michael_matsil

Yes. Thanks to both of you for your advice. I'm going with the rubber band trick. Keeping the lens about 3/8" from fully collapsed does not touch anything within the camera body. 👍

Hi All. Does it stand to reason that with this combination, the Elmar can be completely collapsed into the camera body (like it would if mounted on a Leica M mount camera?). The M flange to focal plane distance is 27.8mm. The L flange to focal plane distance is 20mm. The L to M adapter measures very close to 8mm. Will the back of the Elmar collapsed clear the sensor? Appears so, the math says 'yes'. Are there any other factors I'm not considering? Thanks, Mike

Got it...

NHSN.... thanks for your advice and thanks to the rest of you too. I do like those Valoi products, but for now, I have the Nikon ES-2 already. I also purchased the 2.8 55mm I saw on eBay along with the PK-13 tube. I'll work with that system for a while and see how the workflow feels. But I can definitely see the advantages of the Valoi system in terms of efficiency and certainly a bellows/rail system is the best for flexibility. In fact, somewhere in the gear closet, I believe I have an old Nikon bellows unit. For now, I really just have one 35mm BW neg project to work on and it is of a limited nature, so I'll find my workflow on that project and will consider different gear set ups if I have more film to digital projects come up.

Found this offering of the 2.8 55mm micro with PK-13 included for 1:1. This was a very highly regarded lens and the successor to the 3.5. Good deal at $200 for both lens and auto extension tube. 55mm Micro-Nikkor f2.8 Lens with Nikon PK-13 Auto Extension Ring | eBay

Just to add to my previous post: The PK-3 offers 27.5 mm of extension and you're saying that will give the 55mm 3.5 a 1:1 reproduction size. It appears that my set of five K rings can be combined as follows to come close to that 27.5. 1] K3 + K4 + K2 + K1 would give 26.6mm 2] K3 + K5 + K2 would give 30.8mm Would one of those provide 1:1 with the 55mm 3.5? These numbers are according to the following source: Extension Tubes - Nikon F2 Macro-photography

Thanks, regarding using an old Nikkor Micro! I happen to have a K3 extension ring from the Nikkor F Extension Ring Model K set which I also have. Is this the same PK-3 that you speak of? I've attached a picture of the ring. The kit appears to have rings/tubes K1, K2, K3, K4 & K5 for various extensions.

Yes to all of that! Thanks.

Hi All, I use a Nikon Z7 body and I'm looking for a high quality macro lens to digitize slides & negatives, utilizing Nikon's ES-2 Film Digitizing Adapter. I'm surveying the market for a lens that fits my description. I've come up with the following: 1] A plug & play option would be to get the Nikkor Z Micro 50mm. 1:1 reproduction. I think a bit pricey at $600 US for a dedicated digitizing only lens. It seems to be highly rated, but outsourced manufacturing to China seems to have left the build quality and tactile qualities lacking for some. Also, no "Nano Crystal" coating on the elements which is a feature on many Nikkor F & Z lenses. For reproduction work at macro distance, I will be focusing manually and there have been some complaints regarding the movement and feel of the ring on the lens. 2] I have the Canon lens to Z mount adapter, so I'm also looking at the Canon EF 50mm 2.5 Compact. This lens only reproduces to half life size, so it requires Canon's Life Size Converter EF which gets reproduction to 1:1, which is what I need for duplicating film. It is not a simple extension tube but has 4 elements of optics within, which Canon says optimizes super close up image quality. 3] Nikon 60mm 2.8 Micro Nikkor AF-D. 1:1 reproduction. I'm not really concerned about AF performance or if any lens I choose has AF at all because this is a dedicated digitizing lens and I probably will not use it in the field. All of these lenses seem to get thumbs up from most users for the critical needs of macro: distortion & sharpness. Any comments on these choices, especially if you have experience using any of them? Any other candidates I should consider? Thanks! Mike

Just started using this as a still camera. Spent a bunch of time getting to know the menus & such. But I'm flummoxed by the fact that every time I turn the camera on the ISO is set to 800, even though I set it to a lower ISO (typically 100) while using the camera. Does anyone out there who uses the fp or fp l know how to defeat this? I've searched high & low through the menus, including ISO sensitivity settings, etc. Thanks in advance.

Got it... thanks. Years ago I had a SC-17 Nikon TTL cable for that. Probably still have it somewhere.

Thanks Heimbrandt. I thought about a flash bracket, but I find that they make the camera extremely cumbersome to handle... but I'll consider that. TTL is a great starting point for exposure and for quick/spontaneous set up, but I almost always end up modifying it in an on-camera flash only situation. In a multi off-camera flash scenario, I would certainly go manual. In a combination of on-camera and off-camera, I would rely on modified TTL for "on" and manual for "off" (camera). Get the position and ratios of the off camera lights to shape the environment; then on camera for the prominent subject(s) in front of you. That being TTL (most likely with compensated setting... as well as a physical modifier.) In commercial photography terms, that would be an "event" or "meeting" type of set up. So, given that TTL goes away for the whole system if I use the sync, I can either find a flash bracket I'm comfortable with... or not use TTL for my Elinchrom off camera set up... which in my experience I'm very comfortable with. I'm wondering what happens to TTL of my on-camera speedlite if it is connected via sync... and not hot shoe. As I said, I don't shoot with flash brackets normally, so I haven't tried that.

I am incorrect about the Godox speedlites having full command function... but I am still interested in the Elinchrom transmitter and speedlite-on-camera combo. Can I just use the sync connection from the transmitter to camera and mount an independent speedlite on the camera's hot shoe?

Hi All, I'm considering purchasing some brand new Elinchrom lighting gear, which is being offered to me at a great discount. It's all latest stuff [ELB 500 TTL packs/heads, etc.] I have a question about the latest pro transmitter. Let's say I've got a couple of these strobes on stands set up in a room at a particular ratio, but I still want to have an on camera speedlite working independently. Is it possible to have the command control of the Transmitter Pro for the ELB 500 heads and also have a speedlite working from the camera hot shoe. I'm thinking the speedlite can go on the hot shoe and the Transmitter Pro can be connected connected to camera via sync cord. At one time, I was considering a Godox system because they make speedlites that have the command control system for external strobes built in to the speedlite. Eliinchrom does not make speedlites for their system. I'd like to get the Elinchrom system, because it's good gear and I'm getting a great price on virtually new stuff. I also do plenty of work without on camera speedlites, so this system is just what I want for general strobe work. Just want to check with you all regarding this particular functionality. Thanks!

Duly noted. I would suggest, a slight tweak of barrel/pin cushion distortion in post. Capturing into the unexposed area of the film will avoid any unwanted cropping of the image area. Also, the Makro-Planar 50mm f/2 design has a very flat field.