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Metrorail just after it opened in June 1976. (On Anscochrome 200.)

High voltage DC power line on its way to Vancouver Island, BC, Canada. On the road to the Tsawwassen ferry.

It lines up exactly with the hole between the trees, out one window in the house.

Not so long ago, I had the book "Vision and Art" from the library, after someone here recommended it. One that it mentions, is that "Panatomic-X" is the black and white film with, as well as I remember, the most accurate conversion of color to black and white. This distinction isn't mentioned all that often, though for many years Kodak black and white films said on the box "Use blue bulbs for flash". In earlier years, people would use clear bulbs, as the film wouldn't notice the wrong color. But we expect the right gray tone for each color. Yellows will be lighter, reds and blues, darker. And, it seems, the color of the light source matters. Also, in the early years of Kodacolor (before -X and II), people would use clear flashbulbs and non-blue photoflood lamps, assuming that color balance could be fixed later. It was then found that one can't optimally correct color balance later. (With slide films, everyone knew that from the beginning.) Assuming that the black and white film was designed right, it should do a good job. With color, you have to find the conversion, the multipliers for each color layer. You can, of course, do the correction yourself, but then again, you need to know when you have it right.

May Maybe the most famous pedestrian alley. I suspect a Google image search will tell you, if you don't recognize it.

My auction system is mostly to bid low, and win too many cameras. (Both shopgoodwill and the Goodwill eBay site.) The only two I specifically wanted are the Canon Pellix, and Beseler Topcon Auto 100. The Pellix my dad had until it was stolen out of his car trunk while watching the taping of Johnny Carson. The Auto 100, my grandfather had when I was younger. When I was 10, I inherited much of his photography equipment, but not that one. (I still have the Nikor 35mm tank, and some other darkroom equipment, over 50 years later.) Both the Pellix and Auto 100 I eventually won at auction, but not the first ones I bid on.

In film days, I believed in manual setting, and bought a Nikon FM, not so long after the FE came out. Manual is convenient in that it encourages you to check the exposure. With a center-weighted meter, you can move the spot around and check for any changes. (Mostly, I have noticed that the effect is small, and not worried about it.) Also, manual allows for an easy manual exposure adjustment. For negatives films, I usually round up so slightly more exposure. But then with digital, I got used to P exposure mode. Too much work to think about exposure most of the time.

Not so many years ago, I was buying (way too many) cameras from Goodwill auctions. (Both shopgoodwill and eBay.) I once had a T70, but returned it as defective. (I picked it up, and brought it back, so no shipping charges.) But then I got a T80 and stopped trying for a good T70. There seems much less discussion of the T80.

As to the half f/stops. All the manual Canon and Nikon lenses that I know have a continuous aperture ring. You can select any value, between the actual stops. The Nikon FM meter indicates when you are within 0.2 f/stops of the desired exposure. If you are using an external meter, and setting the aperture, I suppose half stop detents are useful. Otherwise, choose any setting that you want. I believe that works with manual mode on Nikon cameras with built-in meters, and also Canon cameras.

There are restrictions on lithium batteries. As well as I know, not so much on NiCd, NiMH, or sealed lead acid cells. Some of the restrictions only apply to battery packs not in a device.

Last year, I had a (one person) professional photographer do a shoot of my family. I had noticed in the agreement, that it gave her rights to use them, but not me! I asked, and she changed the agreement. I suspect no-one asked that before, as it seems obvious that when you hire a photographer, that you have rights to use the result. But from reading posts here, I realized that wasn't so obvious. (Commercial use might be different, but that wasn't a question in this case.) I have previously gotten a CD of JPG files from a big commercial company, which actually has printed on the CD that I can use them. In the case above, the OP was not paid, and so it isn't quite the same. (Don't forget "implied warranty of merchantability".)

It often works in patent law, though. For chemical patents, a tiny change usually creates a new molecule, new chemical, and new patent. Famously used for drugs when the patent is about to expire. (That works if the patent owner can convince people that the new one is better, and any generic copies are worse.)

One museum I remember required a free permit for non-commercial photography. I was asked about it when my coat covered the permit. I suspect that means I agreed to non-commercial use when I fill out the permit form. Also, many say "no flash", which is usually fine. But that is for visitors. If you are asking about selling copies of photographs, they might be able to claim copyright on those. That is, not on the original work, but just on their copy of it. One could copyright a collection of photographs, even without copyright of them individually.

The Nikon F might last forever, but many viewfinders don't.

There is a whole Facebook group for people who collect, but don't use, old film. And another one for people who use old film, even very old. I use film slow enough that $1/frame isn't so bad, but also I don't use much at that price. A $10 36 exposure roll is $0.28/frame, not so bad. I do have a few rolls of VP122 which is probably more than $1/frame. But those frames are big!

Some timers have a mode more like a stop watch. When you want to know how long something took, instead of just do something for some amount of time.