joseph_ho
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Posts posted by joseph_ho
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looking for a regular camera to modify for this aplication is the wrong idea in my opinion. i think what you are really looking for is a hight resolution machine vision camera. they have no mirror but do have live veiwing and instant capture via computer. there are also cameras designed for use with microscopes.
i know that brook & anco sells a variety of these microscope cameras. i purchased a c-mount camera from image labs for a project at work, they carry what appears to be hundreds of cameras which can be used in any number of configurations. also check out ISG and Redlake
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sometimes the best way is to just use your flash.
this can be during a rehersal or practice.
using a softbox for this sort of stuff does wonders if you so inclined to try it.
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using a very old or rudimentry flash which sends the entire jolt going to the flash tube through the cammera's trigger might flip a circut breaker in the camera or cause damage or both. this is true with the 645n.
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the 3 mock ups all look very ugly to me. so i hope they work very well. i would really prefer the layout of the mamiya ZD.
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rumor i read was that the 45 prime is not as sharp as either zooms covering its range. you still get the benifits of a faster opening and less flare.
i've seen it stated more than once that the 45 prime is a sort off ugly duck to the lineup.
i traded my 45 prime for the 33-55 zoom and love it. didn't need the speed for my work but the extra flexibility is really helpfull as well as the wider angle availible. never did any real tests but i have had great results from both lenses. my gut feeling is that the zoom is sharper but i cant really say i'm sure.
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does the MD-1 have a standard threaded cable release socket to fire
the camera with? or can i use the socket on the camera and still have
the camera wind automatically, if the socket is even acessible with
the drive attached? if not, is there another MD mount set-up i can
look into to allow me to hook up an air release to a motor drive camera?
if you are wondering where tha hec i am going with a motor drive
camera and an air release, i want to suction cup a camera to the
outside of a car and trigger it from inside without having to park and
get out to wind it every shot.
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i have a gossen starlite, it features fit my needs perfectly but it has reliability issues. i live with it because i use cameras with built in metering for a redundant system when it goes screwball.
it tends to get out of shape in extended exposure to cold. had it in a tent overnight on a winter climbing trip. it went haywire in the morning.
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auto exposure wont slow you down much, thats all speed of light electrons running around the circuts. auto focus slows you down becuase it has to move the lumbering mechanical lens back and forth.
the 300D had a pretty crappy shot to shot time when i tried it in the store but that is only the time to wait before the next shot. with manual focus, shutter lag should be very acceptable.
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i've asked in the past and nobody seems to know how to do it. i do know that it doesn't take long because someone who personally brought their camera to the service center had it done and out the door in 45min.
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if it does show up, i have heard of photographers filling in chips with black ink to keep the irregularity from affecting the image. it removes that part of the lens from the optical system.
you must be one of those people who dont like protective filters. maybe now you understand the argument.
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150 2.8 is no less than a joy to use
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i have designed one which is capable of secureing a slr to a climbing harness with a fast access and safe carrying but not bothered to pursue making it a reality. it requires milling complex parts with relativly tight tolerances and that takes time and money. i also lost intrest in lead climbing and toprope. just bouldering now...
in the future i might simplify the design for use with a smaller camera and actually make one or two. for now, the july issue of "Proffesional Photographer" featured david simmonite, he speciallizes in rock climbing related photography. he is based in the UK and has a websit davidsimmonite.com
he prolly knows of something...
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the only diffrence i know of is that the Mz-4 is capable of TTL on nikon D-SLR's. not much a big deal for you.
i dont think the hassy has very sophisticated flash gizometry and the Mz-3 is one hell of a nice flash with a ton of potential. if you got a super deal on it, then i highly reccomend it.
i use the Mz-3 with minolta AF slr's, a pentax 645n, and an olympus e-20n and have used it with manual wind cameras and also off camera. very very versital.
sample pic..
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i have used the 1228 with a pentax 645n and 150mm 2.8 in flowing water that was deep enough to submerge the pod halfway up the largest section at full extention. plenty steady!
it also helps to keep an emptystuff sack around so you can fill it with rocks and hang it under the center post when needed.
