jim_everett

Here is a link to a disassembled 28-105.

 

http://www.photoscene.com/sw/tour/inside.htm

 

You are welcome.

John;

That is the "motor" drive mode you are seeing, not the AF mode. See the manual starting on page 64, and then make sure you are in the "one shot" AF mode.

 

Jim

Yes. Therefore, the exposure correlation is true too. With negative film, slight overexposure may help preserve shadow detail; with reversal film, slight underexposure may help preserve highlight detail.

Since the 10D viewfinder is smaller and dimmer than say, my 1D or A2, I find it a little more difficult to keep horizons straight when shooting sports action. At least, it takes more concentration.

Aonther option is to get a 1.4x or 2.0x telextender. This, with your 70-200, respectively gives you more reach (280 or 400 mm), and still not be worse-off f-stop wise than the 100-400. Of course, you still wouldn't have the IS, but you almost achieve your objective at one-fourth the price.

I was hoping Canon would come out with a revised 550EX which has a distance or sensor based exposure mode which will overcome the confounding exposure problems with high-contrast scenes.

As I write this, I am looking at a 16x20 inch enlargement on my wall which is sharp, has great color and contrast, and has barely noticeable grain. It was taken with the Canon 28-105 USM; on a tripod; using E100SW film; printed on Fugi Supergloss (R-type paper). I have many others like it.

 

You will be very satisfied with enlargements from this lens if you follow the advice given above.

Some of the early models of the Elan II had problems with the battery door not providing sufficient pressure on certain batteries. This causes intermittent operation if you happen to use batteries from a vendor who makes them slightly smaller (I don't remember which brands had the problem). The fix is to either have the door replaced with a new style (which Canon did for free on mine during a CLA service), or to use a few folds of paper under the battery to provide more compression. The new battery door has a small bump on it, the earlier doors were flat where it contacts the battery.

Just for your reference, I have a table of automatic flash exposure compensation for the Elan II, which is likely to be the same for your EOS 3 (but I don't know for sure).

 

For EV from 23 down to 13, AFEC is -1 1/2 stops.

For EV 12, AFEC is -1 stop.

For EV 11, AFEC is -1/2 stop.

For EV 10 down to -1, AFEC is 0 stops.

 

I have a little label on my cameras which notes that EV 10 (where AFEC has dropped to 0) is 1/60 @f4. I can mentally calculate the other conditions from there.

. . . .and he hasn't even been awarded a "hero" icon. What gives?

It has been done before, and instructions have been posted on photo.net. Look at:

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=000ux7

 

and

 

http://www.dsp.com/chantal/remoteControl.htm

About five years ago, I bought this lens and a spare body because I was doing some work in rugged terrain and didn't want to risk my more expensive glass and body. Being used to the higher quality constructed L glass, I was certain there was a mechanical problem with the lens because of the amount of wobble. Anyway, to get to the point, I sent it to Canon for warranty repair and it was returned as "within factory specifications" (or some note to that effect). In any event, the lens has since seen much use and continues to perform superbly.

I had a repair like this made many years ago on a very expensive lens, so I know it is possible. I don't remember how much I paid, but as I recall it wasn't too much. The repair shop had a tool which worked the filter ring back into shape; they didn't need any parts and it was repaired while I waited. I was probably lucky, but it would be worth your time to call a professional camera repair shop and see what they could do.

In the Alaskan Heritage Museum (probably not the official name) located on the University of Alaska campus in Fairbanks, there is an entire room dedicated to the works of Hoshino; his photographs and writings. I recall seeing translations, but not necessarily of all his writings. Perhaps you can contact the museum for information.

 

Seeing Hoshino's photography in large print is simply awesome.

<body>

Check <a href="http://www.nanpa.org/sandiego/sdphoto.html">here</a> for

loads of information from NANPA on San Diego area photo opportunities.

</body>

</html>

Many of the participants at the San Diego NANPA several years ago used 3-ring binder style slide holders, usually 20 slides per page such as the PhotoFile brand. I did see some participants use the black cardboard style holders, which blocks all light except that which passes through the transparency. I volunteered as an usher to assist review participants, so I had an opportunity to see how most presented their work, which was as described above. I don't know what the reviewers thought of this presentation style, but that is what I saw.

 

By the way, I also got a chance to peek at the panoramic work presented for review. Both 35mm and medium format panoramic slides are stunning indeed.

Your first stop should be at the Anza Borrego Desert State Park visitor center in Borrego Springs. It has books, maps, and just about any other park information you could want. The staff there can provide free and accurate information on wildlife sightings, foliage bloom status, road conditions, etc.

Have a look at the "Nature and Wildlife" forum at Rob Galbraith's site. It is at <http://www.robgalbraith.com/forums/index.html>

 

There are a number of forum subjects available, intended mainly for issues of interest to photojournalists. The nature forum has recently been added, so there is not much traffic yet. However, considering the quality of the other forums and stature of the moderators, this is likely to be worthwile forum. The objective of this forum is to discuss the use of "...professional digital SLR cameras in nature and wildlife photography."

In the Original Q&A Section there was a thread on Supra where I posted results from a through evaluation of Supra 400 & 800 (10 rolls each compared side-by-side with PJ400). For some reason, the thread was deleted, so I'm not going to bother to post details again. In essence, these are superb films.

<HTML>

<P>Here is the web site for <A HREF="http://www.woodselec.com/">Shutter-Beam</FONT></A>, although it doesn't seem too active.</P></BODY>

</HTML>

<HTML>

<FONT SIZE=3><P>Have a look at this </FONT><A HREF="http://www.photo.net/bboard/q-and-a-fetch-msg.tcl?msg_id=000Omy">link</A><FONT SIZE=3>.</P></FONT></BODY>

</HTML>

Creating Parks in the first place is intended to protect special places; the irony is that doing so creates an attractive nuisance with likely overcrowding. The problem with many of the overcrowding solutions which prohibit individual automobiles in favor of walk-in and cattlecars is that it cedes the Parks to the young and nimble and excludes (or severely limits) access by older and/or impaired persons.

 

This is a real dilemma which will not be solved easily. High fees and/or mass transit just remove another class of people from access. Parks should remain available to one and all.

Check out another thread on this subject: <http://www.photo.net/bboard/q-and-a-fetch-msg.tcl?msg_id=000One>

The pumpkin patch is a field of interesting geological concretions which have about the same size, shape, and color as pumpkins. They were apparently formed by erosion. To many people it just looks like a boulder field; the color of the boulders gives it the name.

 

To get more information and see a pix, have a look at

 

http://www.desertusa.com/ovr/du_orvpupkin.html

 

To get there, you need a map and four wheel drive. Roughly speaking, it is within the Ocotillo Wells State Vehicular Recrecreation Area, about 1/2 mile east of the border with Anza-Borrego Desert State Park, on Tule Wash road. It is a real long haul, about one hour from the nearest pavement.

 

Worthwhile photographically? To each his own. I'm happy doing any shooting I can in the desert.

I used the fiberglass poles and cloth from an old dome tent to make a blind. I re-arranged the three poles into a teepee shape (so I could stand up), my wife cut then re-sewed the material (used the floor material to make a taller structure) into the teepe shape, and added a few "windows". Bungee cords hold everything in place and into shape.

 

Works great, is roomy enough, is very compact and light, and the price was right.