steven_clark

<p>If it's anything like my 322 side grip then reassembly is a royal PITA. It probably requires custom tools to be easy.</p>

<p>There was that time period where Sony were selling cameras without a lossless raw. And Canon/Nikon lens ranges are huge, maybe not as huge as they were in the manual focus days but still, lot's of selection. Common systems also lead to economies of scale and more selection on third party accessories. Word of mouth is pretty powerful, and it's easier to get informal help when more people have cameras designed like yours. At the Olympics in particular it's worth noting Canon has been dumping boatloads of money and equipment into it since at least the 80s. Speaking of which, Sony have a diluted brand in cameras, they lack the long association with professional cameras that the big 5 had. Up until they bought the corpse of Minolta they had no real market presence in professional cameras and they still have more of a reputation as a consumer electronics and video company than a camera company. Name recognition matters.</p>

<p>Yes there are. Look for an m42 to EF(or EOS) adapter, hopefully one with focus confirmation chip. And since cameras that use screw-on lenses are already stop-down metering they should work no worse on a digital camera than on their original body. Except for that feature where the camera stops down the lens for you when taking a shot, you won't have that.</p>

Messing up winding the film is pretty common, happens to everybody really. The edge markings on otherwise blank film are the big tipoff that either you weren't winding it on, or your shutter curtains are stuck together/firing at the same time.

Epson's scanners have been overkill for large format forever. Epson's drivers have a rep for being surprisingly not complete garbage when running in professional mode. The first tip: turn off auto-thumbnailing. A pro license of Vuescan is a great investment, it will work with any scanner you might buy in the future. The interface of Vuescan is a thing to itself and it can take a while before you really get a handle on the logic of it. Once you do, it is powerful and sometimes a time saver.

<p>So either your shutter never fired, or more likely your film didn't catch on the take up and never really got in front of the shutter. Also there was a light leak. Also it looks like you overdeveloped.</p>

<p>Please keep in mind any system that requires actually decrypting (or worse, leaving decrypted) a key and then checking it against the one given, is already less secure than a password. One of the features of passwords is hashing, where they can be destructively encrypted, then checked against the encrypted copy which can't be retrieved(because the encryption is destructive and therefore unreversible).</p>

<p>In theory PNG can mostly replace TIFF. In practice there's very little difference between a compressed TIFF and a PNG in file size and support for advanced PNG features is almost never implemented the way it is for TIFF. PNG is a much newer format and mostly has support as a replacement for GIF from back when people were worried about sleeper software patents on it.</p>

<p>I'll add a yea to the use of printfiles. Cut into strips of 6 if scanning, 5 if making contact prints in a darkroom. At 6 across and 7 rows you usually don't need more than one sheet per roll. Vuescan is still a pretty good option for continued software support but I fully expect that to change someday, just like how Spotone is no longer produced and the Marshall replacement isn't as good. Even flatbeds aren't advancing as fast as they used to.</p>

<p>I'd hazard a guess they have little resale value. Aside from a few prestige brands (Leica, Hasselblad, Rollei) there's almost no film camera value that isn't directly related to demand for use, and the demand has plummeted faster than the supply of used cameras. Point and Shoots never had much of the professional cachet of SLRs or Rangefinders and were pretty hard hit by the transition of film to an art-driven market. It looks like you might be able to get $25 for that. $110 is about the maximum for 35mm point'n'shoots and that's for a Stylus Epic which is much newer with nicer features.</p>

Maybe the pancake? Remember the worst camera is the one you didn't bring so having a lens that makes it pocketable is a good idea.

<p>Often aging electronics is aging electrolytic capacitors. So at a certain point it's just a matter of soldering skills to get it working again. And the more miniaturized something is recently the longer it may last (electrolytics replaced by smaller ceramic/tantalum surface-mount capacitors).</p>

On almost every camera the light seal that matters most is the one at the hinge because that's where film sits in the open until you rewind.

