martynas_photo

Amazing, thank you so much!

Malcolm, thanks for your suggestion, such course would definitely be beneficial to me. Not sure about this particular lens, though, slayed mercilessly and lying on my table breathless...:) Sorry, got carried away

Hello,

I have a 250mm lens for Mamiya TLR. It sat on a shelf for many years, since the shutter was not working and I never felt courageous enough to attempt a repair myself. However, this day has come, for good or bad and I have disassembled the lens. Carefully photographing each step, so that it would not end as most alarm clocks from my childhood... i.e. with parts on table after reassembly and still not functional for whatever reason:)

The question/problem is as follows. the shutter can be wound and released. However, the blades do not open, neither the shutter times are correct, i.e. nothing changes while adjusting the shutter dial. I have carefully opened the lens, but I cannot understand which parts control the opening/closing of the shutter (I can do that manually, by moving the black parts, but cannot figure out the logic, which part (lever?) opens it and which one is responsible for closing). I would appreciate any help on the matter. Thanks in advance.

 

<p>I printed yesterday. On an Epson inkjet. If the question was about darkroom - I did my last printing several years ago. Hell, I need to empty those tanks with developer and fixer, thanks for reminding:)</p>

<p>Hello, just wanted to share the joy that all went well and the printer has safely arrived to its new home. Will share a pic or two after the studio is fully up and running. Thanks for your ideas everyone.</p>

<p>Glenn, I just watched the episode you mentioned.... you were right, I should not have done that <em>before</em> moving the printer:)</p>

<p>spoke today with the piano movers - they say it is manageable and that they will do the job (said they have moved similar machines in the past). walked the entire path with a ruler over the stairs and corridors, found out that it is no problem to move the printer to the second floor and then it will have to travel over a long corridor to another staircase to be moved to the third floor (the first staircase is too narrow between 2nd and 3rd floors)..<br /> i will surely take some pictures of the process, hopefully all will be well. thank you all for your suggestions and ideas</p>

<p>Thank you all for your comments and ideas.<br /> Bill - it is a perfectly suitable location for a studio - very high ceiling, good location in the very heart of a city in 19th century building, low rent and so on. It is perfectly accessible for everyone walking his/her own feet, it is just not too user-friendly in terms of carrying something bulky and heavy. Actually, I have this space as an extension to my principal activity, which is theatre/event photography on location. So, most of my customers are artists (ballet and modern dancers, to be more precise) - they don't have a problem walking several stairs. I do not photograph family portraits with elderly people, infants, etc. Neither do I take pictures of products and other things that require additional setup/weight lifting every time. So, with or without printer I will move to these premises. The stairs are not too steep or narrow for normal day-to-day walking<br /> The printer is part of a side-business project, it is not strictly related to my studio work, except that the studio space is perfect for handling of large prints (drying, cutting, packaging for framing of prints up to 44 inch wide, etc. ). Also, having the printer in the same space cuts the rent cost (of having two separate premises for each activity).<br /> Gerry - thanks. the sole aspect that might be considered desperate is related to the moving of the printer:) I have no issues with either the location/premises of the studio, or my photographic career. And I do not photograph vases or jewelry:( It is just that there is this beast that needs to be somehow moved. If it turns out impossible or too risky - I will have to look for separate premises nearby to accommodate it. As that would be much easier than finding the premises for a studio (in fact, anything suitable for a photographic studio in the nearby location costs up to three times of what I'll be paying now).<br /> David - yes, I know how this printer is assembled/disassembled - bought it new. the best that can be achieved is shown in picture one (top part of the printer detached from the stand - alone it weighs around 250lb or 116 kg). this is the part that causes greatest concern<br /> Anyway, thank you all for your ideas. I just recalled that some time ago I photographed the opening eve of local Steinway office/shop, so I will give them a call, hopefully they will be able to recommend good piano movers.</p>

<p>Sandy - definitely, only professionals will be hired. the damn thing is too expensive and it hasn't even paid off yet:)<br /> Piano movers is a brilliant idea, thank you.</p>

<p>thanks for your input. I have thought about the cardboard dummy, just forgot to mention it in the post. So far I have examined the stairs with pocket tape measure, but the dummy is definitely better.<br /> I would expect the hired carrying guys to know their job (in terms of which method would be the most comfortable for them) - my duty is to prevent them from doing something that would damage the printer (like carrying it upwards/sideways, which might be more comfortable for them, but would most likely damage the unit, or putting it on one of its ends, etc). An idea about emergency support for leveling the printer if something goes wrong is good, thanks. <br /> I can't say how comfortable it is to carry this thing, but I am surprised Epson did not make any handles that would facilitate the job (as if ALL of the buyers were supposed to have premises where minimal effort to move the printer was required). What they did was put some anti-slip material underneath the printer body, for "better contact". When we moved the printer to its present location - the four guys simply picked it up and carried all the way from the entrance to the building to my studio. It was fairly heavy, but quite manageable, they said. And yes, that was a separate entrance from the street, with few stairs and lots of space for maneuvering. And now we need to move the printer using the internal staircase of the building, which is fairly narrow for this kind of undertaking.</p>

