andre_m._smith

In 1977 I shot six rolls of a Kodak 35mm color print film (the spec of which I don't now recall) and indifferently kept them sealed in my kitchen ice box vegetable drawer until summer of 1986 when, having forgotten what the subjects were, I had the six rolls developed. There was then no discernible color loss on printing to my unaided eye.

The most accessible and comprehensive source of all things photographic in Kuala Lumpur must be "Photography in Malaysia," http://www.mir.com.my/rb/photography/photography.htm If a source for film can't be made with some contact from this web site then the source likely does not exist in that country.

I am confused by claims of Nikon (in its advertisements, now no longer

available) and its proponents that the two Nikkor PC lenses obviate the need to

move to shift-and-tilt cameras of formats larger than 35 mm. For example,

 

"Normally, when photographing a tall structure like a building, the camera may

have to be tilted to include the upper portion. Especially when working at

close range, this causes the vertical lines of the building to appear to

converge, as if the building were leaning or falling back. With the PC-Nikkors,

the photographer can slide the optics as much as 11 mm off the axis to include

the upper portion of the building, while keeping the film plane parallel to the

wall surface to eliminate unwanted convergence of parallel lines. The 360?

rotating mount makes it possible to apply the shift in any direction:

horizontally, vertically or diagonally. The shifting effect can be observed in

the viewfinder for precise composition."

http://www.mir.com.my/rb/photography/companies/nikon/nikkoresources/PC_Nikkor/in

dex3.htm

 

If the foregoing description of the ability of the Nikkor PCs to provide the

versatility (at least most of that versatility) in 35 mm is true, and if one

using 35 mm is not especially concerned with enlargements greater than 11x14

(and usually smaller) in either b&w or color with films of fine grain, why then

should one move to the medium and large formats?

 

I'm wholely open to persuasion on this question!

I'm confused by the string of references here to a "Nikon 35mm f2.8 pc lens (latest version)" and that they all were written in 2007. According to the Nikon web site there is no such lens available from Nikon. http://www.nikonusa.com/template.php?cat=1&grp=5 Further, this lens was introduced by Nikon in 1980 (twenty-seven years ago!) and can not now be considered current by reasonable standards. http://www.mir.com.my/rb/photography/companies/nikon/nikkoresources/PC_Nikkor/index2.htm. This lens was discontinued in 1999. http://www.photosynthesis.co.nz/nikon/serialno.html

 

If someone writing in this thread knows something I (who have been searching for six months unsuccessfully for this lens used!) don't know, please pass the word to us all.

Whenever I enter a field new to me (e.g., music instrument, audio, automobile, photography, etc.) I always look to the experience of others for my initial guidances. This I did in the early nineties, when I decided to make the leap from Pentax Spotmatic F (in use since 1974) to something more versatile.

 

My friends in the photo departments of Columbia University, The New York Hospital, Cornell University Medical College, and the Hospital for Special Surgery (all in New York City) all were using Nikon FM2 with various lenses needed for their exacting work. So, I bought FM2. As a companion piece, I bought an FM3a in 2004.

 

When I first visited the Shanghai Astronomical Observatory in February 2006, http://www.shao.ac.cn/home.htm the junior astronomer escorting me around the unit was interested to see my camera closely. "Oh, FM2; that's what we use for our astrophotography."

 

I was quite taken aback to hear that, of all the world's cameras to which it had ready access, the national observatory had chosen an FM2 to attach to the base of its optical telescope. http://www.shao.ac.cn/faci.htm

Taking a cue from brass music performers, who must remove resistant valve caps from their instruments, wrap the rougher inside surface of a waist leather belt firmly (but gently) around the entire circumference of the filter and, while holding the tension on the belt stable, rotate the belt counterclockwise. Only a mechanical disjunction of the conjoined parts of filter to lens can resist such a force.

Perhaps the most abundant source for copies of Eyes of Nikon (1985) is <http://www.bookfinder.com/search/?ac=sl&st=sl&qi=bYOUFd8FgIlsT04CWPQ1,PrZbjk_3091907154_1:39:105.> Beware, however, that a companion page on this site reads like it carries Eyes of Nikon as a rare book and, thus, prices it accordingly. <http://www.bookfinder.com/search/?ac=sl&st=sl&qi=bYOUFd8FgIlsT04CWPQ1,PrZbjk_3091907154_1:39:103> There are the additional advantages here, over e-bay, that the prices are fixed and a copy of this (and any other book sold on this site) can be purchased immediately.

Caveat emptor!