jb17kx

I'd never even thought of that. Thanks.

<p>Actually all the Kodak 120 film I've shot recently has had either grey and white (for B&W) or blue and white (E-6) backing paper at the end of the roll.</p>

<p>Doesn't the Fuji stuff have the type of film written on the paper band?</p>

<p>And regardless of the outcome here I hope the lesson in this is noticeable - write your process instructions <em>on the film</em> to which they refer.</p>

<p>The only user-viewable serial number on CPU lenses, other than G-type lenses or lenses with special name-plates, is laser-engraved into the aperture ring.</p>

<p>It would be entirely possible for such a lens to receive a "new" aperture ring and thus a "new" serial number, particularly if it was a simple parts swap. I'm not sure of Nikon procedure in official repairs (though it used to be the case that bodies would be renumbered - SP collectors can occasionally get thrown by SP bodies with much higher serials than previously seen because replacement top plates were given numbers in a different range).</p>

<p>It is possible though that the lens serial number might be stored in the lens' EEPROM, just not transmitted to the camera.</p>

<p>With regard to the body's serial number, the D1-series and D100 do not store their serial number (or for that matter their number of actuations) in EXIF.</p>

<p>The shutter mechanism in the D70S, as well as similar bodies in the Nikon DLSR line, is tested and rated to 50,000 actuations.<br>

Unless something else has failed (which might be the case, the diaphragm actuation servo is also capable of failing and bricking the camera like this) I'd suggest the shutter has simply worn out and you'll be in need of a new one.<br>

I couldn't tell you an approximate repair cost for my own bodies in my own currency, let alone yours, but I'd suggest it'd be getting very close to the cost of replacing the D70S with a working one, or even a D80.</p>

<p>Hi all,<br>

Call this a bit of a pointless question but I've just acquired a Nikkor-SW 120/8 and in the process of admiring it I've noticed that on the side of the shutter it says "Nikon S W 120 mm 1 : 8" and then there's a little S in a circle.<br>

I was just wondering if anybody could tell me the significance of that marking?<br>

Thanks.</p>

<p>They refer to different things, Henry. The device Tamron list is simply a newer spacing adaptor.</p>

<p>Sorry for the late reply, but that makes a lot of sense. I should have thought of it before. Thanks.</p>

<p>Thanks. I've seen some very difficult-to-read embossings (including some of the other markings on the same lens - you'd have thought Zeiss could have afforded to engrave them), but this one says "M98" clear as day.</p>

<p>Hi all,<br>

I recently acquired a 500C/M body and CF Planar T* 80/2.8, and out of curiosity decided to see if I could work out the production dates. My body and back are both 1989 by the VHPICTURES code (RE), but the lens has been a bit more troublesome. I found several sources that say a CF lens can be dated by looking at the red stamping inside the rear baffle. Mine has the code M98, which corresponds to the 13th month in 1989.<br>

Is there something I've missed or does the M have another, unrelated, meaning?<br>

Thanks in advance.</p>

<p>Hi everyone...<br>

Some theatre shooting recently has left me with a couple of rolls of T-MAX at EI 1600. I'd originally planned to soup them in my usual (for TMY 1600) Rodinal 1:25 for 12 minutes, but I discovered some unwanted Microphen at a friend's place, so I'm interested in trying that.<br>

Reading Ilford's Power Developers spec sheet it seems they don't specify a time at all for EI 1600 in anything other than ID-11. The Massive Dev Chart shows 13 minutes for 1:1, but I've heard that it's better to use 1:0 (stock) for pushes like this.<br>

Can anybody here offer me any advice as to what times and dilutions? If it helps I'll have either four or five 135 rolls in a Paterson SS4 tank, and I don't intend to reuse (if I do it'll be a week or two down the track for only one or two more rolls).<br>

Thanks in advance.</p>

<p>Tom, you seem to ignore the fact that Bronica had two 645 systems - the ETR-series SLRs, which have been addressed, and the RF645 - a vertically-oriented rangefinder.</p>

<p>As many people have said, the medium format market always was and even more so now is a vote-with-your-wallet area.</p>

<p>I love the ETRSi and landscape 645 because it matches my shooting. I use it in the street, and for applications where I have the time for a higher-quality set-up (though with the Speed Grip and AE-II it's not at all far from a 135 SLR now). It offers me the best compromise between the compactness of a 35mm system and the quality of a larger medium- or large-format system.</p>

