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Gary Naka

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Everything posted by Gary Naka

  1. Gary Naka
    I think they evaluate it and buy it on the spot.
  2. Gary Naka
    Kaufman's in San Bruno will take in a lot and do consignment sales of the individual items. But I don't think they do entire inventory purchase, you can ask. I have no idea if San Jose Camera, or Mike's in Menlo Park have a used section. That's about it for my knowledge of Bay Area camera stores.
  3. Gary Naka
    Personally, I send shutter work to a tech to do. Too many small parts. I would not trust an audio based timing system to be accurate for all types of shutters. I would want an optical trigger for the timer. Using the proper lubricant is important. I don't know what Super Lube PTFE is, but it appears to be a GREASE, not an oil. I have messed up some things by using a lube that was not light enough, IOW it was too thick and it gummed up the works.
  4. Gary Naka
    There is a difference between a dSLR blackout and a mirrorless blackout. With a dSLR, as the mirror goes up/down, the image in the viewfinder gets darker/lighter. So there is a gradual but fast reduction in the brightness of the viewfinder, before it goes black. With a mirrorless, the blackout is binary. There is no gradual darkening/lightening. So the blackout is visually more jarring to the eye. But with a mirrorless, there is always the option to use the e-shutter, and NOT even have a blackout. And you can still be able to shoot using the viewfinder. When I shoot basketball with my Olympus, I use the e-shutter. As for EVF delay, yes that exists, and is different by brand and camera model. Some are worse than others. But in the end, if a mirrorless does not work for you, don't use one. When I was shooting sports with the Olympus EM1-mk1, the EVF was so frustrating to use, that I gave up and switched back to my Nikon D7200. The EM1-mk2 however, fixed all the issues that I had with the mk1, to such a degree that I can and do use it to shoot sports. So don't count out a camera/technology based on version 1 of an item.
  5. Gary Naka
    That is how I remember my childhood studio portraits being shot. LF view camera on a dolly, photographer on the side of the camera holding a bulb release, and looking at and talking directly to the subject/me. I always thought that was better than a voice coming out from behind the camera.
  6. Gary Naka
    You are right. I have been thinking REALLY HARD about the D750 vs Z6. My gut reaction is to go for the new system and the Z6. Cut the dSLR line and go for the future. But as you know m4/3 is my primary system, so the D750 would have been a specialty use camera, for low light sports.
  7. Gary Naka
    I wonder if Nikon will do the D750 for $999 again. That could be bad for my wallet.
  8. Gary Naka
    Just tell your wife that GAS is cheaper than booze :D and chasing other women :eek: then DUCK and RUN.
  9. Gary Naka
    There is no ONE right answer. Do whatever pleases/works for you. Depending on WHAT you shoot, looking down into the waist level view finder (WLVF) lowers the height of the camera relative to the subject, compared to an eye level viewfinder. This does make a difference. Example, I have seen way too many pics of children shot by a standing adult, so the image is looking down on the child. But if you are NOT comfortable with a WLVF, don't use one.
  10. Gary Naka
    Oh no, if you go MF (or LF) you just got to set up a wet darkroom :D For me, that is the other half of the fun of shooting film.
  11. Gary Naka
    @movingfinger GAS = Gear Acquisition Syndrome IOW, I gotta buy more stuff :D @nikkolee As @movingfinger suggested, what about a TLR or even a Hasselblad? In 2004 I bought a used Hasselblad for less than I paid for a Nikon D70. The looking DOWN to look into the camera makes you think a bit slower and more deliberate than a 35mm RF.
  12. Gary Naka
    I think you need the personality and presence to deal with that. And I don't have the personality to deal with that kind of situation.
  13. Gary Naka
    I though you could NOT put RC paper into a heated dryer, for fear of melting the plastic/resin. I always air dried by RC prints.
  14. Gary Naka
    This discussion is interesting, because after I got a Hasselblad (BTW, cheaper than my D70), I began to see a LOT of square format compositions as I walk around. Even though I used to print, in any dimension that I wanted to, getting the 6x6 camera made me more aware of composition in other than 2x3 ratio 35mm film format. But even back in the film days, the 35mm film format as was said did not match standard printing paper, so I always wasted paper when I printed a full 35mm frame. And I was never able to find a premade 2x3 ratio frame in any of the frame stores. I had to mount the full frame print on a mat board, then into the frame. As a poor high school and college student, I could not afford custom frames $$$. So when I printed for a standard frame, it was either 4x5 / 8x10 or 5x7 / 11x14, and both formats did not match the 35mm frame. So I had to shoot with extra crop space around the subject. And frustratingly, even square frames are HARD to find. It wasn't until I could mount my own pictures and found affordable custom frames, that I was free of the standard picture frame dimensions.