<p>Hello all,<br /> I have a "heavy" problem - I need to move my photography studio (currently on the first floor) to the premises that are on a third floor of an old building, with fairly narrow stairs (around 1 meter width) and without any freight elevator. And I need to figure out how to move a large format Epson 9890 printer. It should not be heavily tilted, put on a side and so on - in fact, it should remain as even as possible during transport (actually - during moving, since all the action takes place in the same building). Another problem - once removed from its stand, it cannot be put down as the holders used to secure it on the stand would break. I have read all there was to read in the manual, but it says nothing about stairs. Moving the printer through a window from the outside (using a lift) is not an option, windows are too small.<br /> the dimensions of the beast are Width 26.26 inches (667 mm), Length 73.4 inches (1864 mm) and weight is 298 lb (135.1 kg) or ~116 kg without stand.<br /> while the staircase is theoretically ok for moving something of such dimensions, there will also be four strong men - and they need some space too. this is where I start seeing a problem that the staircase will be too narrow to accommodate the whole company. it would be ok if two men could carry it (dimensions-wise), but four...<br /> lifts for moving heavy things upstairs also don't seem suitable (they either require positioning the item in a way that is not good for this device (it's not a fridge, after all) or are just plain too large for the staircase (the ones with an even platform).<br /> I know it all sounds a bit desperate, but other premises for the studio are out of the question. Or, in the worst case scenario, I would have to rent yet another place just for the printer - but that would be totally inefficient from all perspectives.<br /> Perhaps someone has similar experience to share and how did you manage to move your equipment. Thanks in advance for your time.</p>

<p> </p>

I'd suggest getting a good monopod.

Otherwise its all about the neck and lower back, as these

are the parts that at the end of the day get most of the tension (especially when shooting action in lower light handheld). As

long as you can lift a simple shopping bag out of your car

- you should be fine with 70-200. And no, you don't want

to this lens attached to any body hanging down your

neck - use your shoulder and buy a comfortable strap for

the purpose.

<p>talent to see and photograph people. </p>

<p>open the program, go to Edit>Preferences. In the General section make sure that the checkbox "Keep all steps active in edit list" is checked.</p>

<p>it depends what series of cards you are looking at. Lexar's Professional line costs about the same as Sandisk's top products, I believe. Personally I have always used Lexar Professional series cards/card readers - none have failed so far (in 10 years). I also have some Lexar Platinum cards, performance-wise they don't seem any different from Professional series, yet they are cheaper.</p>

<p>Brooks - thanks. a bit off-topic, but when I am writing this post there's an image titled <em>Rita 1972</em> displayed at the bottom of the page - what a wonderful portrait and lighting, and the overall aesthetics of this image are very close to what I intend to do in my studio:) Moreover - one of the key objectives I set for myself is to bring back to active life my Mamiyas (RB67 and c330) - and there comes your image, taken on a 6x6 Hasselblad, yet cropped very close to the 6x7, a format that I adore. No, I don't believe in coincidences:)<br>

Bill - my English is to blame, I am not a native speaker. Anyway - you are absolutely right - this is going to be a very nice and cozy studio, with enough room for full body/head and shoulders portraits. I'll post the pictures when all the works are complete. I see a very intense and interesting summer ahead:)</p>

<p>Bill - thank you very much for your thoughts.<br /> Regarding the 'central power source' - are you speaking about the possible positioning of the source in the centre, between the fixed rails? This might work only if I have a kind of distribution or connection box there, because the fixed rails are attached directly to the ceiling and the space between the ceiling and the top of the movable rail is fairly tight. And you are right about the dangling loop, even though theoretically this should not be a problem as the ceiling is ~3.60 meters high and the cabling of the central rail should be shorter by default (this rail will stay more or less around the centre, or slightly closer to the background).<br /> You are right about the need to be able to fully cut the power supply when leaving the studio. I was thinking that since the cables (or extensions) would come from the wall mounted sockets - I'd simply unplug them when leaving. Another option is to insert a simple on/of switch into the circuit. or several switches, since I intend to draw power from different sockets, to prevent overload. 4 or 5 lights plugged into a single outlet might be a bit too much I think.<br /> Regarding the curved track - I thought about it but decided not to do it (or, if I see that the 1st rail does not give enough flexibility, I can always add the curved track later) <br /> Thanks again for providing some food for thought:)</p>

