jsbc

George: I think the vignetting problem is mainly with the old (discontinued) Yashica T4.

 

Anyway, you should look at TVS III if you want a high end 28mm zoom.

If not the Ricoh GR-1v wins hands down on a 28mm fixed focal length PnS.

 

To be honest, there are other 28mm zooms around, the old Fuji Mini-Zoom, the Rollei's, and the Konica Lexio (which I have not used).

Christopher:

 

Using the original Minolta Dual Scan and Vuescan as well, I would say the Fuji Reala, Superia, NPH scans quite well. Supra is OK, except for Supra 800 which produces the worst grain-aliasing (I do not see the grains in the optical prints).

 

Slides are okay if they are well-exposed.

 

The problem is film profiling - none of the the ones included in the software works for me. But I follow Hammrick's advice and produce quite good peronal profiles easily.

 

The noise in the dark areas also go away if you set the white/black spots appropriately.

$1,300 for the 35mm F1.4 ASPH for the M is probably a bit on the ceap side, given that HK$ is linked to the US$ and both are depreciating against the Euro. US$1,400 is the usual price.

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Steve:

In the minilabs in Asia what you describe is already happening. You take photos, delete the ones you don't like, andthen download/drop the compact disc or CD rom or whatever it is at the mini-lab, and get the 4x6 (or whatever size you wish) back in an hour. They can print via the frontier syste. You know exactly what photos you'll be getting.

 

the clincher: this is faster than film+developer, and CHEAPER!!! I don't see why in a year or two, this work flow process would not be exported to the US.

 

Johnson

John Fleetwood:

 

This is slightly OT but which adapter did you get for your EOSsystem so you can use Pentax lenses? (or are they M42 screw mount lenses?)

 

John Miller: True, you have to get closer with a 50mm but as Capa once quipped, "if your pictures are not good enough, you are not close enough."

 

The first lenses anybody throw away is the 28mm-80mm or 28-90mm kit zoom that comes with the camera. Btw, the 80mm vs 90mm is immaterial because all camera mfrs round up numbers slightly to exaggerate the performance of their zoom.

 

MMy view is (1) if you are going to stay amateur and care about convenience more than quality (that is perfectly fine) it may be worthwhile to get one of the Tamrons 28-300 zooms for the Pentax.

 

(2) if you want to be more discriminating when ti comes to picture quality, and if you want to take portraits, maybe you should pick up a 85mm lens.

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I could not understand the directions at all after staring at this for 30 seconds. What chances would a passing motorist have?

Even if he's not serious, I find Chris' angle on "angle-finder" interesting.

Mark:

 

The fact that no one has even made an announcement on a digital R doesn't mean it is impossible.

 

Chances are no one has seen a way to make a digital M profitable. It doesn't mean it cannot be done.

 

Johnson

I think the spirit level is much more useful for the 15mm and 12mm. With those lenses, even the most minute tilt (not noticeable when framing the picture) often leads to really exaggerated perspective in the final photo.

Shogun has moved to 2nd floor of Tung Ying Bldg, which is next door

You don't need a switch. All Nikon AF lens are compatible with the FM-10 except for the G-lens, which lack an aperture ring.

 

Do try the 50F1.8 AF which is relatively reasonable priced.

 

Johnson

 

PS, I use a 45mm Ai-P with my FE-10 (which is an almost identical machine). Can't beat it for light weightedness.

with respect Ralph, Mark is a screw mount user, The 24mm would not appeal to him anyway.

 

Mark, sending out both cameras at once was a bad move. Now, you can still take out your 35mm finder and check out interesting perspectives in the neighbourhood.

 

Or get a Bessa-L and a 15mm/21mm lens and do something amazing.

Travis - is that pix from CapeTown?

It does not have to be ultra-wide to be interesting. Here's a 28mm at work.<div></div>

Interesting shots of photographers at work.

Mind you, photographers may wear many hats...Like this street shooter<div></div>

OK a 24mm

But to be honest, I agree with previous posts in that the decisive moment doesn't necessarily have to be a split-second, fleeting instance. It could be just the moment when everything is arranged in a engaging juxtaposition that captures the essence of a story.

 

Or when everything hangs in a a interesting balance, like the girl in Korea photo above.

 

I have included another photo which, in a different way, also captures the husband/wife tension, from the same Chinese opera.

Implacable wife beating up hubby on wedding night

(Title of the Chinese opera)<div></div>

Todd Frederick has posted an interesting thread on other photographer

at work.

 

Here is another thread on nappers at rest (which is another theme of

my street shooting). Hopefully none of these are photographers by

profession.

 

http://www.geocities.com/jsbc1/PhotoDirectory/Street/nappers/index.htm

 

Johnson<div></div>

Other photographers at work form one of my street photo themes...

They are fair prey... (though HCB would not agree!)

 

http://www.geocities.com/jsbc1/PhotoDirectory/Street/photogs/index.htm

 

Johnson<div></div>

Other photographers form one of my favorite themes in street photography.

 

http://www.geocities.com/jsbc1/PhotoDirectory/Street/photogs/index.htm

 

Johnson<div></div>

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I think the above comments are almost unison in saying F100 rather than F80 (for compatibility with MF lens), and the zoom rather than another 28F2.8. There's a difference between 24mm and 28mm but it is not that dramatic.

 

It would help if we know what you photograph, but I think the 18-35 zoom could be appealing too, or a 20F2.8.

 

In lieu of the 50, some people also use the 35F1.4 as well.