john_s1
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Posts posted by john_s1
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<p >Have you seen this yet?</p>
<p > </p>
<p > Lowepro Fastpack 350</p>
<p ><a href="../filters-bags-tripods-accessories-forum/00WBae?unified_p=1"></a></p>
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<p > It looks to have the same capacity for gear as yours and has a laptop pouch that holds my widescreen HP laptop. Not sure of it’s weather resistance however. Good luck in your search!</p>
<p > </p>
<p >John<br>
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<p>Don't worry Russ, it sound like you just need to update the firmware to the latest version. One sure way to know if you need the update is to check and see if the image on the focusing screen appears reversed (backwards). The latest patch will fix this and all the other problems you are experiencing</p>
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<p>Rest in Peace Jim...and thanks for all the inspiration and enjoyment. This weekend I plan to haunt the hallways (literally) of Samy's in LA where for years I have enjoyed about a dozen or so of his signed photos on what I assume is an informal, permanent exibition of his photos in the stairwells. If you only ever take the elevator you've probably never seen it. They're a must see for any photog visiting Sammy's. I know nothing about how/why the pictures are there but I'm sure someone on this forum does. </p>
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<p>Hi Robert,<br>
I've been using this screen since the mid eighties and would use no other without a specific reason. As a matter of fact, one of the reasons I chose this camera was that the bright laser matte screens had no equal in their day (pre-autofocus). <br>
I can't address the reason the shaded spot metering area has a magenta cast, (just that it matches/designates the metering pattern), but I can tell you that this screen is designed to be most effective in the 50-200mm range (SJ=Bright laser Matte/Short Lenses, Spot Metering). The SK version of this screen (SK=Bright Laser Matte/Long Lenses, Spot Metering), is for 300mm+ length lenses. This "may" explain why you are seeing this effect with longer lenses using the SJ. Hope this helps some.<br>
John</p>
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Thanks for the kind words Kenneth, it's nice to know all this outdated info and experience isn't just taking up valuable space in my ever shrinking brain.
Kwan, you make a good point about the lack of MLU on the Canon, and I forgot about the f-3's advantage there. It can be a deal-breaker if you need that feature. (Didn�t the T-90 also lack this feature?)
As far as the other criticisms, you need to remember that the poster (Muzz) wanted a comparison of two specific �Pro-built� system cameras of the era. Comparing features of a camera that was released 6+ years later wouldn't be fair. Besides, Canon has always had a tradition of "testing-out" the technological advances in the advanced amateur camera and leaving the proven features in the pro-built cam. I also had a couple of T-90's (that I loved) with me at all times, but before '86 they didn't exist. Also, they just didn't handle the day-in, day-out abuses as well as the F-1/F-3's. Their shutters weren�t designed for as many exposures as the F-1, and if I had a nickel for every time I had to shoot in the rain�My F-1�s were weather sealed, my T-90�s�.? A more featured camera?�yes. Better?�depending on your needs, it�s a subjective question.
WRT metering modes: sure, it was a pain to change screens, but I didn�t do it as most of my exposure was determined by either sunny 16 or spot metering a middle grey). You chose what you needed. If you wanted another, you�d put it on your second body. Anyway, I don't recall the F-3 having spot metering capability with any accessory. Olympus was spot metering king in those days, but few (none I was aware of) newspapers could afford to stock the �Big Glass� for three, let alone two different camera systems. The F-3 also had the �light leak hole� for MD rewind. My winders could have been welded on for all I know, I had no reason to take them off. And yes, 12 batteries is a lot, that�s why I used the rechargeable NiCad packs.
Don�t get me wrong. I loved those T-90�s. They just needed a little �shoring up� I for everyday pro use. I think Canon agreed, that�s why the EOS 1 seemed so much like a T90 on steroids (with all the extra strength and weather seals). I will have to respectfully disagree with your statement about the F1 not being a �capable shooting machine�, however. It (as well as the F-3) seemed to produce some fine images for their day. I never found myself needing anything more�until I tried my first Minolta Maxxum. Auto focus changed everything.
