dan_k2

<p>The easiest way is that the "A" on a standard screen is in a square, the laser cut version has it in a circle.</p>

<p>Dan</p>

<p>Hmm, not quite what you're looking for, but you'd be surprised what'll fit if you want it to.... I have a Lowepro micro trekker 200 stuffed to the proverbial gills. 2 p67 bodies (one top, one bottom) 105mm between them. Down the left side there's the macro tubes and the 135mm macro. On the right side there's the 55mm, a polarizer, and the 165mm. Over the top is the grip. That leaves the outside pocket and flap for film, meter, etc. It's a tight fit, but I've seen worse...</p>

<p>Dan</p>

<p>Not to throw a monkey wrench into the works, but here's another thing to think about.... Could be referring to U.S. f-stops that kodak used into I *think* the 20's or 30's. That would be f/32 for U.S.64. I have an 12" lens on a century that goes to U.S. 256 (f/64) I saw that and went *HUH*??? until I figured it out.</p>

<p>Dan</p>

<p>My uncle asked me the same thing a few years ago. I got home, thought about it, and started to add up what it would take to straight up replace my kit with equivalent digital gear (possibly a little rigged, but at the time my thinking was 1ds mkII for the F-1, etc.) I stopped counting when I hit $30,000.<br>

I need to shoot more too.....<br>

Dan</p>

<p>Bob... I have the original pamphlets for the lenses and camera systems, circa 1971. I'll dig them out to double check, but I believe that the few lenses that were single coated were the 135 f/2.5 and the 50 f/1.8 (I'm probably wrong, so I'll repost after I check...)</p>

<p> Dan</p>

<p>Hello Bob, I think that I have a spare if you're still looking for one (you're talking about the flat cap with the pin holes, yes?) It's a chrome one that's seen better days, but it'll get you up and running. Let me know if you need it...</p>

<p> Dan</p>

<p>Darine- yes you do and yes you are..... ;) Keep in mind that the later screens were about 1-1/2 stop brighter than the original F-1 screens (thank you Canon for the L screens!!!) But it's not about the brightness. The trick with the "Y" screen is that you can see *everything* in the field of view, whether or not it's actually in focus to the film. In other words, you can easily find the subject that's 70 yards away even tho the lens is focused at 3 feet. Try that with your T-70, and you'll see how that might be beneficial with a long tele (finding and then focusing on subject is SOOO much faster than focusing to FIND the subject... :)</p>

<p>Hello, I think Tom has it right... Model railroad paint for coal should be the ticket for you...</p>

<p> Dan</p>

<p>Hello, first of all congrats on the Y screen! I'm pretty sure that Canon only made *I think* 500 of these for the pro's. They had the 400 f2.8 in mind when they did it. I was able to snag one for @ 60 a while ago, but I find that I'm using the LG most of the time (500 f4.5L) Anywho, I'm surprised that Lindy hasn't chimed in on this one, he's in the know about them...</p>

<p> Dan</p>

<p>Definately think you'd be happier with the f4L...<br>

Jeff... they had the f4L and non L in breachlock too (I have both)</p>

<p> Dan</p>

 

<p>Sorry, it took a while for me to figure out what you were talking about, *none* of my cameras have half stop shutters!!! (pentax 67, canon F-1, Century graphic, etc, all before the '90's :) My gawd, you're going to have to manually set the shutter *and* the aperture... BY HAND!... oh nooooo!!! Just kidding ya, it'll make you slow down, that's for sure, but the results will be well worth it. And to answer your question, yes, you will still be able to bracket +/- 1/2, it'll just be by aperture.</p>

<p> Dan</p>

<p>Hello, well, I have a gitzo 1505 (four section) that has a couple of scribed lines around the bottom section (for a quick reference). I like to set the bottom legs to where I usually have them and lock them down. After that, set up is the same as for a 3-section, but with the bonus of compactness when you're done.</p>

<p> Dan</p>

 

<p>Hello, I just saw something on this at Strobist.com, you might want to check it out. If you are limited to a mounted flash, maybe a little futzing with a polarizing filter?</p>

