ryan_pasia

<p>Lad, is it true then that AF points that "follow" the subject is available in the 5D3 only in Scene Intelligent Auto mode?</p>

<p>The feature I'm looking for seems to be called EOS iTR, which is found on the EOS-1D X. Since the 5D Mark III shares the same AF system with the EOS-1D X, there must be a way to implement EOS iTR functionality. Any photo.net veterans with insight on this feature?</p>

 

 

 

<p>I am familiarizing myself with the 5D Mark III's various AF modes.<br>

I notice that when I am in "Scene Intelligent Auto" mode (i.e., green rectangle with A+) with "AI Focus AF" selected, when taking pictures of a moving object, the active AF points move with the subject. For example, when taking pictures of my kid, the camera would grab focus around the eyes while the kid is still, and shortly afterwards tracks focus (as evidenced by shifting black rectangles over the AF area) as my kid begins to move around.<br>

However, when I shift to "P" mode, also with "AI Focus AF" selected, when I press the shutter button halfway, black rectangles across the AF area appear momentarily and then disappear. I hear the lens shift focus as it tries to keep a subject in focus, but I do not see continuously shifting black rectangles as I had seen in "Scene Intelligent Auto" mode.<br>

What settings do I need to use to be able to see those shifting AF points in modes other than "Scene Intelligent Auto"?<br>

Thanks!</p>

 

 

 

<p>Thanks. I was just about to ask for Fuji's contact info.</p>

<p>As I had previously posted in the Leica/rangefinder forum, the film advance on my GA645i stopped working for no apparent reason.<br>

Can anyone please recommend a repair shop in New York City for this type of camera? I know where to buy new gear but haven't a clue as to where I can get repair work done...<br>

Thanks.</p>

<p>I've never tried it with 120.<br>

What I did notice is that, in the past, when dry-firing (using the camera without film loaded), the camera would take the shot and make a whirring sound (ie, rotate the spool as if it contained film). Now, the camera just takes the shot but does not advance the spool.</p>

<p>I've been trying to load a new roll of 220 into my GA645i but the film take-up motor is not responding.<br>

I completed a roll only days earlier, so I know the problem cropped up only recently. Everything else seems to work--the camera turns on, focuses, etc. Functions that require the use of the film take-up dial (exposure compensation, aperture and shutter speed in manual mode) also work. The battery meter shows full, and I've put less than 10 rolls on this set of batteries.<br>

Has anyone else encountered this problem? Can anyone please recommend a service center for my camera in New York City?<br>

Thanks in advance!</p>

<p>Actually, just one follow-up question... According to Fuji (http://www.fujifilm.com/products/professional_films/color_reversalfilms/velvia_100/), Velvia 100 can be push/pull processed over a range from -1/2 to +1 stop.<br>

Is +1 referring to push processing or pull?<br>

Thanks!</p>

<p>Thank you, all!<br>

I've always wondered what push/pull processing meant... Now I know!</p>

 

<p >I have two rolls of Fuji Velvia 100 that I mistakenly exposed at ISO 200 (forgot to set the camera properly before shooting).</p>

<p > </p>

<p >Are the rolls beyond salvaging? If it can be fixed, what should I tell the processor?</p>

<p > </p>

<p >Thanks so much for the help!</p>

<p>Now that makes sense, Kelly. I was wondering how the recommended distances were derived.</p>

<p>FWIW, I focused on a building about 2900 ft away for my Bessas, so if I understood your math right, the distance was more than enough.</p>

<p>Sadly, that just confirmed the RF was misaligned on one of them.</p>

<p>Thank you, all. I read somewhere it had to be several miles away--and your comments cleared it up for me.</p>

<p>I'd like to test the RF alignment of the Bessa cameras in my small collection. Problem is, as much as I'd like to conduct the tests by focusing on something really far away (like a full moon on a clear night), I'm in NYC where my field of view is compromised by trees, buildings or haze.</p>

<p>Would it be possible to conduct a reasonable RF alignment test by focusing on buildings eight or nine city blocks away?</p>

<p>Assuming the answer is "no" to the above question, can you please suggest accessible alternatives? I can think of two options right now (the horizon at Coney Island Beach or buildings on the New Jersey side from Battery Park downtown).</p>

<p>I posted what I heard and saw on my visit. Ultimately, it's up to the reader to decide what to take away from it.</p>

<p>Frankly, if customer service and store staff aren't singing the same tune, I'd have to wonder why.</p>

