumped up in price since users of 4/3rd and mirrorless cameras found out that they can use these by simply buying lens-specific adapters!
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