<p>In fact, 645 isn't wide enough for me. I'm still searching for an affordable 135W back.</p>

<p>If you don't find that the above two are applicable to your shooting than there were and are hundreds of other choices. Why spend all that effort hating 645 when you could be loving 6x6 or 6x9 or whatever in a camera that transports film the way you want it to (maybe a Mamiya with rotating back would suit)?</p>

I do find it odd that it being the 1980s is an excuse for not offering aperture-priority auto - when both the

AL-1 and AV-1 do.

I like the ones that show the farmers at work - scenes long gone today.

 

That would be E-4 Ektachrome and Fujichrome and K-12 Kodachrome, wouldn't it?

That looks great, but technically and artistically. Good work.

The number Nikon give is more a number that they've designed and tested the shutter too, not an absolute definition

of when the shutter will fail.

 

It's the nature of precision devices like that to have a finite lifespan after which something gives up - Nikon design

them to last a certain number, and then randomly select a few to test past that point.

 

You may find that you breeze past that figure and happily into the 300,000s. Or you may find that or shutter fails

tomorrow.

 

Either way, as far as I know, Nikon don't limit their warranties based on shutter life, so you can have it repaired under

warranty if the camera still is.

I think that this title rather depends on what you want from the camera.

 

If you want a small and discrete camera that's as technically capable as any other, you might say the

SP.

 

If you want a nice blend of simplicity and features in a robust body, you might say the F, with or without

the Photomic prism. Doubly so if you like the history behind it.

 

If you want the premier mechanical 35mm SLR, you might say the F2AS deserves the title.

 

If you want a classic manual camera and aren't afraid of electronics - even welcome the features and

conveniences they offer - then you might say the F3.

 

If you want the above but also like to shoot at speed, then you might accord the F3HP and MD-4 that

title.

 

If you have a trunk full of AI and AI-S lenses but prefer the form-factor of newer cameras, the F4 may be

for you.

 

The F5 may suit you more if you shoot at speed and also like to do odd jobs around the house.

 

And the F6 might get that title if you love all the features the evolution of the Nikon range up to the D2-

series has delivered.

 

It's all subjective. Even the comparatively humble FM- and FE-series could be a close runner up if you

prefer an F2-style body with newer features.

You needn't need to avoid P mode because of your exposure preferences. When in P mode, press and hold the same

button that you use to change the aperture, then turn the command dial to adjust exposure compensation.

 

I usually leave mine at -0.7, or two-thirds of a stop underexposed.

I don't think beginners should be starting with cannons...

 

Sorry, I had to.

It looks to be more complicated than that, Steve:<div></div>

I recently acquired an FE2 and MD-12 combo for quite a low price in the local classifieds. Whilst I've had no

problems with the FE2, the MD-12 has been rather problematic. The issues with jamming and poor contacts seem to

have gone away, but the rewind slide on the back of the unit is still happily jammed down, necessitating the

removal of the drive from the camera to rewind film.

 

I took the cover off the top of the unit to discover that the operation of the slide is not as simple as I'd

hoped for. Is there anyone here who might be able to explain the solution to this problem?

Further to Stephen's quote, cover the lens with a piece of card - or anything suitably opaque - whilst opening and closing the shutter. This will prevent any light reaching the film whilst the camera is being moved.

 

As a note, the T setting has the advantage of not draining the camera battery during the exposure. If you don't mind that happening, and think you'll do a lot of long exposures, you might be better off buying an ETRSi, which is the same as the ETRS but adds B mode and a few other things. Prices are fairly comparable, from what I noted a few months ago when I bought my ETRSi.

I've not heard of Bright Screen before, but I would ask if you've looked at Nikon's own range of accessory screens for the D3 - which almost certainly include a split-prism screen.

I do like Nikon's K screens, which are split-prism with microprism collar and fresnel surround, but it can be a bit annoying with a long or slow tele.

Has anybody mentioned checking the exposure compensation?

Andrew, the FE meter runs whenever the camera is on (lever in stand-off position); on the FE2 it requires a half-press of the shutter release.

 

To the OP, I can only recommend what everybody else has.