Dustin McAmera

'As-is: no returns.'

When I was a kid, half of my (not many) lenses for my AE-1 were by Kiron; I didn't have the money for 'real Canon', and if there had not been Kiron (or Vivitar, Sigma, etc) lenses I simply wouldn't have had a 28mm lens. If that had been because Canon hadn't allowed it, I'd have read about that in Amateur Photographer, and bought a Nikon camera in the first place. What I have now is an EOS M50, and again a small kit of lenses, including some of my old ones on adapters, like Dave_thomas. I love it, and don't see myself wanting a full-frame mirrorless in the future. I have never owned a DSLR (I spent those years using ever-older film cameras), and one of the things I dislike about them is how *big* they are, so the last thing I want is 'like this, but bigger'. One of the lenses I have for the M50 is a 7Artisans 35mm f/1.2; it's manual-focus but native to the EOS-M mount. It's Chinese, and I try to avoid buying Chinese stuff, because of the abuses against the Uyghurs in Xinjiang; but I did buy this, and I love using it. Canon doesn't offer anything like it, and for what it cost me I could hardly have got a lens *case* from Canon.

Yes. Gibellini's options are mostly about what colour knobs you want. I was curious enough to window-shop for *my* 8x10. For just under 5000 UK pounds (without a lens or film holders) there's a brand-new Toyo 8x10 at Teamwork in London, which out-performs Gibellini's cameras in all the technical stuff. So I guess, with a lens, a stand and some film holders, I could be photographing for less than ten thousand quid; a lot less if I got a used lens; and it would fit in the boot of my Fiat 500. I wonder if any of those cameras will ever be used? Why wouldn't you offer a special-edition Leica instead; the Westlicht (now Leitz) Photographica auctions always have these.

You also need to budget for a small van which follows your Pagani car, carrying the camera. Or would you hand it to your passenger with 'Just stick that by your feet, can you?' The camera seems to be made for them by Gibellini, who will sell you an 8x10 without special edition features for slightly less silly money.

Coming unpainted pretty fast though. Yashica 44LM, Macocolor UCN200.

I recently developed a few films from a backlog waiting to be done. I think this roll has waited two years, and these two canoeing through Leeds are getting their permitted exercise during lockdown. It's 35mm FP4 in my Agfa Flexilette, and developed in dilute Rodinal. The long wait has affected the film a little.

Town - delivery on the pavement outside the oriental supermarket: and country - a rusty sheepfold near Ingleborough in the Yorkshire Dales: First one with an EF 50mm f/1.8 STM; second one with the EF-M15-45mm f/3.5-6.3 IS STM kit zoom at 28mm, both on my EOS M50.

This isn't your answer, but there is a Japanese folder, the Atom Six, which can make 12 square pictures on a roll, which are rather smaller than normal at about 53mm square, or with an extra mask, makes sixteen frames about 50x43mm on a roll. This is close to an old Japanese plate size, though whether that's why they chose to do it is doubtful.

There is also the Coronet Rapier.

I found a manual for the instrument, the CF60-ZA Fundus Camera, of which the camera is part (quite a small part!): Canon Fundus Camera, Canon CF-60ZA eye camera, instruction manual, user manual, PDF manual, free manuals .. at Mike Butkus' manuals site. As usual, if the manual is useful to you, it's nice to send a small contribution to help pay Mike's hosting costs. Anyhow, it looks like the CF60-ZA is quite a big thing, and this camera fastens to the rear of it. The lens is fitted to the front, and is a special thing, not a standard FD lens. The manual warns that the reflex mirror will break if you release it with an FD lens fitted! The instrument has limited data-imprint functions: you could have a serial number, or the duration of exposure in fluorescent photography, printed onto the corner of the picture. I guess the electrical contacts pass on control signals to the camera and winder, from controls on the instrument.

Just outside Grassington, marching to get back to my intended route after a wrong turn. I liked the wind-sculpted shape of the group of ash trees, and them bright against the dark clouds; that's all. EOS M50 with 7Artisans 35mm f/1.2

It has an FD mount, but it also has an extra-long mirror, which I think will foul many normal lenses. It's a version of the AE-1 (or maybe the AV-1) intended for ophthalmic examination; so it wasn't expected that you'd want infinity focus. I think all you can safely put on that mount is an extension tube or a bellows; then whatever FD lens you like. See this old post at another forum: Canon FA That also says the image in the VF is reversed and upside-down. Have fun!

'Made in Germany', not 'West Germany'. Here's my best: I bought this some years ago, with some film in it. The film is in one of my bulk loaders, and I know I've shot some of it, but I can't remember how it was. I have searched for 'panchromatic film for walking snaps' on the internet without success.

