julio_m

<p>Geoff, sent you a PM. Have a +1 if you can use it, and other FD stuff.</p>

<p>Yes, I am speaking about the 2x zoom flip up finder. Will it also fit the 645N and NII; anyone out there with the answer ?</p>

 

<p>I mean the FOCUS magnifier, NOT the loupe.</p>

<p>I am speaking of the magnifier with the flip -up eyepiece, must suitable for Macro work.<br>

NOT the waist level /right angle type. Thanks.</p>

<p>From Bill Pierce, photojournalist - from his column on RFF: "Marty, what an incredibly decent man. When I was in school in the mid 50's the center of the photographic universe was 480 Lexington Ave., the Grand Central Palace. Marty took care of your cameras. Axel Grosser souped your film in a one man (plus a receptionist) branch of Modernage. Katherine Ujeley Bertrand retouched the portraits of girls you wanted to impress (She had learned to retouch small film during WWII when there was no sheet film in Europe.). Actually, they were your family. And Sam Locker at Royaltone, the Fotocare of the Fifties, was the grouchy neighbor. And punk kids from New Jersey were treated as well as their heroes, many of whom they were introduced to at Marty's. <br />People forget, cameras were forever. Every year your cameras would get rotated through Marty's and get a CLA, clean, lubricate and adjust. I remember when one photographer had a camera smashed at a civil rights demonstration, Marty epoxied the main body casting and kept the camera going. Marty was repairing the cameras of the kids covering the movement for free. <br />If you were on the road and needed something repaired or customized, he moved on it, shipped it and trusted you would pay him when you got back. <br />Marty made the first thumb wind; actually it was an index finger wind, an arm that attached to the circular wind knobs of 35mm cameras with a hole that accepted your index finger and allowed you to spin the wind knob. By the time he moved up to 37 W. 47th in the diamond district, all 35 cameras had wind levers, but he started it. The 180 and 300mm Olympic Sonnars, movie camera lenses, were the long lenses of choice and Marty adapted them to everything from Visoflexes to Nikons. If you wanted that extra smooth focusing movement, he showed you how to temporarily replace the lubricant in the lens with valve grinding compound. When the Leicaflex first came out, there were no zoom lenses for it; so, he adapted Nikon lenses for it. When he first made Polaroid backs for Nikons, he made me a Canon "prototype" so I wouldn't feel left out. <br />I don't know how he did it, but Marty knew the name of every photographer that came into that shop. And it wasn't that he checked the name on the repair slip. If he saw you on the street, he called out your name. He didn't pretend to be your friend; he was your friend. What a kind, decent man. There are little pools of goodness in our tiny photo world and Marty's was one of them, thanks to Marty."</p>

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<p>From Bill Pierce on RFF: "Marty, what an incredibly decent man. When I was in school in the mid 50's the center of the photographic universe was 480 Lexington Ave., the Grand Central Palace. Marty took care of your cameras. Axel Grosser souped your film in a one man (plus a receptionist) branch of Modernage. Katherine Ujeley Bertrand retouched the portraits of girls you wanted to impress (She had learned to retouch small film during WWII when there was no sheet film in Europe.). Actually, they were your family. And Sam Locker at Royaltone, the Fotocare of the Fifties, was the grouchy neighbor. And punk kids from New Jersey were treated as well as their heroes, many of whom they were introduced to at Marty's. <br />People forget, cameras were forever. Every year your cameras would get rotated through Marty's and get a CLA, clean, lubricate and adjust. I remember when one photographer had a camera smashed at a civil rights demonstration, Marty epoxied the main body casting and kept the camera going. Marty was repairing the cameras of the kids covering the movement for free. <br />If you were on the road and needed something repaired or customized, he moved on it, shipped it and trusted you would pay him when you got back. <br />Marty made the first thumb wind; actually it was an index finger wind, an arm that attached to the circular wind knobs of 35mm cameras with a hole that accepted your index finger and allowed you to spin the wind knob. By the time he moved up to 37 W. 47th in the diamond district, all 35 cameras had wind levers, but he started it. The 180 and 300mm Olympic Sonnars, movie camera lenses, were the long lenses of choice and Marty adapted them to everything from Visoflexes to Nikons. If you wanted that extra smooth focusing movement, he showed you how to temporarily replace the lubricant in the lens with valve grinding compound. When the Leicaflex first came out, there were no zoom lenses for it; so, he adapted Nikon lenses for it. When he first made Polaroid backs for Nikons, he made me a Canon "prototype" so I wouldn't feel left out. <br />I don't know how he did it, but Marty knew the name of every photographer that came into that shop. And it wasn't that he checked the name on the repair slip. If he saw you on the street, he called out your name. He didn't pretend to be your friend; he was your friend. What a kind, decent man. There are little pools of goodness in our tiny photo world and Marty's was one of them, thanks to Marty." </p>