  15. Gary Naka
    I am dreading that. It was HARD to resist the D750 at $1,000 after Thanksgiving. If it happens again, I may break down and get one. But I am thinking that I would be better for me to cut from the dSLR and switch to the Z6. As it is, I stopped using my AF and AF-D lenses on my D7200, so that is not an issue for me.
  16. Gary Naka
    Durst M600 was my first enlarger. I did the, painful/$$ purchase of an El Nikkor 50/2.8 also. In my various moves, it was great, because it broke down and packed well into a box that I could carry and it stored well. In comparison, the two Omega 6x7 enlargers that I have, have HUGE boxes which are not easily carried nor stored. I have since gotten two 4x5 enlargers, an Omega D5 and a Durst L1000, to go with my view camera. These have yet to be setup. :( I have a soft spot for Durst since it was my first enlarger, and I liked it.
  17. Gary Naka
    That is you, a knowledgeable photographer. Some/many people think that IS is a "magic bullet" that will let them shoot EVERYTHING, including people, at slow shutter speeds. They do not RTFM to understand the limitations of IS. Just like my sister-in-law who asked me why her pictures were all blurry. She was holding the P&S out at arms length, and her arms were wobbling in the air.
  18. Gary Naka
    What are your shooting plans? In daylight or moderate lighting, with a normal lens, I see little value in IBIS. Example, I have no problem shooting my D7200 (no IBIS) with a non-stabilized 35/1.8. But I raise the ISO and shutter speed as needed, to eliminate camera and subject movement. But in DIM lighting, IBIS has a value. But only to compensate for YOUR camera motion, it will not do anything to stop subject motion. Example, my Olympus has IBIS, a stabilized shot at 1/8 sec has sharp background, but a blurry subject, because the subject moved. :( If you use a tele lens, then IBIS or OIS becomes of value. The other consideration is if you have medical issues that cause your arms to shake. In that case, IBIS or OIS would help a lot.
  19. Gary Naka
    I'm safe, I can't afford those cars.
  20. Gary Naka
    P&B Vivitar was my 3rd party lens of choice when I was starting out, and they worked just fine. I would not hesitate buying a P&B Vivitar lens. But, given the low used prices today, I would first look for a Pentax SMC lens. BTW, the T4 system was a way to effectively get a breach lock lens, on a screw mount camera. I did that before switching to a Nikkormat, with a bayonet mount.
  21. Gary Naka
    Dieter, The problem that I have with Sigma lenses is that the zoom ring turns the wrong way. At least on the lenses that I've seen pics of. I was using a Sigma 17-50/2.8 on a Canon, to shoot volleyball; and after about 15-20 minutes of constantly turning the zoom ring the wrong way, and loosing shots, I gave up in frustration, and put it away. Muscle memory for fast action sports/events is really hard to overcome. When I shoot field sports (football/soccer/lacrosse) with my Nikon 70-200/4, I don't think which way I need to turn the zoom ring, my fingers just turn it in the correct direction. This is like driving a stick shift car, I don't think about what direction and position to move my hand for each gear, I just "do it."
  22. Gary Naka
    If you will use the wall as a background, then FLAT paint. If not, then semi-gloss, to make it easier to keep clean. Tip: Make the BACK wall WHITE. Then hit the back wall with a strobe, and you have a HUGE soft light source. Though this does not work if the back wall is full of cabinets, and other stuff. It has to be mostly clear, to act as a reflector. As mentioned, it all depends on WHAT you are shooting. Curtains can be used to kill unwanted reflections off the walls. Also consider the ceiling and floor color, because once done, you can do very little with the floor and nothing with the ceiling. A high ceiling is more forgiving than a low ceiling. A low white ceiling will simply be another light reflector.
  23. Gary Naka
    I would use a DARK grey.
  24. Gary Naka
    It was REALLY tempting. I almost pressed the "buy" button.
  25. Gary Naka

    D850 vs Z7

    Gary Naka replied to bdmott's topic in Nikon

    And the Z6 is LIGHTER than the D810. That is one of things about the D8xx that I don't like, the weight. Especially now that I am getting used to the EM1.
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