bryan_andregg

NPS is supposed to be lower than normal contrast.

NPC is tenably for fashion and has high contrast and color saturation

NPH is good low contrast portrait.

NPZ is a good all around high speed film.

You don't specify whether you want black and white or color, but BH Photo carries Ilford

Pan F Plus 50 black and white.

As everyone else has said, it's a unique bag. I don't have experience with other Billingham

bags, but I was given one of these for free when I bought my M7 not too long ago and it's

a great bag. I don't think I would have paid the retail for it, but I'm happy to have it. I

regularly carry two M bodies with lenses mounted in the main compartment and the front

pocket is big enough for a bunch of film and a vivitar 283. It's very comfortable to carry

while shooting and in black on black it's unobtrusive. I especially like the way the flap is

designed to fall closed without having to be fastened.

I think that you need to refine what you mean by "getting my money's worth."

When I started taking photographs a few years ago I bough a new consumer grade Canon

SLR. I was pleased with it, but it didn't call to me from the closet it was stored in to go take

photographs. I took it with me when I went out, but it didn't call to me. Later I upgraded to

an older, but nicer SLR which handled more nautrally to me. I started to hear that camera

calling me. As I developed as a photographer I learned what it was that I wanted out of a

camera and a lens.

So, when I investigated the world of rangefinders I decided to do it the right way. I started

with a Bessa R2 and a couple of CV lenses. I learned how to use the equipment to the best

of my time and abilities. But it didn't call to me. I upgraded to a Leica body and lens in a

focal length that I didn't have once I was sure that I both enjoyed using a rangefinder and

would continue to do so for a long time. I've since sold the Bessa R2, bought another Leica

body, sold the CV lenses, and bought a couple of other Leica lenses. This equipment calls

to me.

I'm never going to "get my money's worth" out of this equipment if I try and justify it from

a fiscal point of view. I'd have to sell a lot of photographs and that doesn't interest me

right now. I do get my money's worth everytime I stop my busy life, look through the little

glass window and a take a good picture for myself. For that retreat, I'd pay a mint.

The Leica M is preported to be in the MoMA collection.

A membership at the new prices is 75$ per year. I think that's quite a bargin.

I used my M7 with a flash for the first time this past weekend at a friends wedding and

rehersal dinner. I had a Vivitar 2800 on the M7 which worked pretty darn good for a first

time setup. The only problem I had with exposures was that there was noticable Red-Eye

in picutres of people facing the camera when the flash was used. I know what Red-Eye is,

and I know how to prevent it in general (move the flash off camera, bounce the flash, etc.),

but I want to know what most people do. I was using two cameras at the same time, so

having to hand hold the flash off camera seems out as an option, and a bracket eliminates

the whole reason that I shoot with my little M's in the first place.

Advice?

I just received a new Summilux 35 ASPH lens from Adorama that has a quirk I haven't seen

before and wondered if anyone else had or had advice on the matter (and advice is NOT

"leicas are overpriced" or "it's another example of quality leica engineering").

The aperture ring can be turned just a little past both the 1.4 stop and the 22 stop. It's as

if the stops for the ring are set a little wide; it's noticable in both feel and by observing the

aperture blads while looking through the lens. I'm going to put a couple of rolls of film

through the camera this weekend and see how the results turn out.

Has anyone seen (or felt) this before or know what the cause is? I'm perfectly willing to

send the lens in for repair right away if waranted but thought I'd check here first.

Thanks.

First off, I don't sneak around. Anymore. It was a hard habit to break as a new street

photographer because I was afraid of the confrontion. Then I realized that most of the fear

and confrontation was coming from sneaking around. Now, when I take someone's photo

and they notice I smile, and say or mouth, "Thanks." If they indicate that they'd like me to

bugger off, I'll stop taking pictures of them.

Don't be a sneak and you won't worry about getting "caught."

The weather and the sun cover are going to be the biggest factors in figuring out the film

speed. I shot a day of golf using FUJI NPZ 800 but that was on a day that was very overcast

and rainy. 800 might be too fast if it's full overhead sun and you want to use a large

aperature.

I currently have a Voigtlander 90/3.5 APO Lanthar. It's a fine lens, but I find that the focus

throw is sooo long on it that I don't look forward to using it even for those "must have"

shots. I'm wondering how the focus throw on the 90 APO Summicron is? Can anyone tell

me either a) how they compare or b) how they feel about the Summicron?

I'll give a second nod to the Chimera equipment. I just (last night in fact) got a

speedring and the maxi softbox for my 550ex. I spent the night chasing the dog and

cats around the house with the setup.

First, there is a good review of the EOS 5 in the equipment section here. Second, the

300D and the EOS 5 will share lenses just fine (they're both EOS :). Third, the EOS 5 is

a really old model, I think it was originally build in 1989 or and discontinued around

1999. And Fourth, the EOS 5 is an awesome camera. I've had one for almost four

years now and it's seen nearly a thousand rolls of film and is still working great. It's

quiet for an SLR, very quiet. I'm currently looking for a new second body (my second

body now is an Elan II) and I'm still torn between another 5 and a 3. For the right price

I'd buy it in a heart beat.