<p>Looking at my XA, the light seals are on the door where it's relatively easy to get at them (instead of in channels on the body). As usual the important seal is the one at the hinge: most of the other edges penetrate fully into channels and the light seal is mostly redundant. My hinge seal is in pretty good condition but the other seals have a different consistency. It was probably replaced and the other seals ignored. I haven't noticed any light leaks. My conclusion is that you probably don't need a kit if you already have self-adhesive light seal sheet. Just cut yourself a rectangle about 40-42mm long by maybe 4-6mm wide and notch it to go around the cutout for the strap attachment and that should be most of what you need.</p>

<p>Yashica/Contax lenses are kinda rare. You won't get as much fun of finding them at thrift shops and the like. I might choose a Minolta. Minolta, Canon, and Olympus manual focus mounts are all easier to acquire cheap lenses in with decent variety thanks to being abandoned for new mounts in the switch to autofocus.</p>

<p>Since there are no nozzles on an epson cartridge I wouldn't worry about taping. Tape the spigot, and also check for an extra pierce point on the cartridge used to let air in to fill space and tape that if you find it. Bag it for good measure and it will probably keep long enough for you to stress-test a cartridge set if you don't take forever to do it.</p>

That goes in pretty deep. I'm not sure it could go on an SLR, or anything with a leaf shutter. Maybe one of those cameras where you swap out the outer elements of a lens instead of the entire thing?

<p>I've seen the vacuum pump used in head cleaning plugged up with dried ink once. I think it was on a C80 or something like that but yes, it's still worth opening.</p>

<p>The lab is using some sort of auto-levels and clipping the white more. You might be using a white-balance instead and are clipping much less.</p>

<p>I'm not sure why you want a cable that won't work though. To clarify the port on the SD3 is a full-size USB B port (not the mini or micro B a camera of phone uses). Any device you can run the software on is going to have a USB-A or USB-C port. So unless you've got a recent Macbook with the one port for everything© that sounds like the correct cable for this scanner. A USB-A to USB-A cable (while they do exist) is completely out of standard and there's no guarantee any two of them will necessarily be wired the same way. USB was originally designed for host(A) to device(B) and most later additions have only focused on letting a device sometimes be a host (OTG and C) not on letting two hosts talk to each other(A-to-A).</p>

<p>If you aren't comfortable with eBay, buy lenses off of KEH. A 50mm f/1.8 is usually the recommended place to start: it's a so-called normal lens. Once you've been annoyed enough at things you can't quite shoot right with it you'll have a better idea which lens to get next. 28mm f/2.8 and 135mm f/3.5 make good next lenses. Zooms weren't quite as good or quite as popular in this era, you can buy a wide to normal zoom but one that covers a wide enough range to be useful is expensive. You might want to pick either New FD or older ring-lock lenses and stick with that kind, that way most of your lenses can use the same filters without adapters. Don't go crazy with the filters; they are a hassle, and only a few of them are really useful. Shoot mostly outdoors, during the day, with 100/125 speed film if you have a choice. If you end up using a 400 speed film like HP5+ for class you might want to invest in a neutral density filter (say 2 stops/0.6 or 3 stops/0.9) to open up the range of settings in daylight. The maximum shutter speed on an A-1 is 1/1000 so in full sunlight on 400 speed film you might be bouncing around f/11 and f/16 (on lenses that go down to f/2.8 or less). When you doubt your meter err on the side of slight overexposure. With time in a darkroom you can recover an image from a dense negative but you can't recover an image made of a lack of silver.</p>

<p>In experience with my EOS-M correct focus with the screen is a pain in the butt. Even with magic lantern installed and focus peaking enabled it's usually best to just zoom in when focusing and out to recompose. It's probably worse with an EVF (given the low resolution), but the EVF should shut out light and distractions making composition much easier.</p>

<p>Word of warning: Do NOT plan on archiving entire rolls of film, only scan keepers. At the very least only process keepers. The time investment in scanning and processing to a state where you can see an image's potential adds up quickly. If you're making new film in color, have your lab make some cheap jpeg scans for you so you can judge which images to scan further.</p>

<p>I'm guessing people are much more likely to want to adjust framing on a subject that's distant enough to use a telephoto and zooms make that much easier to do than primes do. The further afield you get the less likely you can zoom with your feet without running into or off something so changing the focal length becomes a must and swapping between lenses at ~1.4 multiples until you find the (closest to) right one when you could simply turn the zoom until your framing's right is probably less attractive. I'm thinking in terms of vacation shooting, distant landscapes, and wildlife here. There's large parts of photography where you could much more easily get away with primes, but it's mostly art and professional photography, not the vast majority of amateur photographers.</p>

<p>And even if the tools sometimes seems buggy you can always dig into the settings for the "about page" and manually download any driver with a higher version number from the website. You should probably know exactly what kind and generation your CPU is before you do this so you don't get the driver for the wrong chip.</p>