vince-p

Sounds as if the aperture actuator lever on the lens is bent or sticky.

 

Best recourse is to return the lens for a refund, unless it was cheap enough to have it repaired, or to attempt DIY repair.

 

Thanks for this. The lever was in fact sticking -- I nudged it loose, it seemed to work fine with my finger moving it back and forth, but on camera the lens caused the mirror lock up still, so yes, I will return it. Thanks for your help.

Just bought a used 20mm f/2.8D lens for my D750. Each shot causes the mirror to lock up. I have to release the lens and turn it twenty degrees to get the mirror to fall again. I love the lens' look but this is unacceptable. Tested my AFS 35mm f/1.8, a 28mm f/2.8D and a 50mm f/1.8D to see if mirror locked up -- maybe the notorious D750 shutter problem -- but no, just this one new lens causes it. Anyone have any idea what is wrong with the lens that would cause this? Thanks for any help.

Does anyone know if you can interchange these trays for the Epson line of scanners? Ie use V700 trays on the V600 or V750 etc? On the one hand I'm sure Epson would try to prevent this, on the other hand the platens are all the same size are they not? Thanks!

<p>Even with my Df (sold, traded down for $$ and a v. nice used D7000) I used center point only focusing and the AEL/AFL (set to lock focus only) to hold the focus and reframe. In great conditions the full AF program can be nice but as soon a tree branch intervenes you're back to the same "tyranny-of-the-electronics" situation as always. Once you get used to working with one point only it becomes second nature -- you find the spot you want to focus on, keeping in mind your depth of field in relation to your aperture, and lock it with your thumb. </p>

<p>The AI (in my case) 28mm f/2 is another lens I should have mentioned, as per Robert above. Twenty eight is a great focal length for city streets and buildings and the like and my 28/2 is very sharp. That said, if you are looking for affordable 28mm, the AI-s (NOT the AI, only the AI-s) 28/2.8 is justly famous; no sharper (except in very close) than the 28/2 it nevertheless has a look -- as the 105/2.5 has a look -- that can often just take your breath away. </p>

<p>ON my D700 the redoubtable and under-appreciated Nikkor AF 28-105mm f/3.5-4.5D. It was the kit lens sold with the F100, it's not expensive, it has a very good (though technically misnamed) macro function that I use quite a bit, and it's sharp throughout the range with excellent color and tone. I'd love to see some careful work done by someone using that lens on a D800 to see how it holds up. </p>

<p>Dx-- a tie between the 16-85 which really is shockingly good; and the 35 f/1.8 which is also shockingly good. </p>

<p>All that said I do 90 percent of my shooting on B&W film. I have two F's, an F2, an F3, F100, FM2n, FE, and FA. Favorites among the pre-Ai's are the 58/1.4 mentioned above, the early 5cm f/2 S, the 85/1.8 HC and the 105/2.5P (Sonnar). For the F3 and later, the 20/3.5 AI-s, the AI 50/2 (so great), the 105/2.5 AI-s (even greater than you've heard...), and perhaps the most beautiful of all, the AI-s 180/2.8 ED. And EVEN BETTER than all these, for the Nikon S2 Rangefinder I have the 50/1.4 SC; I also have one in Leica LTM mount: and they are just stunning. One shoots with such confidence using that lens.</p>

<p>Indeed this is THE WHY: with all these manual focus film lenses, one shoots knowing that the tool in the hand is the best: and this knowledge helps me both to see and to take the photograph. When people say a great photographer can take a great picture with an utterly mediocre lens they are quite right; but excellent, beautiful lenses help you approach that place where the great photographers already live. </p>

<p>I have so many times been impressed -- with his knowledge, his temperament (not without some heat, when needed), and his prose -- that I must add my support to this JDM-fest. </p>

<p>The only way not to go insane loading those babies -- I have the IIIa and the IIIf and they're like bad girlfriends, I love them so -- is to use "B" (or "Z" on the IIIa) and help it along from the front, with the lens off. </p>

<p>As with JDM this is exactly the kind of work I like and I really like these. Gorgeous tones, values, details, composition and general feel for the image. I love the summitar but alas have yet to get a a hold of one that didn't have something wrong with it. Right now I'm using an Elmar 3.5/50mm and a Canon 2/35mm (and a VC /3.5/28mm and a Nikon 1.4/50mm and a Canon Sonnar 1.5/ 50mm and and and....) So I hope you feel sorry for me. </p>