<p>Helen had stated that "all the stock goes back into a cool environment overnight, and only small amounts are brought up to replenish the behind-counter stock during the course of the day."</p>

<p>However, parts of that statement appear to be contradicted by Adorama's own staff and what I've seen myself. I asked a staffer in the store just this morning if film on the shelf is kept there or frozen at some point and the response was, without hesitation, "Oh, they're just kept there." Also, not an insubstantial quantity of film is kept on the shelf, which is probably about 4ft high and 6 ft wide.</p>

<p>Thank you, all! I never even considered any of the cameras you mentioned. Good thing I asked!</p>

<p>Are there are any 35mm P&S cameras that can accept filters? I'm thinking along the lines of Fujifilm's GA645i, but only in 35mm.</p>

<p>Thanks.</p>

<p>That's true. I have no idea under what conditions the films are stored on their way to the store.</p>

<p>However, assuming all other factors are the same up to the its delivery at the retail level (a reasonable assumption, I think), I'm more likely to buy from the shop that sells the film I want under the conditions I prefer. At least that part I can control.</p>

<p>Curiously, Adorama hasn't piped in again with a response to my earlier queries as to quality control and monitoring.</p>

<p>I could be wrong, but part of what pros and serious amateurs pay for is consistency. Whether the film was kept at room temperature or in the freezer/fridge by the retailer (or any temp in between) is ultimately a business decision by the retailer and a philosophical one for the end user.</p>

<p>As far as I am concerned, however, I do want to know under what conditions my film was stored and whether those conditions are applied consistently or within a certain narrow band of variation for all batches. No use paying good money if I get good results on one batch and funky colors on the next on what should be the same film.</p>

<p>What worries me is that the Adorama rep was absolutely clueless, which indicates that she may have been either unsupervised or untrained, both of which are just unacceptable for a pro-level shop. The previous rep who handled the film at the back of the store (when film was kept in a freezer for all to see) was much more professional.</p>

<p>It seems to me Adorama has stopped making film sales a priority since they can't be bothered to train a cashier to tell one kind of film from the other! Since I live in NYC, I'm taking my business elsewhere unless someone from Adorama explains to me the minimum quality of product and service I should expect as far as film is concerned.</p>

<p>Helen: that's enlightening, but did not quite hit the mark for me. For pro film with high turnover, a single stint at room temperature might not affect the resulting image. However, for slow-selling film at the retail store, I'd like to know what happens to those. I can't imagine repeated cycles between fridge/room temperatures doing any good to the film emulsion.</p>

<p>How is turnover of the film being monitored? I'd like to know what kind of quality control is in place for the film you sell.</p>

<p>I am curious to know how long any particular batch of film stays outside of the freezer as Andrew pointed out earlier...</p>

<p>FWIW, the cashier who handled my film order was clueless. I had to point out that she pulled out Velvia 50 and not Velvia 100, and 120 film instead of 220!</p>

<p>I went to Adorama last week to stock up on film and was told that they now moved their film sales behind the cashiers. No problem, I thought, until I realized that certain types of film were no longer being kept in a freezer (eg, Velvia 50 in 35mm and 120). Velvia 100 in 220 was brought up from their stockroom freezer, though.</p>

<p>Should I be concerned? Why would Adorama keep some film in the freezer and some out at room temperature?</p>

<p>Thanks.</p>

Unfortunately, I was loading 220--and from Ray's response above, it appears I might as well start over with a new roll. I'm charging this one to experience!

<p>Scott: Your advice is most appreciated. I will definitely look into it. I suppose it's like the film leader retriever for 35mm. The stuff is so cheap there's no reason not to have one in your bag.<br>

Ray: Thanks for the input! I was wondering myself about the paper backing on 120 and the opacity of unexposed 220. Your comments definitely helped answer my question.</p>

<p>I was loading a roll into my M7II and thought for a moment that the film wasn't spooling properly to frame 1 (it didn't sound right while I was cranking the film rewind lever). I took the chance and opened the back to restart the film loading process. At this point it was obvious that frames 1 and 2 were already lost.</p>

<p>Having opened the back already while the film is loaded, is the rest of the roll fogged/exposed (and, therefore, unusable) as well?</p>

<p>I'd rather not toss an entire roll if the rest of the frames are ok based on similar experience--but I also don't want to spend $40+ to process and scan a fogged up roll.</p>

<p>Thanks in advance for your inputs.</p>