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i got a roll's worth of pics out of my fisheye and now its booorrrriiing. but i got the arsat 30mm 3.5 with an adapter to mount it to my 645n. if i have to choose what to carry, it usually gets sacraficed. too goofy to hang with the serious lenses. nice toy to play with but seldom put to real work.
http://www.photo.net/photo/2321583
http://www.photo.net/photo/2297155
i say get the zoom, ..first atleast
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unless you need the AF for sports or wildlife or something like that, neither would be worth a summer's work unless you need other things such as TTL flash or auto film advance or maybe the meter is getting screwy on your older camera.
i've been though this AF lusting faze when starting up on minolta SRT-101's. it passed over quickly. now i use most cameras AF or no in MF mode almost all the time. unless i need it to shoot action, even then i frequently need my MF skills to overcome certain situations.
keep in mind, fancy accesories for the N80 will be more abundent, and also more expensive! picking up gizmo's for minolta MD can be very cost effective.
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if you are a pro, then answer your own question. if your not a pro, why does it matter what a pro does?
i'm not a pro
i consider myself a serious enthusiast.
i use filters to protect all of my camera lenses other than the one on my GR-1 wich is a point and shoot with its own automatic cover. if you have similar needs to me, i reccomend hoya MC UV filters to keep your lenses safe.
cleaning damages lens coatings. so if you put a filter on the moment you buy a lens, then nothing other than air will ever touch that lens element. just clean the filter and replace it when its done.
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it may now pick up side light that has nothing to do with your picture
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contax is not all that. it has a focal plane shutter. with the hassy lenses adapted, it has no AF. pentax 645n is closer since it gives up the interchangable backs to shed weight. it is also shaped to be handled more easily. or the H1 for the leaf shutter lenses.
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get in there with you meter first, figure out what film speed you need to get the shutter speed you want at the depth of feild you need, then choose your film or reconsider lighting.
if you choose your film now, you have just cut down your options for later.
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fuji GX-680, medium format SLR with tilt movements.
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almost went then but instead i went to the college of engineering at RIT. being a photographer as well, i natrually get a little bit of exposure to the photo people. my overwelming observation (which may very well be skewed) is that at RIT, you will be thrown into a pool of people composed of 80% people who have no clue what that hell they are doing and just got a camera on the first day of school, 15% have been shooting and know what they want to learn and are ready to go to absorb the knowlege they are going to recieve, and 5% who have actually been shooting more that 100 rolls a year or an equiv. in digital and have a chance to make it in the world of photography. regardless of experience (no portfolio requ) all of the above will be in the same classes, the 5% frustrated and the 80% clueless.
also, RIT has almost anything you might need availible for rent for free if you are in the photo major. rent a leica on monday, a hassy for tues, a Dix for wed, and a 4x5 for thurs, a studio with blah blah blah for friday. so if your a gear head, this is the place. i want to transfer for a quarter just to play with the cameras they have availible.
other than that, college is what you make of it. many photo graduate are successful, many are running minilabs.
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kenko is a well reconized brand
digital analog paradox
in Medium Format
Posted
from what i gather and have experienced, i do believe that digital is very capable of exceeding the output of film and chemical processing. but i have a belief from my experience that seems contrary to any other opinion i have read.
i feel that digital required much more planning and processing to get good results. it has a far steeper learning curve to do properly, and for me, it will be slower for a while and not as enjoyable as film untill i can really back up the exposures with proper raw work and calibration and finding the right people to print and so on so forth.
for some reason, when ever i shot film, the results just came rolling in and i was very pleased everytime. i metered and exposed and nothing could go all that wrong. all of my keeper shots are the way i want them as they lay on the film, there is nothing i would change about them.
with digital, i am busy checking histograms and dealing with clipped channels and everything else. i feel like i have to compensate the exposure for the limitationns of the scene to produce a terrible photo during exposure, then i have to suck what i really wanted out of it later with raw conversion. this step back before stepping forward was something i did not expect and am somewhat annoyed with.
if i where actually running a biz on photography, i would do as much as possible on digital. for my own enjoyment, i will still yearn to see slides through a loupe.