<p> Dan</p>

<p>Personally, I find this repair useful for fungal infections also. However, I do not recommend this treatment for athlete's foot....</p>

<p> Dan</p>

<p>Hey John, well, the shutter is a compur that was selected by Linhof. The red arrow is pointing to a timer. With the shutter cocked, push the button towards the camera body and you can set the shutter cocking lever a bit more than before. it gives you about 15 seconds if memory serves.... the green arrow is a preview. With the shutter cocked if you push that in it opens the shutter for composing. If you pull it back out, it *should* close the shutter again (mine doesn't, time for Fluto's CLA..)</p>

<p> Dan</p>

<p>Mark, sorry about that, bad example, just trying to get an idea what he was going for.... I should have said hand......</p>

<p> Dan</p>

<p>Hmmm.... first of all, do you have a manual for the meter?? If not there's one here... <a href="http://www.butkus.org/chinon/flashes_meters/luna-pro_f/luna-pro_f-splash.htm">http://www.butkus.org/chinon/flashes_meters/luna-pro_f/luna-pro_f-splash.htm</a> check to make sure that the "no battery installed" point is where it should be, if not, it'll throw everything else off.. also check to make sure that the exposure compensator ring is at one. Hope this helps...</p>

<p> Dan</p>

<p>Alex, the max sync speed on the first two versions of the F-1 is 1/60, it should be in orange on the shutter speed dial. The other p[art of your question is a little vague, if you are taking a picture of the whole baby, or even just the baby's face, there shouldn't be any exposure compensation to speak of, maybe a half stop at most?? Now if you're taking a picture of just the baby's eye whole frame, that's different, life size 1:1 (with the extension tube fd-25) and the lens racked all the way out, is two stops.</p>

<p> Dan</p>

<p>Jeff, I've been going over something similar here, check this out... <a href="http://www.shutterbug.net/equipmentreviews/accessories/0699sb_howto/">http://www.shutterbug.net/equipmentreviews/accessories/0699sb_howto/</a><br>

the 283 and the 285 use the same AA battery pack, so my guess is that the pos/neg positions would be the same. BTW, you have to double the flashes to gain each stop. IE: 2 flashes for one stop, 4 flashes for two stops, 8 for three and a big bag of gear..... :)</p>

<p> Dan</p>

Hello, the tables for macro are pretty much standard across the board, be it tubes or bellows... true 1:1 ex. comp is 2 stops, 1:2 is 1 stop etc......

 

 

 

Dan

David... I have an 8x10 2-D sitting in my living room, I'll take a look to see if I can help, but to get you started, I think the brass washers are for the movement screws.. I'll post more after I look.....

 

 

 

Dan

Hmmm.... but will it work with my gitzo????

 

 

Dan

Either that or it hasn't been calibrated for the battery voltage. Origonal battery was a 1.35 volt mercury cell and any of the currently available batts will put out 1.5 to 1.6 volts. On my cameras (F-1s and FTb QL) that puts the meter off by two stops (400 film meters as 100)

 

 

Dan

The luna pro was designed for the mercury batteries, 1.35v, not the current alkaline or silver oxide 1.5-1.6 volt battery. there is a way to open them up and adjust for the change in voltage (I think best done by a repair shop the name of which escapes me at the moment, but there's been discussions about them here before). Or, there's the adapters that use a silver oxide battery and a diode to drop the voltage. I think the adapters are around $30 each, and you'll need two.

 

 

 

Dan

DS- Sorry to say it, but your logic on the P&S is a little circular. If the camera in question has user controlled aperture and shutter speeds, it's not a P&S, it's a manual camera. As to f-stop and shutter speed, it's all "how much light and for how long", so it really doesn't matter if the light is hitting film or a sensor. Iso, asa, din, ghost would just be replaced by another word for "how sensitive do you want the cmos to be?" As to format in regards to digital, which has a cleaner, sharper, etc image, the 24x36 cmos on the canon, or the what, 56x56 cmos on a digi hassy? Or for that matter, a theoretical 4x5 inch cmos cluster? My point is, in digital, as well as film, the bigger the format, the more detail/information you can capture and use.

 

Dan