CCU

I have just taken delivery of a 70-300 lens for my E610. It's better than I hoped. I tend to attach a UV filter to my lenses partly to protect

the front element - I am getting a ghost image of any bright spot symmetrically opposite the original point of light that isn't there without the filter. The front element of the lens is very convex and I suspect this is bouncing the image off of the inside surface of the filter. Has anyone had this problem and is there a solution?

A few years ago I took a photo of the 'Humber Suspension Bridge' in evening light using an O.M.1. With a 24mm 2.8. It

was one of my best ever so I had it printed and framed but the negative came back damaged. I went back to the bridge

but only had a 28mm lens. I simply couldn't get the shot. I would think a 24mm can always be cropped if it's too wide. Go

for the 24mm - its very different from 28mm.

Sorry Mr Marcus "Now 5616 pixels by 3744 pixels has a diagonal measure of 6750 pixels." .... infact the diagonal meaure

will be 5616 pixels. An 8 x 8 chessboard has only 8 diagonal squares.

I find the best results across all lenses (even slow ones) come from the architect screen. It has no centre split dot but

does have a grid for checking vertical/horizintal and proportiona. The focusing is extreemly fast and surprisingly

accurate.

For the metering take an unlit room and a spot light source as far away as possible. Put the camera on a tripod and

watch for the meter changing as you scan the room by panning and tilting the camera. You will see haw the spot

meter coresponds to the grid of the screen.

The OM2 was notorious for burning up batteries and the batteries were notoriuos for having a very short shelf life. Very

often a set of batteries would die after a days use but shops would always blame the camera. Someone brought out a

single battery that would replace the two recomended by olympus which gave a vast improvement. There was a lot of

fuss that they invalidated the guarantee but I never had a problem. Sorry that this doesn' help you.

<p>I have just been onto the 'PocketWizard' website. They don't have any info on Olympus compatible products. </p>

<p>Flash is a must for low-light events and when the subject is not around in daylight. It's also good for 'fill' when you want to supliment poor lighting conditions. If you can persuade your kids to be photographed in daylight you will get photos which are so much better than anything with a flash.</p>

<p>- 12 MP rather than 10 .. Only you can know whether the pros outweigh the cons ... Better detail - less shots per card perhaps slower write speed when you use raw.<br>

<br />- moveable LCD screen .. A must on any serious camera. Low level photos - shooting over a croud - candid shots. I have even popped out the screen and held the camera looking down at the screen for portraits in the way you would a large format film camera - its amazing how composition is improved.<br>

<br />- stabilisation... I have tried testing this extensively and can't find any benefit at all. I wondered for a while whether it wasn't working on my camera but got the same results from other e620s . The best you can hope (in my experience) would be that a blured picture would be marginally less blured with the system operating. Other manufacturers may be more successful but I suspect not. The only way to get a good stable picture is to hold the camera still or put it on a tripod. The old rule of thumb still works if you use the focul length of the lens x 2. So ( in old money ) a 100mm lens needs a shutter speed of 1/100th sec. or faster - 200mm 1/200th etc.</p>

<p>A bit off topic but I feel I must but-in. I can confirm that London is a fantastic big city. It would be in most peoples top 10 - but ... it is a big metropolitan City with a few unique sites. If you have time take a trip to see some of real Britain.<br>

A Day trip to Oxford or the Cotswolds. A two day trip to  Bath; or Stratford. A longer trip to the New Forest and Cornwall or the Yorkshire Dales and the Lake District. Lake District.</p>

<p>4/3rds will be fine - Purists will always go on about larger formats but time after time blind tests show that other factors (lens quality; printing etc) play a much bigger role. I would reflect on what <a href="../photodb/user?user_id=5911856">Pierre Lachaine</a> had to say - and how are you going to recharge batteries. Regarding the point made by <a href="../photodb/user?user_id=290903">Leslie Cheung</a> not only are the cameras smaller the lenses are too for equivalent focal lengths.</p>