<p>JDM -- That is the 50/2 that I have, serial number 539xxx. Mine has six aperture blades but earlier ones, I think, had nine, though I've never seen a nine blade example. Has anyone out there seen one? <br>

This version of the lens has seven elements (thus the 'S' for "septem") in five groups -- all the later have six (H for hex, which I guess they used instead of Sex... but not all the time I hope) in four groups. The Nikkor-S was made from June 1959 to Dec 1963. SNs 520xxx to 584xxx.... All this findable on the great photosynthesis/deGrout site : <a href="http://www.photosynthesis.co.nz/">http://www.photosynthesis.co.nz</a>. <br>

Anyway it's a cool lens. </p>

<p>PS If you decide to expand your collection of cameras, the original non-Ai lenses we're talking about here -- the 50s plus I'd add an endorsement for the 28mm f/3.5 Nikkor-H or -H.C., and the 105mm f/2.5 Nikkor-P -- will work fine on the F2 up to the F2SB; and, with stop down metering, they can be used on F2A, F2AS, F3, FE and FM (but not the FE2 or FM2). And all the Nikkormats as well. I don't remember about the F4, F5, and F6 but I don't suspect those are the kinds of cameras you'll be looking at in the future, given what you have now. </p>

<p>I second the Nikkor-H 50mm f/2 suggestion. A magnificent lens and beautiful on the F body. </p>

<p>You folks really do excellent work. Nailed it in a few hours. </p>

 

<p>As you might be aware, the Fuji weighs about 3x (or more?) what the Mamiya weighs. Indeed for some purposes some photographers might find the Mamiya too light. The Mamiya has an internal meter. </p>

<p>I think the variety of answers you've seen here, many of them not appropriate to what you're looking for, almost all of them from a fairly expert audience, demonstrates what a few noted right off: what you're looking for, it don't exist. Time for Plan B. </p>

<p>So here's what you want: <br>

6x6<br>

metered rangefinder<br>

under $700<br>

not too heavy</p>

<p>The only way to get most of what you want that I can see is to go 6x7 and crop. The Fuji GW670III sells for under $700 and has all the rest of what you need (it's heavier by a good deal than the Mamiya 6 or 7 but not nearly so heavy as the Hasselblad you mention). </p>

<p>You're going to have to give up something. Despite your extensive experience etc etc etc. </p>

<p>Your choices: <br>

add $300 to your budget and with a little patience (a few weeks, I'd say) you'll find a Mamiya 6 or 7 with an 80mm lens to meet your budget. </p>

<p>skip the idea of an internal meter -- with this one requirement removed you have a world of choices of folders and fuji medium format w/ fixed lens</p>

<p>go to 645 format</p>

<p>Q. G. <br>

I .... will .... not .... ever..... say..... anything ..... bad.... about..... Hasselblad design ...... again! (I feel like Winston Smith with his head going into the rat cage.) But it's true. I never will. You've convinced me. I think though that you might consider how life is for some of us chaotic debt-ridden Mediterranean peoples who can't control themselves..... if you're not northern European and your lens gets jammed in you don't just docilely pack the camera up (mit great care!) and proceed immediately to the fine Herr Professor repair engineer who unlike you is properly qualified to touch the thing. Some of us are like "wha-da-f**k how do ya get the friggin' lens off here for chrissakes?" You get the lens off, everything works again, you're happy. We are simple people, like children, you know? We don't understand international banking, for example, as you might have noticed. </p>

<p>I wasn't the original design quirk guy here, let us remember that. I do think it's true -- it certainly felt true when I was learning to use them -- that Hasselblads are kinda complicated in little ways. The whole thing when you're loading film with the tightening/untightening of the clip like mechanism that holds the film tight to the film plate, being just one example. (Don't worry you don't have to explain it I understand why and how it works...) But they are beautiful and they work so well and feel so good. And so we love them, as we would certain women who make life a little more difficult than perhaps is necessary. </p>

<p>And really I promise not to wear a wife-beater and move to Jersey and just slam the thing around. I've already started looking into getting it fixed. </p>

<p>Q.G. --</p>

<p>Thanks so much, the whole interlocking thing has never been explained to me so well. So I'm grateful. I still think they could have put the escape screw, having put one at all, a little more accessible but so be it. </p>

<p>I assume then, thinking about it, that the focal plane Hasselblad V bodies don't have this issue? Or they do because they retain the interlocking system for the older lenses? </p>

