Lou_Meluso

<p>Very pretty camera and fine results. Like Raj, I always wanted one of the these but never bought it. I played with one many years ago and loved the beautiful fit and finish. The wonderful, and rather expensive, Zeiss lenses were a great draw at the time but also the greatest deterrent to a photographer of modest means already vested into the Canon FD system.</p>

<p>Your continued posting of these interesting cameras is laudable and, frankly, inspiring. No one deserves "Hero" status more. The people that run this website will never acknowledge the years of free content you have provided but I, along with many others, appreciate and enjoy your efforts. Thank you.</p>

<p>Yeah, like a couple of others, my creaky body and arthritic hands demanded I let go of bigger cameras and found relief, pleasure and wonderful image quality in the APS-C Sony system. The A6000 with a few lenses is so small and light it can be carried daily for prolonged periods without issue. With a small prime or kit zoom, it disappears into a jacket pocket. They are reasonably priced. The new A6500 adds touch-screen focusing and IBIS anti-shake to any lens you use. Older, adapted manual focus lenses focus well with a clear lens peaking feature. I also have the A7RII which while bigger and more expensive is full-frame yet still compact and light. Yes, the menu system takes some getting use to, yes, Sony doesn't have the remarkable lens catalog of Nikon. Yes, the newer models and top-tier lenses fetch premium prices, yet the system has brought me back into carrying a camera more and enjoying photography more. </p>

<p>You may find my post <a href="/digital-camera-forum/00cTKu">HERE</a> of some value.</p>

<p>Canon FD 100mm f/2 </p><div></div>

<p>I personally can't think of shooting anything but RAW. Just the thought that my master file could be an 8-bit, compressed JPEG gives me shivers. But that's me.</p>

<p>This past Monday I had lunch with a lady friend of mine. She is an accomplished, talented photographer that has traveled widely and has had several successful gallery shows, had a book published and recently had some of her work hung at the Art Institute of Chicago. Naturally, the conversation turns to photography and she, in fact, had her camera with her. It's the same model I use. She asked me about a menu setting and I took the camera to show her when I discovered she had the camera set to JPEG only. "Oh sure", she says, "that's all I ever use. It saves me a ton of time". I resisted rising to my RAW soapbox and thought, heck, it seems to be working well for her. I thought of the tons of good phone shots taken by good photographers in JPEG format too. All I said was "oh, I see" and continued to enjoy a pleasant lunch.</p>

<p>Some folks don't want to fuss around with their images much and JPEGS work for them. I say, Mazeltov! </p>

<p>Yeah, total scam. Too bad but...before you sell it, try it out. I have the same lens and found it lovely for portrait work. Really creamy bokeh and pretty darn sharp in the center. It was clearly better than my old FD 55mm f/1.2 and FL 58mm f/1.2. It does show some color fringing on high contrast edges but fairly easy to fix in post. Besides, not a lot of portrait situations have that level of contrast. It's part of a number of fine FD lenses I use with my mirrorless Sonys. This one has real character.</p>

<p>Wow, some amazing images in this thread. Well done!</p>

 

<p>Sony A7, Rodenstock 120mm Apo-Macro Sironar Digital</p><div></div>

<p>Sony A7, FE 90mm f/2.8</p><div></div>

<p>The F3 sync speed is 1/80th sec. Set the camera to that...the "X' mark on the shutter dial. On your handheld flash meter set the iso, and, if an incident meter, measure the light from the strobe from the subject position. Use the f/stop it gives you. Depending on the flash meter, the shutter speed, when measuring flash, is not an issue. <strong>You need to use the cameras sync speed or slower</strong>. You are using a flash meter, yes?</p>

<p>In a studio situation, your flash exposure is determined by the flash...its power setting and or distance from the subject and is affected by the modifier (soft box) you are using. Adjust the flash power setting or distance to the subject to get to the f/stop you want to use. The camera shutter speed should remain fixed.</p>

<p>Using a slower shutter than the sync speed works too but it depends what your shooting (is it moving), the iso of the film (high speed film can record modeling light) and the f/stop (wide open apertures with fast lenses lets in more ambient light than a lens stopped down)</p>

<p>If you set the shutter to faster than the cameras sync speed, the shutter will not be fully open when you make an exposure and part of the frame will be cut off. The higher the speed, the more of the frame will not be exposed.</p>

<blockquote>

<p>My question is when the camera is turned off, is the sensor still exposed to light?</p>

</blockquote>

<p>Yes, but it doesn't matter because....</p>

<blockquote>

<p>Does it damage or shorten the sensor quality?</p>

</blockquote>

<p>In normal use, no.</p>

<p>Ah..the Strobonar Flash...so '60's.</p>

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<p>A7, Canon FD 100mm f/2<br>

This is one of my favorite lenses of all time. </p><div></div>

<p>A7, Micro-Nikkor 55mm f/2.8</p><div></div>

<p>A7, Canon LTM 50mm f/1.8 Serenar</p>

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<p>It was quite cold and windy out on the prairie.</p>

<p>A7. Micro-Nikkor 55mm f/2.8</p>

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<p>If I remember, the EE was the less expensive version of the EX Auto which I have. Take a look at my post <a href="/classic-cameras-forum/00Spje">HERE</a> where I show my kit with the available lenses. It's an odd bird, for sure but the lenses are good performers.</p>

<p>I didn't worry too much about getting "premium" lenses when I got my first A7 camera. Most manual focus legacy lenses work fine, stopped down a stop or so, but lack electrical connection to the camera which is nice to have but not need to have.You connect them with readily available glassless adapters. The Canon FD 50mm f/1.4 works great as does the very compact Nikkor 50mm f/1.8 AIS. The Micro-Nikkor 55mm f/2.8 is an excellent and versatile choice. If you want "character" in a lens look no further than a Pentacon 50mm f/1.8 or Pentax Takumar SMC 50mm f/1.4. Both of those are found in M42 mounts. All are quite affordable while you save up for the high-end Sony AF lenses. After a while, depending on what you are shooting, you may decide you don't need them.</p>

<p>If you are set on an AF, e-mount lens, the Sony/Zeiss 55mm f/1.8 is top notch even wide open. Prices on these have eased slightly for new if you shop around but still spendy. Better to find a clean user from a reputable source with a good return policy. </p>

<p>Sounds like you can't make up your mind about what to bring. Try what I do. Don't sell stuff, just leave it home. You'd be surprised how well you will get along without your treasured whatever combo. Take it when you are sure you will use it otherwise leave it. Your back will thank you and your viewership will never notice the difference. It's hard to be creative when you are uncomfortable. Tip: Buy a smaller bag. It forces you to use smaller gear and make definitive decisions about what lenses and accessories to bring.</p>

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<p>I shot this a while ago and just tried a different processing approach.</p>

<p>A7, FE 35mm f/2.8</p><div></div>

<p>Interesting. It may appear to be an exact replica but if it were truly a real F-1and lens that size, I doubt you could lift it. One of the most beautiful cameras ever.</p>

<p>The 45mm Yashinon DX f/1.7 lens is legendary and your examples show it. I had a couple Electro's and never cared much for the camera(though yours is a beautifully clean example) but the lens was one of the best on any fixed lens camera of the day. If I still had one I would pull the lens to adapt to a digicam. Thanks for the fine post. </p>

<p>Contact Clarence Gass in Kansas at 913-432-6057. Top notch vintage camera tech at reasonable prices.</p>