ed_lutz

<p>Ya know Tracy, I rather like that sprint car shot!<br>

Forget flash Tracy and work on your panning technique. Blur is good, you just need to learn to control it. At a track like your working with the excellent access you have, I'd guess something less than 200mm would be fine. Actually, looking at the sprint car shot I know your focal length is fine.<br>

Is your lens fast enough to allow you to shoot at 1/250 or 1/125? With practice you can shoot this slowly and get some excellent results but it takes practice. Work on how you stand and practice your "swing", how you move with the action. Get smooth and work on keeping that car located at the same place in your viewfinder. Keep moving as you trip the shutter and dont jerk the camera. Smooth Tracy, be smooth.</p>

<p>Darin, going by the complaints you mention above, I'd suggest you try a T90 as it does all those things your missing with the F1N.</p>

<p>Johns comments above reminded me of a thing I have, got it back in the early '80s I think, called a "Move Method". I seem to remember it was a pre release thing from some trade show. Anyhow, its got a plate that screws into the camera's tripod socket. Another part is on a belt and has a socket to receive the camera mounted plate. The plate is shaped in such a way so it locks into the belt mount. To remove the camera you push in toward your hip as you lift the camera. To put it back just push it down into the "holster". An interesting idea but I never liked the feeling of my camera and lens sticking out from my hip, just too easy to bang it into things. I don't think I ever saw these for sale anywhere.</p>

<p>I bought my first OpTec straps (the wide Pro models) back in the early 90s and they're still going strong on my T90s and my F1. The only time I notice a bouncing problem is if I'm running with a heavy lens on the camera. I recently needed a good strap for my RB67 and again went with the big OpTec and so far am very happy with it. Now (here comes the Nikon part) I've picked up a nice F4S which is of course heavy...gonna get me an OpTec!</p>

<p>I'm starting with an RB too and want to take it out in the Rockies. My plan at the moment is to set up something for my backpack to give part of it over to carrying the RB and lenses. This could easily turn my rather large backpack into a day pack but I cant think of anything else that will properly support the weight of an RB67, lenses, film, and my Bogen tripod.<br>

For 35mm I'm thinking of getting a slingbag, such as the Kata 3N1-30. I've always used an old LowePro PhotoTreker backpack but hate having to take it off every time I want something. The sling looks handier, and who knows, maybe it'll hold an RB!</p>

<p>I've stored my T90s with and without batteries, but probably mostly with. I think I heard from another source the same theory you mention Nick, and it does sorta make sense. Both my T90s still have the original backup batteries and both work fine. Pretty amazing really when you consider how old they are. You'd think shelf life alone would have killed them by now.</p>

<p>#1 on my list has to be the T90. I have two of em and used them extensively when I shot motor sports. Days at the track can be tough on the gear and both worked flawlessly, all the time. Excellent ergonomics and features that always supported me and made whatever it was I wanted to do, easier to do. 2nd is my early F1. This was my dream camera back when it was new (I was in Jr. High) and I'm still jazzed to own it.<br>

On the earlier mentioned Canon vs Nikon thing, I thought I'd toss in an experience I'm having. When it was new, the Nikon F4S had quite a rep, it was considered one of, if not the best 35mm SLR on the market (I always thought the T90 was better :) ). Recently I came across a killer deal on an F4S w/Nikor 70-210 lens and brought it home...just cuz. I've been comparing it to the T90 and to tell the truth I'm a bit disappointed. The F4S meter was, in its day, supposed to be the best you could get but it can be fooled in situations where the T90 shines. The F4S is heavy and the ergonomics aren't as good. The only thing the F4S has over the T90 is its auto focus but thats so slow that in many cases I can manual focus faster, and definitely more reliably. The F4S is a cool camera but from a functional point of view I think the T90 is better.</p>

