michael_sinopoli

Thanks guys for your input.

 

I rented a Sigma EX 2x converter for $45 USD and used it with my 70-200mm. I was able to get grandstand seats right near the 2nd hairpin turn, which is about 3/4 around the track. The seating was a bit tight so I wasn't able to shoot as many different angles as I would have liked without violating the persons space next to me. I ended up bringing a few rolls of 200 and Fuji velvia 50. There was plenty of sun so I used the Velvia. I didn't get the pictures developed yet so I don't know how they came out.

 

I have gone to several Indy CART races and have had access to the paddock. I was expecting to get into the paddock at this race but from what I was told F1 doesn't let you in the paddock unless you give them a lot of money for a pass. Which brings me to my next question, how does one get a press pass to "go anywhere" at a race? The F1 race that I was just at was packed with people and from what I saw, trying to get anywhere half decent to shot from I you would have to displace many people.

 

Thanks for your help.

Michael

Sorry for the post, wrong thread.

Michael

Thanks for the info. I rented a 2x converter for my 70-200mm 2.8L. It worked great.

I will be going to the Formula One race in Montreal this weekend for the fist

time. I bought several rolls of 800 ISO Fujicolor X-TRA thinking that would be

a good choice for reproducing the colors of the cars as well as a good ISO but

then looking through a book in a book store on shooting racing events, a

majority of the pictures that were listed in the book were shot from a digital

camera at 200 ISO. Should I be using 800 or something lower like 200 or 400

ISO?

 

Also, could anyone suggest a good location to shoot from at the track? I have

a 35mm EOS 3 and a 70-200 2.8L. That's the biggest lens I have. I just moved

and I am trying to find my 2x extender but I can't find the box that it is in.

 

Thanks for any info.

Michael

Thanks Tommy and John for your responses. Since you brought it up, why do you think there is such a price difference between the 24-70 EF L($1100 USD)and 24-85 EF USM($290 USD)that you mentioned. Is it because the "L" lenses have better optics?

Thanks.

I am planning on purchasing a 35mm EOS 3, 70-200 4L and either the 24-

70 or 28-80 and 24mm from above. I currently have an old Canon and

one of my lenses is a 28mm which I like to use. I am interested in

using a 24mm lens which is why I like the 24-70 2.8 L. My first

choice is to go with the 24-70 2.8 for $1100 USD. Or my second choice

is to purchase the 28-80 3.5-5.6 USM for $60 USD and a 24mm 2.8 for

$330 USD. I would like to know if anyone has any recommendations for

what lenses to purchase. Without reading any threads on the 28-80

USM, because I didn't find any, I would be hesitant buying it because

it is included in almost every "kit" in the back of the photo

magazines. From what I understand the "kits" don't always include

the best items in order for the camera store can keep the price down

to attract consumers to purchase their camera equipment.

I am looking for someone to correct any misconceptions they think I

have and/or give a recommendation of what low range lens/lenses to

choose.

If anyone is wondering, the reason I chose the 70-200 4L is that I

read in other threads that the 4L has better optics then the 2.8 for

half the price and I don't feel it to be important to have the IS and

spend the money.

Thank you.

I just bought my first MF camera and was looking around for a scanner too. I found an Epson Perfection 3170 PHOTO which states "Includes a built-in 35mm slide/film strip and medium format adapter for added versatility." That lists for $199 on Epsons website. That might be a solution for you?

Thank you for the recommendation Fazal. I will have to see which screen I have exactly because I have no idea other then it is a split screen which is a diagonal line and a circle surrounding it. The camera is being shipped to me so I will look to see if there is a part number on it or something to identify it.

Well I am back from purchasing the 500CM described above. It was very clean, SN matched on the A12, not very much wear, even around the back where the magazine attaches. The waistlevel screen has a split screen. I am not sure if this is a standard screen or not but it looks bright. He also gave me the adapter for the tripod hole to make it smaller. I think I got a good deal. Thank you for all of your input.

I am looking to purchase a 500CM with 80mm CF lense and I am trying

to see if a particular year/s are better then others. I looked at

older threads and couldn't find any that answer my question

directly. I think that any year in the 80's would be good but would

like to ask the forum. If I did my research correctly the CM was

manufactured until about 89 and then the "500CM Classic" was released

until 92. I was told that during the transition of ownership of

Hasselblad during the mid 90's their quality sliped a little, so I

would want to stay in the 80's. So, I found a 500CM kit with the

newer crank and newer viewer, like the Classic, with the diopter that

can be changed, 80mm CF and 120 back for $1,100USD. I think this is

a good deal and I am going to see it tomorrow and if it looks good I

think I will buy it. I was told from the shop owner that it is in

E++ shape and a professional did not use it. It is manufactured in

1985 thus the RC SN number. Comes with a 100 day warrenty. Looking

for any input to my pending plung into medium format. Thanks.