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h_s1

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    fell in love with Mamiya RB67 ProS

    in Medium Format

    Posted

    <p>After a hiatus, I returned to shooting some film. This time, however, I acquired a Mamiya RB67 ProS. My motivations was my new found love of MF photography.</p>

    <p>The camera had its sealing all peeling away being sticky. As I have done in the past some times, I used sharpened match sticks to scrap away the old seals using naphtha. That was the most tedious work. The camera has many seals, and I was only changing the ones on the back. The rest of them were okay, thankfully.</p>

    <p>The bad seals are shown in the photo below.</p>

    <div>00YXbx-346671584.jpg.f7b18bddc93f16a5e8e9183d02ffcfe6.jpg</div>

    EF-S lens appears to be outperforming the EF L lenses

    in Canon EOS Mount

    Posted

    <p>Great points, folks. Thanks for all the feedback.</p>

    <p>Just to be clear, I am using both formats. I have EOS film cameras and a crop sensor camera as well. In the future I am not sure which is going to be added to the collection and I cannot rule out a FF EOS digital. Hence the motivation to look at various format lenses.</p>

    <p>Form the comparisons I have seen, I might as well just go for the EF-S lens specifically for the crop sensor format cameras.</p>

    <p> </p>

    EF-S lens appears to be outperforming the EF L lenses

    in Canon EOS Mount

    Posted

    <p>On this <a href="http://www.the-digital-picture.com/Reviews/ISO-12233-Sample-Crops.aspx?Lens=398&Camera=474&Sample=0&FLI=2&API=1&LensComp=355&CameraComp=453&SampleComp=0&FLIComp=1&APIComp=0">website</a> that one can use to compare sharpness of various Canon lenses, I have compared the following lenses with<br /> Canon EF-S 17-55 f/2.8 USM:</p>

    <p>* Canon EF 17-40 f/4 L USM<br /> * Canon EF 24-104 f/4 IS USM</p>

    <p>It looks like the EF-S lens is sharper than both of these in many situations.</p>

    <p>I have not done exhaustive comparison (so I won't say that the EF-S lens is sharper than the other two), but from the various settings I have tried, the EF-S lens appears to be outperforming both of the above EF lenses, at least in shaprness and resolution.</p>

    <p>So other than the constructions of L lenses being more robust than the EF-S (that is one thing I have seen some users keep on repeating here), is there any advanctage of using EF lenses on digital crop sensor bodies at all?</p>

    <p> </p>

    Canon EF: weak batteries and meter reading

    in Canon FD Mount

    Posted

    <p>I think I didn't clarify this fully. The circuit for the CAT system is the part that takes power from one of the batteries. Rest of the circuit uses both the batteries in series (so 2 * 1.35 V or so).</p>

    <p>Thus as long as the CAT-Normal switch is on Normal, the camera system is working on two batteries in series. In CAT mode, if I understand this right, the "Normal" camera system still works on two batteries in series and only the CAT part works on one of the batteries.</p>

    <p> </p>

    Canon EF serial numbers and different versions

    in Canon FD Mount

    Posted

    <p>I think Canon EF camera, even though short lived in production run, had various versions. I know that 3xx xxx serial numbers (or thereabouts) and above had split prism with rangefinder focusing screen.</p>

    <p>Another difference was the electronic circuitry employed in it. I think it had four or five different versions. I wonder if people have any knowledge of difference electronic versions and the corresponding serial numbers. Anybody know which serial numbers saw different circuits?</p>

    <p> </p>

    Velvia 50 - A penny for your thoughts!

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>Les ... er, no. You are comparing apples to oranges. Velvia has no brains of its own, it does not feel anything. Programs are not creating a Velvia look by themselves. The central tenet in all this is the perception of humans. There are two mediums that are capturing light and transforming them before perception. At present, the two transformation are different, yet physical and quantifiable in non-obvious ways.</p>

    <p>The other way to look at the problems is that the reference is the human color perception and the idea is to come up with a transformation for a digital cameras which gives the same perception as Velvia's output.</p>

    <p>Velvia does not perceive anything (as a mouse does). A program is not doing anything by itself (as the machine in your analogy apparently is doing). There are no two independent references (as a machine's perception and the mice' in your analogy), only one (human's). Thus you are comparing apples to oranges.</p>

    <p> </p>

    Canon EF: weak batteries and meter reading

    in Canon FD Mount

    Posted

    <p>Here is some more info.</p>

    <p>If I use the depleted batteries (as reported by the battery check function), I get good metering (comparable to metering with good batteries) and I get slower speeds as well. But the battery check function does not make the LED glow and thus reports dead batteries. A voltmeter reads 1.45 V on both batteries under no load conditions.</p>

    <p>With good batteries, the LED flashes rapidly during battery check function, metering works and slower speeds all work (as expected).</p>

    <p>John, I tried using one battery at a time. Nothing works in the camera; meter LED is off, slowest speed is 1/2 s (the slowest mechanical speed). So I am not sure if both batteries are used separately. I recall reading a hand written note in Canon EF's service manual that the two batteries were in series. I could be mistaken, of course. Could you tell me how you know each powers a separate circuit.</p>

    <p> </p>

    Velvia 50 - A penny for your thoughts!