<p>90% of my photos are taken using the view-finder (Olympus user since late 1960s). For portraits and low-angle shots,however, I often flip open the viewing screen and look down as with a large format camera. If you've never used one it's amazing how this allows you to 'see' the composition. The battery grip and especially the release button and wheel (As Greg Chappell mentioned above) make this so much easier.</p>

<p >I know this goes against the grain with most people on this site but any advice would be appreciated. I was in a car travelling through Lagos in Nigeria trying to take a picture of a Mosque. I have an Olympus E620. We were stuck in a jam so I opened the window and pressed the shutter. The mirror flipped up. When it flipped back I had an irate, armed police woman looking into my lens! She was not happy – my driver hit the gas and weaved away through the traffic. Police all over the world dislike photographers with cameras remotely ‘professional’. What I need for my next trip is a small ‘tourist’ type camera for sensitive locations that won’t attract attention. The emphasis is on small. Any suggestions?</p>

<p>Check the negative. If you have 3mm overlap this equates to the film slipping around 6mm (you should have a small gap between exposures in addition to the 3mm overlap) the sprocket hole period is around that distance. Are the sprocket holes all clean formed and flat? Have a good look in the camera- The capstan with sprockets is reponsible for moving the film the exact distance required - are any of the sprockets worn or boken? On the OM 1 you will recall the you have to twist a small botton before you rewind the film to free the capstan. When you load the film and start winding the advance leaver the button jumps back. Its worth checking at this point that the button isn't sticking part way - this might alow the mechanism to jump occasionally.</p>

<p>It's about 25 years since I took wedding photos but even then I always took my girlfriend along as a spoiler. With perfect timing, everytime I took a photo she would move in to fuss with the Bride's dress, hair, pose etc. When I was ready for the next shot she would move out just long enough for me to take the next pose then back in to spoil everyone elses oportunities. Don't peop[le still do this?</p>

<p>I have a 1/2 frame pen purchased new by my father for £16.00 in the late 60's. (About a weeks wage.) It has been worked hard and although now rarely used it is in perfect condition.<br>

On Olympus slr cameras - to rewind the film a tiny knob must be turned through 90degs. On subsequent use of the winding lever this knob clicks back positively- if it doesn't it can be manually turned back. On the pen camera a button is pressed to allow rewinding of the film (or to allow purposeful double exposures.) The button pops back when the film winder is used. Unfortunately when the button is 'pressed' it returns almost as far as when it is in the 'non pressed' position - this makes it impossible to see if the winder is engaged. further more - pulling it doesn't help.<br>

I can't remember who told me but I formed the habit many years ago of always placing my left index finger on the rewind knob when 'winding on'. (I find myself sub-conciously 'looking' for the knob with my finger on my digital slr!)<br>

If the rewind knob doesn't turn as you 'wind on' - the clutch that should make the film advance is disengaged and you won't move the film to the next frame. Try the following ... Finish winding on (to 'set' the shutter). Put the lens cap on or cover the lens and fire the shutter. Try 'flicking' the release button; fick the base of the camera with your finger nail and generally do anything you can to release the internal clutch. Try winding-on again remembering to check that the rewind knob is turning. <br>

I suspect that a tiny spring inside the film advance capston has become too tired to do its job - maybe the camera wants to retire. .... Good luck.</p>

<p >Cut to the chase....</p>

<p > </p>

<p >If you eliminate the impossible what you are left with is the answer. </p>

<ul type="disc">

<li >The legs aren’t transparent.</li>

<li >The line is too perfect for it to be an optical flare of any kind. (what you see in the photo is the line as painted on the ground.)</li>

<li >Contrary to an earlier post you can see the perpendicular concrete joint lines through the legs.</li>

</ul>

<p >The answer, therefore, is that at least two images have been combined. </p>

<p > <br>

The real mystery in my mind is … how did the yellow and black line on the tarmac get painted down the side of the aircraft? </p>

<p >Under what circumstances is it dark enough to need an assist light but bright enough to need a lens hood? </p>