<p>Q.G.,<br>

Quite right, and I wrote sloppily. What I meant: I have this little problem, a thing that goes wrong from time to time, mirror locks up, camera freezes, and since I wasn't using the camera regularly until now I don't yet know how bad it is -- however one freaky design feature is that when this happens, the lens gets locked in. And, presumably KNOWING the lens could get locked in sometimes, the Hasselblad folks provided a solution... what, you may ask? A wee little screw halfway inside the body of the camera that you can turn just a wee bit but not easily -- with one hand, somehow also holding open and not damaging the curtains -- while with your other hand you hold down the lens release button and gently turn the lens to get it loose. You will struggle for some time to accomplish this but once you get it everything unlocks and then as the Brits used to say, Bob's your uncle, and off you go. This mechanism seems to me a bit of a quirk, as Steve put it. Why does the lens need to lock in anyway? </p>

<p>So yes I strongly suspect the camera will need work or does need work but being broke and not yet having researched a good Hasselblad service in the US, I'm just going along hoping for the best. And enjoying myself quite a bit. </p>

<p>Steve -- thanks for the website. I agree with you about the hasselblad quirks and engineering tripwires (occasionally my mirror locks up & nothing will advance and the lens won't come off unless I manage to turn this tiny screw inside the body of the camera... while trying to release the lens with other hand. This is always fun.) Yet somehow when it's going well I feel like I'm using the best camera in the world. I'm really enjoying it. </p>

<p>QD -- thanks, that is what I thought. Since it's color I have to send it off to processing & am likely to get it back blank, $8 poorer and a million bucks sadder..... Live and learn. </p>

<p>I have a 500 C/M with 80mm 120mm and 150mm lenses though I rarely use the 150. I carry 120 and 220 backs (usually one of each though I have two). Anyway I bought all this and various accessories over a good deal of time waiting to find bargains on each and I realized recently that all that collecting had taken place and I almost never used the camera. The size / weight / medium format intimidated me. So I've been using it almost exclusively for the last few weeks -- usually with a handle and a mirrored prism, but sometimes handheld with WL finder. </p>

<p>For 220 film I've been using Tri-X 320 that I bought on ebay and the other day I dug up some New Portra 160 that I knew I had somewhere in the freezer. So the first roll of Portra I loaded as usual (I thought) using the little button on the film holder to turn the film onto the roller and move it to the start position. When I shot my 24 I wound it on and opened the magazine and found the paper reversed, facing inward, not out. Subsequent rolls I've loaded the same way came out correctly. I remember <em>distinctly</em> on the roll that came out wrong, the yellow paper and the black arrow lining up with the red triangle and me using the wee turning knob on the correct side of the magazine to make it do so. </p>

<p>So how could it have come out wrong? (I took the reversed roll home and into my dark closet and rewound it correctly -- in the I-know-it's-in-vain hope that the images are actually on the film even though it came out of the camera backwards. </p>

<p>Is there a way to load the film on the correct side of the magazine, out and around the back plate and back onto the roller, yellow paper showing there, black arrow visible -- and then have the shot film be backwards/reversed? </p>

<p>Speculations welcome. I'm baffled. But I felt like a fool and would love to know what I did wrong. </p>

<p>PS the great advantage of Portra 160 (quite a beautiful film btw) or 400 (don't know it as well) is you can buy it in 220 which means you don't have to change films as often. Don't forget to flip the film pressure plate.... <br>

With Ektar and Portra I shoot 1/3 stop below box speed (80 or 320 or 100/125) and with Ektar in gray light I shoot 2/3 stops slower. My experience with Ektar is that it looks terrible if there isn't a lot of light; that it's easy to underexpose but very hard to overexpose, the more light the happier it is. <br>

Velvia 100 -- meh. Velvia 50 is certainly a distinctive and at times beautiful film. Me, I like Provia 400 better than both of them. It costs an arm and a leg. 400 ISO gives you a lot more latitude. Get yourself a two stop (what is that, 6X?) ND filter if you like to shoot wide open in sunlight. </p>

<p>So you're all clear now, right? </p>

<p>Adorama is closed for the holiday. Calumet is the way to go. They do land office business whenever there's an extended Jewish holiday.... slightly less cheap than BH/Adorama. </p>

 

<p>Adorama is closed for the holiday. Calumet is the way to go. They do land office business whenever there's an extended Jewish holiday.... slightly less cheap than BH/Adorama. </p>

 

<p>do a search -- there's a lab in the US that specializes in it and promises never to stop.... but maybe it stopped. Can't remember the name. </p>