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>Chuk, I would rather that the OP not give up on his quest. The right way to see this is to realize what the fundamental problem is, what various factors involved are and what are the best options before the OP. Having this information, OP is not only in a better position to make a reasonable decision, but is also now more aware of all these underlying intricacies. In short, I think this thread is a very valuable informative thread for the OP and for everyone else.</p>

    <p>In fact, I am glad and thankful that OP started this thread with his query.</p>

    <p> </p>

    Velvia 50 - A penny for your thoughts!

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>Well, thought I would also contribute a bit.</p>

    <p>First of all, let me declare that I love Velvia. I am shooting Velvia 50 these days and just love the colors and contrast. It is mostly for landscapes ... autumn can a very very colorful season.</p>

    <p>Now, regarding simulating Velvia 50 in a digitally captured image, the problem is not straightforward. The most intuitive method to do so has already been suggested a few posts above, i.e. shoot same scene with Velvia 50 and with your digital camera and do adjustments on your digital photo to make as close to Velvia 50 image as you can.</p>

    <p>However, things are much more complicated underneath. Not just for this particular problem, but for all similar problems.</p>

    <p>I don't have much deep understanding of film chemistry, so the following is a bit different as far as photo development may be concerned.</p>

    <p>The underlying cause of the look of Velvia 50 (or for any sensor, film or digital) is the spectral response of the image capturing device. You (the OP) can restate the problem as how to simulate Velvia 50 film's spectral response with a digital sensor.</p>

    <p>One formal method to do so could be to assume that there are three kinds of spectral responses of the film and of the digital camera's sensor: Reg, Green and Blue. Next, take a set of images with Velvia 50 and somehow determine the RGB response of the film from that. Perhaps Fuji's data sheet for this film can do that for you. Next, you need to either reprogram the spectral response of the digital camera's sensor (so that it captures images just as Velvia 50 film does), or change it after the image has been captured. The looks of both the sensors' (film and digital camera) output will be similar if the both their spectral responses are similar. Now, the problem of matching a digital camera sensor's spectral response to Velvia 50's is the biggest problem. More like an engineering and optimization problem.</p>

    <p>Hope this sheds more light in understanding the intricacies of this problem.</p>

    <p> </p>

    Canon EF: weak batteries and meter reading

    in Canon FD Mount

    Posted

    <p>Aha! Thanks for the confirmation.</p>

    <p>As I mentioned earlier, I was not using the auto-aperture mode, so the batteries were not that critical, as long as the meter worked I was happy.</p>

    <p>I have given the film for processing and will pick it up in a day or two. I will know then how it went, more or less. I will have to wait till I scan it during this weekend to know for sure.</p>

    <p>Regards.</p>

    <p> </p>

    Canon EF: weak batteries and meter reading

    in Canon FD Mount

    Posted

    <p>I was using this camera recently (only for the second time or so!) and realized when I was into half the film that its battery was dead. Shutter, of course, worked (it is mechanical from 1/2 s to 1/1000 s). The meter also appeared to be working. I was not using the lens in auto aperture mode (for which the battery is required).</p>

    <p>When I realized the batteries were weak, I changed them and continue shooting, while recalling that the camera eats batteries while ON. So I was then careful to switch it ON only during the metering and shooting instance, and to switch it off immediately afterwords.</p>

    <p>My questions is, in the weak battery situation I described above, how reliable is the meter reading?</p>

    <p>Thanks.</p>

     

    T-90 shutter sticking "EEEE EE" problem: any photos?

    in Canon FD Mount

    Posted

    <p>I have read about this sticky shutter problem in T-90 due to a washer used to absorb shocks of the shutter. I have also read about people opening the camera and cleaning out the remnants of the rubber gone bad.</p>

    <p>I am curious. Does anybody have any links to a website which shows this problem with photos? Perhaps somebody took macro photos of the sticky washer during the procedure and posted them online?</p>

    <p>Thanks.</p>

     

    old negatives, water staining or fungus?

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>Update: just washed a strip in cool running water for around 8 minutes or so. Then agitated it in for several seconds in a solution made with half a liter of water and a few drops of bio-degradable dish washer detergent. Used fingers as squeegee to wipe the water off and let the strip dry.</p>

    <p>Results: very encouraging. The weird marks are significantly reduced. I can make them out if I look at light reflected off the emulsion side of the film strip. They are not visible if I see through the film, as they were before this washing.</p>

    <p>So I am now planning to go buy a stabilizer. Regarding that, which would be better and economic option: buy it by itself? Or buy a developing kit (C-41), if it is part of that? I can use the kit to develop films (was thinking of starting anyway).</p>

     

    Light Leak Or Camera Problem Help Me!

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>Yeah, I agree with others. You need to see if your older seals are deteriorated (will be sticky to touch with a needle). If so, replace them with newer ones. I have always used wool yarn (pure wool, no synthetic) to replace the seals above and below the film door, and felt strips or velvet (or valeur) strips for near the hinge. Here is a great pictorial on how to do this yourself quite economically:<br>

    http://www.photo.net/classic-cameras-forum/00SVtt</p>

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