<p>I'd agree with Ralph that working on building up your portfolio is the best way to get in. No one is likely to give you credentials if you cant show them you are a skilled shooter.<br /> Its usually easier to get access at club level events and car club track days (money can be earned here too). You don't necessarily have to have famous names in your portfolio.<br /> <br /> Some race series also offer some kind of photographer oriented ticket package which will give you some added access. This is nothing like a press pass, and they're usually expensive, but depending on what they include in the package it might be worth it. I know the one offered by CART (back in the day) at the Long Beach race used to be pretty decent.<br /> <br /> Also, pick your venue. Some tracks have excellent view points in the spectator area, others don't. Road race tracks like Laguna Seca and Mid Ohio are fantastic in this manner. The big ovals in general are pretty bad.</p>

<p>Le Mans, cause I love racing and its fun to try and identify the hundreds of cameras used in the movie.<br>

And yeah John, Dennis Hopper in Apocolypse Now was fantastic!</p>

<p>Lots of bodies took a 42mm screw mount Curtis....<br>

http://www.camerapedia.org/wiki/42mm_screw_lenses</p>

<p>Still lovin the Canonet!!</p>

<p>I've done ok so far selling things on Ebay (mostly bicycle gear, a little extra RB67 gear) but it always makes me nervous. I've bought a few things too but for camera gear its KEH that will usually get my money...and they've gotten plenty of it. Never a problem, gear is always better than I'd expect, I hear they have a great return policy but I've never come close to needing it. I buy mostly bargain grade and most of it looks near new.<br>

The problem is that to a great extent Ebay killed the possibility of buying used gear from a local store. I used to get all my used gear from Bel Air Camera in Southern California. I worked within an easy walk from them and would drop by during lunch to give them much of my paycheck. I loved being able to pick up a lens, fit it to a body like I had at home and check it out in person. Much nicer than mail order and worlds above any Ebay experience. Fortunately we have KEH.</p>

<p>I could care less about someones portfolio as a way to determine the quality of their advice. First off, plenty of photographers (like myself) just dont care to put their work up on the web for all and anyone to steal! The OP didn't say anything though about photo critique, he said (my emphasis):<br>

"There are quite a few people who comment leaving suggestions <strong>on how to do anything</strong> on photo.net but when I go look at their portfolio I see nothing posted?"<br>

He seems to be talking about technical information, not critiques of his photographs. With this in mind then I'd think the only thing a portfolio would do is show me that maybe, the helper has and sometimes uses the kind of equipment (or process) I'm seeking help with. The really cool shot that was apparently created with a top end digital gee wizz camera though could have been done with a 8x10 view camera, who knows....<br>

In judging help given on this or any forum I pay attention to the poster of the help and think about other posts they've made. Do they usually seem to sound knowledgeable? Have they mentioned having this type of equipment before? After a while you start to know who shoots film, digital, 35mm, MF or LF, and what their attitude is. Beyond that, I take it all and run it through my own logic meter. Does it make sense or not? Then, if its not likely to cause loss of life or limb, and it sounds somewhat reasonable or at least enjoyable, then what the heck...give it a shot and see what happens!</p>

<p>Nope, sorry Mat (where the heck are you?) thats all I got...</p>

<p>I have, I think six backs, one of which is a 6x4.5 and none of them has ever tried to open itself. You are saying that the back itself is opening? Or is the back coming off the rotating adapter?<br>

My backs all take a bit of pressure to close and have to be flexed a bit to get the back cover to slip into the latch. This puts the whloe latch area under a small bit of tension which I think helps the latch stay closed. Mine take a pretty good pull on the latch to open up.<br>

When you close the back, do you have to slightly "bend" the back to line up with the latch slot or does it just easily line up and slip in the latch?<br>

Kind of hard to express this in just words, if I'm not making sense let me know and I'll post some pictures.</p>

<p>Matt, full instructions for "brassing" a body will be found here.<br>

<a href="http://tinyurl.com/2w4apm" target="_blank">http://tinyurl.com/2w4apm</a></p>