 

 

 

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<p><a href="http://www.pdnonline.com/pdn/content_display/photo-news/obituaries/e3i505f5fdeedc76b425fee7e8424140471">Marty Forscher, Inventor and Camera Repair Guru, Dies at 87</a></p>

<p>Bryan,<br>

Have you received my email concerning Schwalberg strap jpegs. ?</p>

<p>I suggest you add the hook/clip that was part of the sorely missed Schwalberg strap: it allowed for the removal of the camera while carried over the shoulder under a jacket/coat - whithout the need of removing the coat/jacket first. It also had an adjustable strap in order to carry several cameras. At one point it was the favorite among photojournalists. </p>

<p>I forgot to specify that Ken Hansen is a Leica dealer, also with a wide stock of used-like new Leica camera and lenses.</p>

<p>Tamarkin closed his Manhattan store long ago.<br>

After trying them all over many years, I still feel Ken Hansen remains the best in the business: in terms of quality, price - and honesty. While quality and honesty are subjective terms, there is a simple reason for Ken's lower prices: he works now out of his Manhattan 72nd street apartment, thus eliminating the overhead of a retail store.<br /> Ken Hansen: 212 879 3263 Cell 917 345 5229 Email KHPNY19aol.com<br /> I repeat, you can take Ken's word to the bank.</p>

<p>After further checking: Yes, BDC Camera Repair in Madison, WI (608) 257 63125, Nippon Camera Clinic (212) 982 3177 in New York and Essex Camera Repair in Carlstadt, NJ (201) 933 7272 still repair them.</p>

<p>They wont touch them. Period.</p>

<p>Danny thanks. Unfortunately wrong cap. As stated, I need the cover for the external power socket, not for the battery compartment.</p>

<p>Since Pentax USA doesn't service the 645 manual model, I would appreciate specific recommendations of where to have it serviced. I am aware of Nippon Photo Clinic in NY and Essex Camera Repair in NJ. Any others?</p>

<p>Pentax parts division doesn't have any. Any other sources or has anyone tried other camera brands socket cap that might fit ?</p>

<p>http://web.mac.com/kamberm/Leica_M8_Field_Test,_Iraq/Page_1.html</p>

Ikka, THANK YOU. You said all.

<p>Enough talk and advise; thank you all. Now, let's SEE some pictures.</p>

<p>Because of the almost 3 stop difference I was considering the lens as an alternative to the XPan 30, not the 45 mm.<br>

Anybody out there with PC Super Angulon pictures? Rob F ?</p>

<p>Sorry for the duplicate edit; meant to delete.</p>

<p>Thank you Rob and Vivek. <br>

If I understand correctly, for "people" pictures, I just set the shift on zero and forget about it - unless when I am shooting,  say about 6 feet when I will have to raise the lens to compensate for parallax. Otherwise, and in order not to lose time (and the shot) can I still leave the shift on zero and use the parallax compensation cut out lines on the Xpan's 30mm separate viewfinder ? <br>

What about vignetting ? Does it vary with the aperture ? I have been told this lens won't cover the full 65 mm width. Does anyone have actual images to post with this particuar lens, specially wide open? Thank you again.  </p>

<p>I am not interested in arcquitectorial but solely in "street" panoramic photography. I am aware there is no range finder coupling; I can take care of that. My main concerns are vignetting and the "Shift" controls. How much vignetting ? How do I set the "Shift" control; for distance; for WHAT ? Is there a problem shooting wide open? How fast (or slow) are they to operate under street and indoor available light "real" world shooting situations ? Please don't tell me about what you heard or read, but about your actual shooting experiences. Thank you.</p>

Robert Goldstein: Great photograph. Can we see more?

My apologies for the typo: REPAIRMAN