Thanks for the answers so far.

I'm using the 80-20 with the silver foil insert so the ceiling hight (which was high)

shouldn't matter so much. I think the best advice so far is that my shutter speed was

too high, thus not giving the background time to expose through ambient light.

I was using Fuji NPZ 800 ISO speed film. It was *very* dark.

I'm afraid I don't understand the comment about metering the background and using

those settings with a difused flash. If I've metered correctly for the ambient light then

the flash shouldn't fire at all, right? And I'd wind up with some crazy 1/2 second f/1.4

setting if it's dark. Can someone explain that technique in a different way?

<p>

First the setup:

</p>

<p>

EOS 5 -> TTL Shoe Adapter 3 -> Connecting Cord 60 -> Off Camera Shoe

Adapter OA2 -> Speedlight 550ex

</p>

<p>

The speedlight is sitting above the camera on a Newton flash bracket and has a

Lumiquest 80-20 on it using the silver foil reflecter.

</p>

<p>

The outcome is visible here:

<a href="http://www.loopback.net/badphoto.jpg">http://www.loopback.net/

badphoto.jpg</a>

</p>

<p>

All of the light is focused on the foreground subject with almost nothing to light up

the background. Most of this roll looks like this.</p>

<p>Is it the camera setup and replacing all of the connectors with the off shoe cable

2 would help?</p>

<p>Am I using the lumiquest wrong and this is the result one would expect?</p>

<p>Any advice, please</p>

<small>For what it's worth, I shot the wedding with the flash directly on the camera

using a stofen diffuser and everything turned out fine expect for a single picture that

looks like the above with the light focused just in one very specific place.</small>

<p>Thanks</p><div></div>

I use a 550ex on an EOS 5 regularly with good results. You don't get E-TTL and the

flash doesn't do A-TTL but regular TTL flash metering still works pretty well to my

eye. The best resource I've seen for canon flash questions is:

http://photonotes.org/articles/eos-flash/

Here is my setup:

EOS 5 -> TTL Shoe Adapter 3 -> Connecting Cord 60 -> Off Camera Shoe Adapter

OA2 -> Speedlight 550ex

The problem is that the speedlight doesn't display the flash range in this setup. I've

checked all of the contacts and everything is clean and (appears) to be working. I've

tried just mounting the speedlight on top of the TTL shoe adapter and still no flash

range display.

So, my question is ... is the ttl shoe adapter broken, or is this just not a configuration

in which the flash range will display? The flash still fires correctly and reports correct

exposures. I haven't found anything that says whether I'm cracked one way or

another.

Following up on a previous comment. With the 1.4 tc you'll still get autofocus,

whereas with the 2.0 tc you'll lose that.

I've used my 70-200 f/4 L with the 1.4 tc mkII all over the place and I love the

combination.

I am the proud new owner of a Mamiya C330s TLR. I love this camera and

can't wait to really put it through its paces. However, KEH doesn't

have a strap for it, so I need to find one. The strap is supposed to

attach to these pins with flanges on the sides of the camera. Does

anyone have a recommendation for an aftermarket strap or someplace

else to look for one?

Cheers.

<p>

I've looked at the Crumpler bags several times. Put the gear in, try the bag on, bash it about a bit. And, they're pretty inflexible and not quite as easy to get into as a more traditional courier bag (my preference).

</p>

<p>

I <b>do</b> really like their bunion inserts though. They are very compatible with fitting in other bags and are almost infinitely changeable depending on the gear I carry.

</p>

<p>

My favorite setup is a Timbuk2 messanger bag (<a href="http://www.timbuk2.com">http://wwww.timbuk2.com</a>). With a Crumpler insert.

</p>

Many people worry about this subject far more than they need to from my experience. There are going to be people who don't want their picture taken and there are going to be people who are upset when their picture is taken, but thankfully they are the minority.

Many people will be interested in why you want to take *their* picture.

Many people will just naturally keep doing whatever they were doing. Many people will be flattered.

I personally find the use of a telephoto less honest since people won't know you're there. A 50mm or a 35mm lens gives me both the look and the interaction that I want.

<p>

Simply put, if your pictures are coming out darker than you remember the scene, it's because your shutter speed was too short or your aperature was too closed.

</p>

<p>

In this case the meter is seeing the scene as brighter than 18% grey and stopping down. Thus, making a darker picture. A previous poster used a snow field as an example of exactly this same thing. The scene is brighter than 18% grey, so the camera stops down, and the outcome is grey, not the white that was expected.

</p>

<p>

The Elan II supports 1/2 stop exposure compensation up to a full 2 stops in either direction. There is no need to change the ISO (unless you're planning on pushing/pulling the whole roll). This is done using the back wheel. Turning the wheel clockwise will step up the camera (longer shutter or wider aperature) and turing it counter-clockwise will reverse that (which is what you want). Figuring out how far to compensate depends on the scene.

</p>

of all the stupid places to find this. :)

http://www.usa.canon.com/eflenses/lens101/focallength/chart.html