<p>I've been into the FD line since high school when my dad listened to my suggestion and got his A1. Between then and now I've been shooting nothing but FD and had my system built up long before the current recession. <br>

I have though been using the low cost of used film gear to allow me to put together the medium format system I've been wanting. I'm now the happy owner of a rather complete collection of RB67 gear which cost less than what one lens would have cost in the not too distant past. I did though also recently get a Nikon F4S and a couple of lenses, just because they were so cheap. Now though after putting a few rolls though it I have come to the conclusion that its not something I want and its going back up for sale. Its not a bad camera, but its heavy and I find the meter is easier to fool than the meters in my T90s. I like the FD system and more importantly I'm used to the FD system. My T90s feel like an extension of my body, my A1 and F1 are almost as natural to use and they all take wonderful pictures.</p>

<p>Its very possible. I've played around with it a bit, nothing serious just playing around. With a little practice you can just view the stereo pair on your monitor. Do some Googleing and you'll find some information.</p>

<p>Yes the A1 and AE1 doors are the same</p>

<p>My local Wally said the same thing. I forgot to ask them though if they would still be a drop off point for the "local" Fuji lab. Its just an easy and inexpensive way to get my color 120 processed. As for the in house processing, its junk.</p>

<p>This really isnt a tough fix at all. I'd recommend USA Camera for the door (link in previous message). Order their modified door that doesn't require you to replace the little hair spring that Canon used. You need a good pair of small needle nose pliers, just push the hinge pin up into the camera body. Its hard to get it moving but it will go. Slide the pin up far enough so you can pivot it at an angle, slide the remnants of the old door off, slip the new door on in its place, and walla, you fixed the camera.<br>

I recently picked up an A1 on the Bay that was advertised as having a bad squeak and no door. Got it for $24 plus shipping. Half an hour or so to fix the (really really bad) squeak and put on the door and its now a very clean nice working A1. :)</p>

 

<p>Have you tried some type of clear packing tape? I would expect it to adhere to the film better and it also has a pretty high shear strength, at least compared to masking tape. The stuff I use for shipping is strong enough that I cant imagine the T-90 would rip it off. Doesnt Freestyle sell stick on DX labels? I think thats where I've seen them.</p>

<p>Doug, your going to love that RB man! I just got into MF myself by buying an RB system and it just blows me away. I've been a 35mm guy for many years and lusted after this excellent pro level MF gear but couldnt afford it. Now I have the RB and 5 lenses for a song. Life is good, enjoy it. I dont think film will dissapear any time soon and considering the cost of this fine equipment, what the heck! Buy what you like and have some fun.<br>

On that note I'm considering a Pentax 645N system too...</p>

<p>I'm pretty new to the Nikon world (being a Canon guy) and need some help figuring this out. I have a couple of Tamron lenses I use on my FD bodies which I'd like to mount up on my F4S. KEH has two Adaptall 2 adapters for Nikons listed as "Adaptall 2 (Nikon AI)" and "Adaptall 2 (Nikon AI) with prong". Prong? Whats a prong? Do I want a prong? <br /> Also, am I correct that the lens will function with all the auto exposure modes on the F4S or will it be stop down metering only?<br /> <br /> Thanks a lot,<br /> <br /> Ed</p>

<p>I've never has anything shipped to Dublin as I live in Colorado but I can tell you that in my many deals with KEH I've never been disappointed. Occasionally shipping has been slower than expected but in the end everything was worth any wait. The best thing about KEH is the condition of the things you order. BGN grade stuff shows up so clean I have to look to find any signs of use, EX gear is essential perfect, like it was fresh out of the box. I'm considering a Minolta body from them now that is listed as LN. I'm not sure how anything could be cleaner than the EX gear I've gotten from them...</p>

<p>Thanks Winfried, you answered a question I had about the MC/MD mount. I was pretty sure the MD was ok on a SRT-101 but wasnt sure. Its been quite a while since I paid much attention to the world of Minolta.</p>

<p> </p>