I don't think that's a fair comparison. That would be a journalistic photo of something that had happened. These photographs depict people who were forcibly stripped specially to be photographed, to produce a publication designed to show them as literally sub-human. As slaves, they were made to take part in this. I only know vaguely even who my great-grandparents were, but even if the only thing I knew about my great-great-great grandfather was that this thing was done to him, it would be a significant little part of who I was, and I hope I'd feel a duty to do everything I could to piss on Harvard's chips on behalf of my ancestors. By the way, we're coming late to this debate. It's old news in Wikipedia's page on Agassiz: https://en.wikipedia.org/wiki/Louis_Agassiz#Daguerreotypes_of_Renty_and_Delia_Taylor From there, I followed a link to a short NY Times article: https://www.nytimes.com/2020/09/29/books/to-make-their-own-way-in-world-zealy-daguerreotypes.html ..and it's clear there's a scholarly *book* on the case already. It seems Harvard as an institution didn't commission the photos; Agassiz, the academic, did that. He then left them to the university's museum, who had them in an attic for years until they were discovered. The researcher who found them went to some trouble to identify the people depicted, but Harvard did nothing about finding their relatives.

It seems to me Harvard is behaving badly and very stupidly. This lawsuit has arisen because the people were previously promised they would be informed, and the university broke that promise. It seems to me that they are essentially enforcing a contract. 'Distress' is just a convenient hook on which to hang the process; what I'd be looking for is a change in behaviour, and to draw public attention to what has happened, not money. But I'm white and British; my great-greats wouldn't have been treated like that. In today's world, I'm amazed the university thought it right or sensible in the first place to assert property rights over photographs created by their academics under such circumstances. Maybe it would be different if Harvard had not been involved in making the pictures, but had acquired them sometime later; or if the photographs were of something that was happening anyway, not made as part of an explicitly racist endeavour. If my great-grandad (say) had photographed someone else's great-grandma in similar circumstances, I don't think I'd be asserting my property rights over the pictures. Isn't it like someone with looted art standing up in court and saying 'My grandad pillaged this in good faith, so it's mine'?

Near Kettlewell in Wharfedale. EOS M50: walking with a friend, so I restricted myself to the 15-45mm kit zoom, and forgot its hood.

My rainy city has a lot of indoor shopping areas. EOS M50 with the 15-45mm kit zoom.

Not sure this was the worst, but I did once drive tens of miles out to the hills with my Century Graphic, and then find I didn't have my meter with me. It wasn't that I'd forgotten it; I had a last-minute change of mind as to which trousers to wear (longs or shorts?), and the meter strap was looped onto a belt-loop of the trousers I took off and left behind.

Apple tree at the nature reserve EOS M5, EF50mm f/1.8 STM

There is a specification pdf for the camera at the Canon Camera Museum site: EOS REBEL SL3 - Canon Camera Museum As far as I can see it doesn't mention any data-imprint function, and I think it would if the camera had that. Is there a reason why you want a DSLR? You might consider one of the 'tough' compacts sold as site cameras. The Ricoh G900SE, for example, has wifi and bluetooth, some GPS functions, and date/time imprint. It's also water- and shock-resistant. You don't have a viewfinder - just the screen - don't think that's a touchscreen. And of course, a fixed lens.

I'm so ashamed: I'm 58 and feeling my age... I found I was doing ever less with my (several dozen) film cameras, and in particular I had a backlog of developing and scanning. For good or ill, my solution was to draw a line under that and get, finally, a modern digital (I have a Fuji 'bridge' camera from about 1998 or '99, that I needed for work then, but I have never even been tempted to buy a DSLR: too big, too expensive). So now I have a little Canon mirrorless, and I have turned into mount-adapter guy, and it's all small enough that I take it out with me on trips that are not primarily about photographing, and I am photographing something several times a week. But... it's not the same activity as it used to be. So I have also let myself buy some large-format film holders, and a couple of lenses: I'm the couple having a child to save the marriage. I keep coming back to the idea of joining a club, but I think what I really need is just one collaborator, maybe two.

I see that 'Moderator' appears where I have 'Yorkshire, mostly on film', and Tony Parsons has 'Norfolk and Good' (which I failed to get for ages, incidentally). These used to be editable in your Account, as a thing called 'Custom Title', which is no longer accessible to edit. If it were, I might change mine, since I don't do much with film now, sadly. Anyhow, I only wonder if the guy in question has found a way to hack that entry and gave himself the subtitle of 'Moderator', whether or not he has any powers.