bryaneberly

About two years ago when I purchased my FE, I wanted a quality wide angle lens to go with it. I snagged a good looking 28mm f2.8 AI-s off eBay but was too inexperienced with manual focus to realize that the focus in the split prism was off by a good bit. I do not have focus issues with my other Nikkor lenses. Because I realized the problem too late I let the lens sit for awhile, not really sure how to proceed. Recently I decided to replace it but because of my budget I purchased the less coveted AI version. I am now second guessing that decision and am wondering if anyone could provide a tutorial on how to possibly do some surgery to adjust the infinity focus. I have read enough of how sharp the lens is and would love to salvage it if possible. Also, there are also a lot of photographers saying that the 28mm AI-s is superb for close up photography but sharpness suffers in landscape photos. Is this true? I tend to lean more toward landscape with a wide angle lens so would it be best to just keep the AI and forget the AI-s? Thank you for any information. Bryan

Thanks to you and others who have reminded me of negative film's exposure latitude, especially with b/w film. I intend on using this with the Agfa Selecta and Tmax. It'll be awesome to see my dad's old camera snap to life. I completely see what you're saying. I guess it is true that many of these old camera - including the the '70-80's SLR's - can have slightly slower shutter speeds due to age. Thank you for bringing this potential problem to my attention. To provide background, I have never before been a full manual shooter. Starting with my digital-only days, I have largely shot aperture priority which is available on the Nikon FE, ME Super, and OM-2n cameras. Since finding my dad's old Agfa and acquiring the MX, I have been interested in learning how to shoot full manual. I believe it will produce better photos because of gauging the incident light instead of metering the reflecting light. This will be especially helpful at the beach with all the water and sand reflecting light and using E-6 film. I am seeking a somewhat reliable base formula to start off from, even if it means bracketing to figure out how it reacts with each camera. This isn't me trying to be stubborn, I am simply trying to step away from always using some sort of metering help with most of my images and finding a way to do that with assistance instead of pure guesswork. With that said, here are the questions. First, is there a base formula to start with outside of Sunny 16 or is that it for now? Second, if Sunny 16 is what I am stuck with using, will the camera's set shutter speeds be adequate for use with E-6 film or should I look to get as close as possible to the ISO/ASA reciprocal (with the proper stop adjustments made, of course)?

Thank you for the responses. It seems you’re all saying that using the available shutter speeds (60, 125, 250, and so on) should be close enough for the wide exposure latitude of print film. That’s easy enough. I have a fresh roll of TMax 400 in the Agfa now. But what about shooting with slide film? I intend on taking my Olympus OM-2n and a bunch of Provia 100 to the Outer Banks in a week and will need to be as close as possible with my exposures. The different weather rules will be helpful and stand in as my so-called incident meter until I can afford one. Will the standard film speeds work with the “sandy/snowy 22 rule”? In other words; with ISO 100 using 1/125 at f/22, 1/250 at f/16, 1/500 at f/11, and 1/1000 at f/8? Wouldn’t the exposures be more accurate if I use exposure compensation to achieve the 1/100 at f/22, 1/200 at f/16, 1/400 at f/11, etc? That’s basically what I am trying to figure out; achieving the closest exposure possible. Then I can branch out from there and experiment with other scenarios.

I recently decided to give my dad's ancient Agfa Selecta a warm-up run after years of non use. Naturally, the cell which powers the internal meter has died, forcing me to rely on full manual exposure. Figuring that "Sunny 16" and other related rules (sunset, overcast, sand/snow, etc.) would be my best hope, I went looking online for the general guidelines to create a quick reference sheet to use out in the field until becoming completely comfortable with it. I discovered a problem; online tutorials explain that exact reciprocals are needed based on the ISO/film speed. That means using 100, 200, 400, 800, 1600, etc. shutter speeds while all my film cameras (FE, AE-1 Program, ME Super, MX, OM-2n, and the Agfa Selecta) run with speeds of 125, 250, 500, 1000. So my question is this: if using 100 ISO film with Sunny 16, will my speeds be f/16 @ 125, f/11 @ 250, f/8 @ 500, and so on, or will I need to use exposure compensation and maybe other creative tactics to be as close to 100, 200, 400, 800+ as possible? Thank you for any advice any of you film shooters have in addressing this. I have been looking online but most of the tutorials are geared toward digital shooters who have a larger variety of intermediate film speeds available for use. Bryan

