paul_harris16

<p>Hello Leigh -<br>

It's on the body.<br>

- Paul</p>

<p>Thank both of you for the speedy response. On the side of the shutter next to "<strong>Lens Made in Germany</strong>" is stamped "<strong>051-1</strong>."<br>

Paul</p>

<p>Hollo World,<br>

Can anyone tell me what <strong>051-1</strong> means on a Synchro-Compur shutter?<br>

Thankee,<br>

Paul Harris</p>

<p>Someone, please point my nose in the right direction. I need to mount an old Zeiss preset lens on my Canon New F-1. I've been told that such an adapter exists but I haven't been able to locate any.</p>

<p>Whew, what an education. I just got my first Hassy, a 205 FCC. Thank you all. Paul Harris</p>

<p>Lots of really good FD glass, especially the L series. However, IMHO, the two finest marks are Leitz and Zeiss. I don't think that one is better than the other, only different. I've also got some very nice Steinheil glass, all from my Varex days. Got rid of the Exakta long ago but kept the lenses. There's no problem adapting them to the F-1 or New F-1. Just remove the pin that fired the Exakta shutter and use a double cable release either by itself on a tripod or with a pistol grip. The nice thing about the pistol grip is that it can be mounted left or right.</p>

<p>Phillip - Thanks for the tour de force. The only thing better than the 85 is the model. You've got a beautiful son. He deserves a Zeiss lens.</p>

<p>Colors, especially the greens, look rather garish. Why are you using Superia? You might also wish to get a graduated neutral density filter. Keep working the problem.</p>

<p>Mercedes,</p>

<p>Fundamentally, there are two ways to measure light: reflected and ambient. When measuring reflected light you measure light that has bounced off the subject. When measuring ambient light you measure light that is falling on the subject. Obviously, if, under the same conditions, you measure light bouncing off a white wedding gown and a black tux, you will get two different readings; however, if you measure light falling on those two subjects, the readings will be identical.</p>

<p>Think about it, which reading, reflected or ambient, will give you the desired result? The reflected light reading will cause the wedding dress to look darker than it is and the tux to look lighter than it is; that is, unless the photographer doesn't fudge the readings some. But, the ambient reading will result in a white wedding dress and a black tux.</p>

<p>Cameras with built-in light meters measure reflected light. So, the photographer has to use his or her noodle when using a camera with a built in light meter. For a buck two ninety-eight you can buy something called "an 18% gray card" in almost any camera store. If you place this card such that the light falling on it is the same as that falling on the subject and take a reading off it, you will get a reading that approximates an ambient light reading. If you are willing to spend 25 to 50 bucks, you can buy a used Sekionc Studio DeLuxe light meter that does an excellent job of measuring ambient light. That's the way the pros do it. Try it, you'll like it.</p>

<p>Happy shooting.</p>

<p>I would like to wander slowly through the now independent ex-colonies of Africa, ex-Iron Curtain countries, or China documenting what life is like in those countries. For equipment I would choose a 6x7 film camera, probably a Mamiya RZ67 Pro iiD, a variety of prime lenses from 50mm - 350mm, a Noblex, a solid tripod, some accessories, and a load of of of <strong>film</strong>. The ten thousand smackeroonies would be used to hire 2 assistants with strong backs and weak minds to drag my stuff around.</p>

<p>Not a response as much as a question. I have a 500CM Blad and have decided to upgrade, possibly to an RZ67ii. Problem is that I have a significant investment in glass. Has any one mounted Hassy glass to an RZ?</p>

<p>First things first. The Olympia Sonnars, both 180/2.8 and 300/4, were manufactured from the end of 1935 to the early 40s. They were/are called "Olympia" or for us Amerikanas, "Olympic" because they were made as the "official" lenses for the 1936 Olympics. There are CZJ 180/2.8 and 300/4 "Olympia" Sonnars manufactured ca 1966 but, of course, t'wern't "AUTHENTIC" Olympia Sonnars because, despite modern technology, time machines have yet to be invented.</p>

<p>I own both the 180/2.8 and 300/4 "AUTHENTIC" Olympias with Canon EF and FD and Nikon F mounts and the Nikkor 180/2.8 AIs and 300/4 with adaptors for the Canon EOS and F-1. Remember, the Nikkors are almost three dozen years younger than the Sonnars. In 1935 "computers" were adding machines, abacci, and slide rules. In 1935 the glass and coatings of the 60s didn't exist. Furthermore, the Sonnars are pre-set lenses, the diaphragm does not close down and open up automatically. Many is the shot I've lost because I neglected to close down the lens prior to firing the shutter.</p>

<p>Admittedly, I use the Nikkors more, very much more, frequently than the Sonnars. However, I have no intention of ever giving up the Sonnars. I am intimately familiar with all their faults, and boy, do they have a lot. But, and because of their faults, I can do things with the Sonnars that are simply out of reach of the Nikkors. The Nikkors lack the Sonnars' faults!</p>

<p>My advice: Get the Nikkors; then, if you have money to burn and just have to have a new toy, by all means buy the Sonnars. If you do, expect a long learning curve and a lot of lost shots. Have fun.</p>

<p>Given time and money, almost anything is possible. Around 1962, Marty Forscher mounted 2 lenses with Exakta 66 mounts to my Nikon F: Zeiss 180/2.8 and 300/4 (preset) Olympia Sonnars. Both focussed to infinity. Unfortunately, Marty is no more. Hunt for an excellent machinist, probably an ex-watchmaker who's bored to death; may be he'll do it for you and a bag of money.</p>