matt_t_butler

@JDMvW Thanks for that info. In the meantime I managed to speak to photographer 'of a certain age' who opined that the 'special filter' I was enquiring about, appeared to be a diffusion filter with a contrast factor. As this glass filter was produced over 60+ years ago, chances are slim of locating one - although I guess there is always a slim chance on eBay.

These days one can apply Gaussian filters in image processing to reduce the moire and dot patterns when photographing early 1920s -1930s B&W images in books and magazines. To achieve this during the actual copy stand macro photography and reduce post production time ( ..... imagine re photographing the contents of many early photo magazines). Is there a better way than the simple technique of shifting the focus from sharp to soft as shown in the reference photos below? I prefer to work with filters 'in-camera' and recall a special filter was marketed way back to assist in this process. EDIT: Pix: 1) Original - photographed CLEAN Pix: 2) Same but with slight focus shift Pix 3) Detail of both 1 and 2

Slightly off tangent but an 'old school' technique used to reduce the blue cast on directly inverted positive images when photographing colour negatives involved the addition of two filters. A dSLR with a macro 1:1 lens on a copy stand set up with a daylight lightbox source was used. A combination of a Wratten #50 Blue and a Wratten #50 Cyan placed under the negative film holder. A visual observation of the negative showed the orange base colour corrected to a neutral 'grey' colour. Technology has moved on and advanced software and scanners make this work a lot easier.

After reading all about spinning disks and write cycles my head is spinning .... ;) I have CF camera cards from the last century - circa the late nineties - that are still readable. Do any forum readers have any anecdotes about CF card failure when used for long term storage?

"That's why it's important to reformat cards in the camera rather than deleting files, which causes fragmentation (a mix of filled and open blocks)." Does this also apply to deleting single unwanted photos in camera folders using the camera's own ERASE or DELETE function? Or rather deleting some files when an external card reader is connected to a computer before reinserting the same card back into the camera?

I have had occasional issues when I saw the 'CARD FULL' message, where I could not immediately view picture preview files on the camera's LCD. Turning the camera OFF and re-inserting the card solved the problem. Thanks again for the answers.

[uSER=8475649]@steve_gallimore|1[/uSER] ... Thanks!

It is 'good practice' not to completely fill up a computer hard drive to its maximum capacity. The suggested practice is to leave at least 10% to 20% of the capacity of the card empty of data so as not to affect the speed of data retrieval and usage. Is this the case for both HDDs and SSDs? Does the same apply to camera memory cards?

Thanks for the responses - as I don't have any 43mm filters I can not answer that proposition about 43mm filters vignetting, but perhaps by using the 52/43mm step up ring and one regular rimmed 52mm filter instead of a 43mm filter it allows a wider field of view before any vignetting occurs.(?) I tend to use a lot camera filtration for 'in-camera' effects rather than mess about in post processing .... hence my filter stacking exercise.

Perhaps the organisers of those rallies watched American films from a certain studio ......

My exercise in stacking the filters was to find if possible how many filters I could use on the wide angle RF-16mm before vignetting issues and to save money (!) so I did not have to buy a bunch of additional 43mm filters. Now I know.

Some of the most visual night photos taken of the NS rallies were made by Ida Louise Aufsberg (1907 - 1976) who earned a ‘Master Photographers Craft’ diploma from the State School of Applied Arts and Craft in Weimar, Germany.

The Canon RF-16mm lens has a 43mm filter thread. Some photographers have 52mm filters in their kit. The reference photos are shot on Full Frame @ f22 with a 52/43mm step up filter ring - (#A) with two stacked 52mm filters and (#B)with only one 52mm filter. There is visible vignetting on the two stacked filters and no vignetting when using one filter. (No problem with cropped 1.6x for stills and 1.7x for 4K video with 2 filters.) Canon R+RF-16mm lens with 52/43mm step up ring and two 52mm filters RF-16mm with 52/43 step up ring and 2 stacked 52mm filters (#A) RF-16mm with 52/43 step up ring and one 52mm filter (#B) - Edge of building in top Right corner.

For my next video project I will be framing for the legacy widescreen Cinemascope format of 2.35:1 on my Canon R. These days it is 2.40:1, a better fit for HD -1920 x 1080 or UHD - 3840 x 2160 release in the 16 x 9 format. (1.77:1) I tried to find a good reference on Google but in the end I 'designed' my own ... feel free to duplicate if useful. For the purists, they would probably use an anamorphic lens or adapter - but shooting in 4K one can afford to sacrifice to loose the pixels top and bottom of frame. To mask the LCD, I merely applied semi-transparent scotch tape AKA frosty sticky tape over the black framing area - not very elegant but somewhat effective. Aqua outline 16 x 9 format (1.77:1). White framing 2.35:1 guide.

I went out Friday night (10th Nov.) to test some old Nikon, FD and EF lenses converted to RF mounts for Canon R Series cameras. The 9_11 Tribute lights had been switched on early .... Such a powerful visual statement. Canon EF 20-35/2.8 Blue filter 1sec @ f3.5

I'm guessing this is either a Type #3 (in Wratten nomenclature) or a faded Type K1 (#6 in Wratten nomenclature), pre WW2 filters used for 'Daylight correction on panchromatic materials for outdoor scenes, including sky'. The yellow coloured dyes in these two particular filters were unstable whereas the dye base in a #12 Yellow was very stable. I cannot assist you with P.M.P. Possibly a French pre WW2 manufacturer that did not survive the 1940s .......

I understand that some 'modern' lenses for digital cameras have anti-UV coating on their front element. Photographers exploring UV photography suggest 'old' lenses for film cameras may not have the UV coating and are suitable for this application. I have a good collection of FD glass and was wondering if any forum members could advise?

I guess you could do that in Photoshop quite easily but I am not sure how to do it in Final Cut ......

It has been a while but from memory the work flow in Final Cut Pro is to 1) lay the three separate R, G and B exposures above one another on the edit timeline. Then 2) in the 'Effects' pane select 'Compositing' > 'Blend'. If your individual RGB's have been correctly exposed the colour balance should come out OK. 3) If not use the 'Opacity' slider to compensate. ('Transform' is selected as the stills format had to be adjusted for the 16 x 9 frame.) I have not tried RGB separations from a 'full colour' normal frame or clip .......

Bright Lights, Big City.

RGB Composite

Is the BMC Pocket camera sensor size close to a 1" sensor? I believe the 'H' designation means it gives coverage for 1/2" sensors - that will explain the massive vignetting This link to adapter modifications for this lens may be of help? .... Lens Modifying - Personal View Talks

Before drones ....... a 1200mm aerial camera - hand holding not recommended. LINK