John
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When referring to these two cameras I would never use the term "superior" to describe one over the other. They were "system" cameras built to the highest standards of durability and precision allowed by the technology of the day. Each had it's strengths and weaknesses as a system. I was actually a working photographer throughout the 80's and had to make this decision for my personal gear, as well as the gear I used at work (mostly newspaper and studio). I used both extensively. The battle was no less heated then, between Nikon and Canon, with Nikon taking the lion's share of the pros. This wasn't necessarily due to superiority (o.k. maybe in the 60's and 70's) but rather popularity. Nikon marketed/promoted/supported far earlier and better to professional organizations, which allowed them to get their foot (and gear) in the doors. By the 80's, even though Canon had caught up in quality, support etc., they were behind in the race and were constantly playing catch up. Nikon became synonymous with "Professional" and Canon was never able to get out from under this. I believe this is why they lead in the AF world. They knew they would never catch up to Nikon's legendary name and inventory advantage in the camera/lens cages of newspapers and other photo orgs. They gambled on the success of Autofocus and threw out the past (compatibility with old lens mount in favor of a new advanced one), in order to lead in the future. Obviously it worked somewhat because Nikon has been playing catch-up in the new lens technology race partly due to constantly trying to adapt their older lens mount to newer technology (an impressive feat for Nikon by the way).
What does this have to do with the two cameras? I used both extensively and used each for different circumstances. Actually, I never owned the F-3, the newspapers did. Besides being the sexiest combination of Camera/Motordrive I had used to date, the F3 gave you TTL flash metering and the F-1N didn't. Build quality of the two was a non-issue. On occasions, I saw each come in dead in the hands of a not so careful photog. I also saw completely beat models of each, which refused to quit. Personally, I preferred the F-1N however for the spot metering capability, Shutter priority (with Motordrive), and their laser matte focusing screens (something few people even think about in these "auto focus" days). If you ever have the opportunity to view an F-1N with a laser bright matte screen (not the standard screen), you will know why I finally settled on the Canon. Unbelievable brightness and clarity. Even with the standard micro-split, the top or bottom half of the split wouldn�t black out with long lenses. This was a big deal before auto focus. I found I had a slight focusing edge with the bright laser-matte screen when it came to focusing in the worst conditions. One more thing I remember. The F-3 had the capability to work without a battery at 1/80th sec, while the Canon could function batteryless from 1/80th through 1/2000. Not a huge advantage, but a bit of a confidence booster if your previous cameras only needed batteries to for the light meter.
WRT optical performance, apples to apples (ED to L), I never could see any difference. I did like how the white lenses stayed cooler in the hot So. Cal sun, but they stood out like a sore thumb.
Having said all that, it sounds like you have quite an investment in the Nikon system. I see no reason for you to begin building an entirely new system unless you've got an excess of time/money/etc.
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Mario,
Just the slightest tweak in photoshop on the saturation gave me this result. Just some post processing work will do wonders.
John<div>
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Start with this page. This site should have plenty of other info on your camera and accessories.
http://www.mir.com.my/rb/photography/hardwares/classics/michaeliu/cameras/nikonf/fmotors/index.htm
John
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This is an easy one. When you get there, just ask the many 5 legged cloth covered hunched over lg. format photogs who are gathering there this weekend for the free workshop. I wish I could join you guys. Enjoy! (check out the lg. format forum for more info ;-)
John
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If you liked them before, check out this site.
The dates just ended for that list but a new one usually follows quickly. For the $ saved, it's worth it (even if you're not currently a student and you have to take a "refresher course" at your local jr. college). You might also check into your local Adult. Ed., or Regional Occupational Center as many times their photo courses qualify. Good Luck!
BTW, I also have a 316 kit+many other accessories purchased through this program. Really well built units. Zero Complaints.
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Frank,
Its probably not possible to know from the picture since we don't know in which direction they were moving at the time of the exposure. If we knew the direction of travel, we could determine first or second curtain sync. I'm imagining that they were rocking back and forth or forward/backward from the camera.
John
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The information is written below the picture:
"Camera: Canon EOS-3
Film Type: Kodachrome 200
Lens: 28mm f/1.8
Speed and F-Stop: 1/15 @ f/1.8 Weather Conditions: Indoors
Time of Day: 6 a.m.