Thank you to everyone who responded. Again, my original post was not meant to rail against KEH and call them out as an incompetent company. They have always given me great service and I was only slightly concerned about a recent rough streak of needing to return lenses. And as some here explained, they have always sought to fix any problems that develop. After calling and explaining the problem to their return department they, as always, graciously responded and an exchange is underway. Thank you to KEH for the 1st class service. I look forward to using the Olympus 28 when it arrives.

I honestly do appreciate you keeping me honest. No, I do not wear glasses but have contacts (and they are presently in). I have an Olympus OM-2n and the 200mm, 135mm, and 50mm all reach infinity (plus a tiny bit extra) when tested at long distances. Concerning the Pentax 50mm I have two film bodies: the ME Super and MX. They both showed identical results while my other lenses (another 50, a 28, and a 75-150) reached infinity. I do not mean to turn this into a flame thread which targets KEH. It may very well be that I hit a rough patch with them. I do intend to call tomorrow and politely explain the problem. Edit: One more thing about the Olympus 28mm: The infinity focus comes very close but the lines on the focus screen just don't quite match up. How close is close enough?

KEH? Please let me know and delete this if threads about a another photo equipment website isn't allowed. I have been buying from KEH on and off for a while and have never had problems... until now. The last month has produced three lenses with distant infinity focus problems and one with haze on an inner element. The first was an "excellent" Pentax-M 50mm f1.7 that arrived with a problem with distant infinity. Because I waited over 14 days to catch the problem, I was left with the choice of replacing it or returning without a refund. I was told the only other 50mm they had was in "bargain" condition but had nothing that would affect the photos. That arrived last week and, again, had distant infinity problems and very visible inner mold spores growing off the edge. Because I have no other options left it's been put up for sale elsewhere. Second lens was an "excellent" Olympus OM 28mm f3.5 that arrived with haze on an inner element. I caught it this time and returned it for another one in excellent condition. This one arrived, again, unable to focus to infinity at a distance. I will now need to call them again for an exchange or refund. I don't want this to sound like a venting post but this has frustrated me quite a bit. It takes time to reconcile these problems. Is KEH becoming too big for themselves or do they just not properly test and inspect the equipment they take in? Though their prices tend to be higher, I could usually depend on service. Just wondering if this is a fluke or a slide in service quality. Bryan

Thank you for the help, it has been reassuring. If I end up with it I will absolutely change the logo dot back to red. Hopefully someone else can provide more info, but if not I will take the plunge.

I noticed the black logo myself. I have seen replacement red and black logos for sale on the internet. I have also seen other Leica's with a black logo. Is it possible that it was changed out at some point?

I see. So you're saying that including a gray card in the first frame will help to set the tone in the following 35ish when post processing?

I have been offered a very good deal on a black Leica M6 TTL with Summaron 3.5cm f3.5 lens. The thing that confuses me is that the price is an absolute deal in my favor and there is NO serial number stamped on the top plate. Below are some pictures of it. Can anyone tell me if this looks real or shady? Would love to know before I make the drive to complete the transaction. Thank you for any help.

Ouch, look at the fashion. I fully intend to try a roll of Ektachrome when it actually hits shelves. It may not be entirely the same as the old but the name stands out. Hopefully they bring back Kodachrome in some way so I can try some.

Thank you for the confirmation. I intend to try one or two at 100 and see how they come out. I have 17 to play with. Does anyone have experience with the Plustek Opticfilm 8200i SE? I have it for 35mm and it seems to make good scans except with an occasional color cast problem. May need some help with figuring it out.

I see what you're saying. The shot you cleaned up was taken at -1, so basically at 200 ISO. Your edited version looks pretty good. What exactly did you do to clean it up, especially the sky? I'm using Lightroom 6 but would like to switch over to CC for better editing. My scanner is the Plustek 8200i SE and I'm still learning how to use it, so color casts happen sometimes. I am probably going to shoot at the standard exposure on the next roll. The shadows on the underexposed are a bit much in my opinion.