<p>Hello everyone,<br>

I have found a similar topic in the forum, yet my question is a bit different from what was discussed there. So...<br>

I have just finished installing the Manfrotto Sky Track 54 ceiling rail system in the studio. The system consists of two fixed 5 meter rails and three moving 3 meter rails. Currently there are 4 pantographs, but I might add one or two more in the future (either pantographs, or telescopic poles - doesn't matter). Now I need to decide where to install the power supply outlets, so that the power cables wouldn't get in the way when moving rails. My idea is to install two separate extension units (with 3 or 4 sockets each) approximately 1,5 meters outside the fixed rails (attaching the units somewhere along the middle of the fixed rails). One on one side and one on the other. Is that a good idea or should I have a separate socket to the side of each moving rail? Since it is my first experience with ceiling rail systems, I would like to get it right from the very start, rather than go the trial and error route and drill too many holes in the ceiling... Thanks in advance for your time<br>

Attached is my idea of socket placement.<br>

<img src="http://www.mphoto.lt/img/power.jpg" alt="" width="643" height="700" /></p>

<p> </p>

No, in FX it is 4256 x 2832.

<img src="http://www.mphoto.lt/photo.net/resized.jpg" alt="" width="700" height="700" />

<p><strong>Sad afternoon</strong><br>

<strong>Mamiya c330s/Kodak Tmax400<br /></strong></p>

<p>Craig, thanks for your comment.<br /> I think I should have given more information. There is an older prosumer grade HD video camera, which I have access to - a Sony HDR-FX1E. I plan on learning to use that one as well, and I agree with you that it is way better in terms of handling and output than a DSLR. <br /> However, I need a DSLR for my daily photographic work and it should be able to produce quick short video clips of decent quality. In other words - I need a tool that could be quickly switched between photo/video modes, so that after a performance I have a collection of photos plus several short video clips. If I needed video only, I'd most likely use the abovementioned Sony camera. <br /> Regarding the light - I work for the theatre, so all I have is the available stage lighting, which might be fairly minimal, not to mention the mix of different light sources. There's not too much I can do about it - I need to work with what's available. And the camera should be able to handle that as well.<br /> "photographer/videographer vs the person with the camera" - that's a good one and I perfectly realise what you are saying. There is even a good joke about the current state of affairs in photography (after the rise of digital): "I have bought a smart DSLR - hence, I am a photographer now. Later on I bought a nice gold plated flute - well, I now have a flute" :)<br /> and you are absolutely right that video is different from still photography. Time will tell if I can handle both tasks equally well - but I am prepared to learn and try. And I am lucky enough to know several professional videographers who are willing to sacrifice their time and help.</p>

<p>Thanks, Wayne. I have read somewhere, that Nikon was using some kind of inferior codec for video, but I hope this has changed in the current top camera line-up. Regarding the sound - I believe both cameras have the ext.microphone jack.<br>

And sure, I am seeing quite a bit of learning and practice ahead. The main point at this stage is to make the right decision about gear. </p>

Oh, and I think I need to mention that 90% of the videos

will be done in low light (most of my photography falls into

the iso 1600-3200 range)

<p>Hello,<br /> Sorry, but I am really stuck with this one. I need to buy a DSLR for photography (to replace my D700), however, it should also have a decent video capability. Unfortunately - I know little about video, except that Canon is somewhat regarded as a better choice than Nikon. The problem here is that I have an array of Nikon gear, so switching brands would be a fairly painful option for me. So, basically I am considering either a d610 or d800. As a photographer I prefer the d610 variant (first due to file size, second - because I see the 36mp camera as a tool to be used mostly with tripod, while I mostly work handheld or with monopod (I photograph theatre)). Anyway - no problem of choice from the photographic perspective. Meanwhile , some of the theatre companies I work with asked if I could also do short video clips for them in the future, that is why I am asking for your advice. Do these two models from Nikon have any significant differences in the video department? The videos would mostly be used for youtube and the like, however it is possible that some of the footage would also be used as part of the future tv promos of the companies. Is Nikon really that way behind Canon in terms of video? <br /> Thank you very much in advance for your ideas and comments.</p>

<p>I'd suggest to get the lens back and either disassemble it (if you are curious) or sell it on Ebay as defect/for parts. I was amazed to see how many people are actually interested in all kinds of seemingly unsalvageable gear. naturally, you need to be honest in your description of the lens.</p>