Lighting Techniques: Flash on camera
Special Equipment or Comments: I underexposed the flash 2 1/2 stops."
The answer to your question about why not "washed out" is explained under "comments"...flash 2 1/2 stops underexposed. Exposure could have been determined in-camera in Manual/Program/Tv/Av +TTL/ETTL with -2.5 flash exposure comp.
Hope this helps.
John
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Mine needs more experience before it can be considered an "old workhorse" so, I'll just sit back and enjoy the show...(Note to self, Don't buy used equipment from Larry in Prague) ;-)
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Geeze, I didn't even know they had locked Mt. Shasta up. Where do I send bail $?. Seriously though, few things are as inspirational to me as looking at others having a great time doing what I love. Hopefully someday soon, (maybe at Red Rock Canyon in Jan?), I'll be able to gather the time and resources to join Y'all. Until then, thanks for the memories...even if they aren't mine :-)
John
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Yes. I have done it myself. Your keepers will be directly proportional to the common sense techniques you use for steady photography. For street photography?...Just don't be surprised if your candids all result with the same surprised/inquisitive facial expression that says, "What the hell is that thing?" Hard to be "Stealthy" with a camera that is the size of the actual stealth bomber:-) Go out with it and have some fun!
John
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Hey Bill,
If you find yourself anywhere near Joshua Tree this fall, look for the photographer with a golden retreiver trying to nose her way under the dark cloth with him. You may also catch us at the many missions up and down the coast. San Luis Rey is my obsession, and someday I'll even take a picture of it that I love. For now, my perfect shot of SLR (don't you love this mission's initials) eludes me. BTW Fall is second only to Spring in Joshua Tree. One more place now that I think about it. While fall colors are rarer here in So. Cal, Oak Glen can provide some great shots too. If I get to half the places I just talked about this year, it'll be a great fall. Hope to see you out there...just be gentle when you have to remind me to pull out the darkslide before I push the button ;-)
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Proof that Swedish Humor is an Oxymoron ; )
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You might need to bring some clouds and some trees. Apparently Tuscany doesn't have enough for a complete picture on its own....OUCH...Did I say that? Sorry...disregard...I should have resisted.
JS
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Set CF 10 to "2" (regular illumination ie;not dim) or "3" (Brighter than normal). That should do. Follow the link to CF descriptions if you don't have a manual with you.
http://www.canon.co.jp/Imaging/ELS/DATA/ESE1_guide000428-e.pdf
JOhn
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Apologies Gregory, look in the "General (Not Archived)" section for my pictures. It's the first place I found that allows me to post a picture in the only way I know how. I'm sure theres a good reason for my not being able to post a picture in this thread/forum, just be gentle when explaining to this computer illiterate photographer : )
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Greg,
Sorry, I'm not computer knowledgeable enough to figure out why there was no opportunity to attach a photo to my thread so I'll post a new thread with my examples on the FD board.
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Gregory,
I'm going out on a limb, but here are my recollections from using a very simlar lens (FD 20-35 3.5L) for a number of years. I believe the "starburst" effect you discuss is more an effect of aperture size and shape and less of "L" aspherics. I could be wrong but I thought, smaller apertures cause a more pronounced starburst effect lessening to round points as the aperture opens (rounds out in shape). I was under the impression that,"L" aspherics lessen comma (round pinpoints looking more like comets), color fringing (white points with colors around the edge), and that fuzzy halo effect. I will attempt to attach a night scene taken with the above mentioned lens about 15 yrs. ago that definitely has the starburst effect. While my scanning abilities leave much to be desired, the slide itself shows practically no signs of comma, or color fringing, or halo even to the extreme edges. The "starburst" effect however, is present. As I recall, I shot this at a smaller aperture, however I can't prove it. While I'm likely to be corrected by much more knowledgeable optical experts, the main point for you is that most likely, the 24-35L(like my later version 20-35L) will "starburst" at certain apertures. I sure loved that lens however. That lens is long gone, but there's no doubt that at the extreme edges, it kicks the "tookis" of my current EF 20-35 af lens, which is no slacker itself. Hope this helps.
Question from a new F1-NEW owner
in Canon FD Mount
Posted