Thank you for that advice. I may keep my eyes open for an OM-1... and a Pentax MX. Those small cameras are pretty awesome.

Agreed with ME Super. I like that's it's compact yet solid and easy to shoot with. Haven't tried an Olympus yet, but I would like to. Maybe an inexpensive OM-10 or the like to sit with my ME Super, AE-1 Program, and Nikon FE. Film is challenging and fun.

I more than appreciate your personal view. I had read that Superia was considered Fuji's budget brand but free film is hard to pass on. The flat "100" photo came out pretty well after playing with the "temp" and "tint" sliders in lightroom. There was also a hint of blue sky. Might try a walk around with the ISO set to 100 and see what happens. Might also try one with ISO 50. About the haze: I looked for the dehaze feature in Lightroom 6 but found it's only available in CC. May need to sign up for it.

I should have mentioned that the top photo is +2 overexposed and the following ones descend in order. They were taken at f/8. I did notice the haze or fog (a Nikon L37c and hood were on the lens) which gives the first two a yellow tint and the last couple some blue. The more natural colors plus lack of yellow washed out sky give the underexposed an appearance of a better photo, which is why I am confused. Thank you for the help.

So, I was tired when writing the original post and want to provide more info and background surrounding the problem. I was using a Nikon FE with a Nikkor-S 50mm f1.4 Auto lens. I was shooting at Superia 100's suggested ISO (100). I was locating various compositions and exposing them with +2, +1, 0, -1, and -2 exposure compensation. I have read many places that expired film (especially 17 year-old film) needs some overexposure to compensate for the age, but the underexposure appears to have come out much better (though -2 colors look a bit murky). Is this outcome expected for old Superia or is it the way I conducted the test? Is it possible that the Nikon is metering with a curve? I have 17 other rolls and a Pentax ME Super if I need to attempt another test. Again, thank you to anyone who can shed some light on this.

I was recently given 18 expired rolls of Fuji Superia 100. It expired somewhere around 2001 but was continually frozen over that time. I tested a roll by shooting exposures and ranging the exposure comp from +2 to -2 in hopes of receiving a sure idea on how to expose it. Now I've always understood that film expired long enough usually needs to be overexposed, yet these pictures seemed to improve the more they were underexposed. Is this even possible or am I doing something wrong? My local shop did the processing for me (as always) and I scanned these with a Plustek 8200i. The overexposed shots sometimes has a yellowish color cast to them. Below are an example of a test scene from the roll. The overexposed shots are first. Thank you for any assistance that can be given.

I have my dad's old 1962 Agfa Selecta Prontor-Matic-P here and there seems to be a problem with it. The exposures sound slow and after running a roll of film through it, many exposures are blurry. I ran it by a local camera shop and the owner was telling me that the camera has an inaccessible battery located somewhere in the interior, and it appears to be dying. After that, I visited a camera shop/camera museum in Virginia. The owner there told me there is no battery in the camera. He told me it runs off rechargeable graphite and just needs a new dose of it. I have been searching the internet for answers but mention of the camera is almost impossible to find, let alone anything about its mechanical insides. I checked the owner's manual but it did not mention anything about batteries or graphite. Is there anyone here with the wisdom to inform me of the problem? It would be great to use my dad's first camera, even if it's infrequent. Thank you for any help! Bryan

Same thing happens. It seems to be a problem between the film advance lever and shutter button. The shutter still auto fires when I let go of the advance lever; sort of like whatever holds it is malfunctioning.

Hello, this is my first post on the site and I want to address a problem I am having with a Nikon FA. I received it and several lenses for free last spring from a family friend. The problem with it is that when the film advance lever is cocked it just springs back while automatically engaging the shutter. There seems to be something preventing it from staying in place and allowing the shutter button to operate the shutter. Also, the batteries in the camera were replaced with new ones but they're not responding to anything. I did not see any corrosion on the battery connections in the camera so I really have no idea why it's not responding. Anyway, those are the problems with the FA and if anyone has any advice I would love to hear it... even if it's "chuck the thing." I already have a Nikon FE and Canon AE-1 Program so this might be ebay fodder either way. Bryan