shortscale photography thread.

Plug your music, photography, graphics, shows of any kind or other creative works.

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Dillon
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Post by Dillon »

Shouldn't be anything special to loading an FE, but that's the problem with old film cameras :( I keep experiencing similar things with my Canon FD cameras. Admittedly I'm a noob when it comes to film, but I've found it difficult to get the film to wrap around the take-up spool properly. Sounds to me like that's your problem; it's just not winding correctly. Next time you shoot a roll, make sure you watch the rewind crank when you advance the film. If it's not turning then you know you have a problem.

The X-Pro1 I ordered gets here tonight :D I've already received my adapter for the FD lenses, which is very well built, looks promising. The manufacturer says that metering will still work with it, and even aperture priority mode will work, but I don't see how that's possible...it doesn't have any kind of electronic connection that I can see to transmit that kind of data. Guess I'll find out tonight!
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Post by Bacchus »

Mages wrote:what is wrong with my FE? when I turn the film advance lever with the back open everything appears to work perfectly. is there some trick to loading the film in the FE or nikon cameras in general? I've read the FE manual and I seem to be doing everything correctly.
Never had any problems like this myself with the Nikkormat that haven't been user error. It's so frustrating when it happens, but I suppose it's a learning process.

Are you taking out the slack using the rewind arm before you start shooting?

If you have a spare roll of film that's been ruined and that you're not too bent on developing, it might be worth loading it and cranking and shooting your way through a roll with the back off to have a look and see if you can spot a problem?

Keeping an eye on the rewind crank to make sure it's turning is always a good idea too, I've found.
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Post by Dillon »

Got the Fuji...first impression: LOVE it! It's probably the closest thing you can get to shooting an old film camera without using film. Manual focusing with the EVF is really not as bad as I thought it might be. And it's the size and weight of my Canon A-1 basically. Left to right: Canon A-1 with 35-70 f/3.5-4.5, Fuji X-Pro1 with FD 50mm 1.8, Canon 5D with EF 50mm 1.4.

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Some random samples. I'm astonished by the level of detail and the film-like quality of the highlights. And I think the noise level at high ISO beats my 5D! To top it off all of these were taken with the cheapest of the FD lenses I have, the 35-70 f/3.5-4.5.

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DanHeron
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Post by DanHeron »

Awesome! Glad you like it. Look forward to seeing more shots :)

Btw, did you buy the body only with the lens adapter? or did you get one of the fuji lenses too? I have never thought about just getting the body but I just realised it could be a good idea. I have quite a few Olympus SLR lenses which would be fun to try on it.
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Post by Dillon »

Yep, I got the body only and am using it exclusively with adapted FD lenses (as that's all I have right now, but I'd like to explore other brands). Mine came from Amazon Warehouse, which sells open-box items. I don't know if they ship to UK or have a UK equivalent, but I got it for $1100 with a 2-year warranty. And it's like brand new. I just tried to find a link but I think they might have sold out.
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Post by Mages »

can you focus to infinity with the adapter?
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Post by Dillon »

Yes! Slightly beyond it actually, but it's no big deal. With mirrorless cameras infinity focus generally isn't an issue. There are lots of different adapters, too.

http://www.rainbowimaging.biz/shop/cate ... ategory=94

I like this camera so much that I'm thinking about getting an X100 as well whenever I have the money. I'd still like to have one for when I want to be a bit more discreet, i.e. street photography. This camera isn't as big as a DSLR but if you're pointing it at someone, they're still going to notice.
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Post by DanHeron »

Went to my mates gig tonight and took the X100 along. The photos came out a bit shit because of the coloured lights. There are very little shadows and highlights, just mid tones. On some of them when I make them grayscale they just become pretty much all grey! Weird! You can see in the guys hair in the first shot what I'm talking about. Anyway, I still think they are quite cool. Almost looks like some kind of arty filter lol.

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Post by Bacchus »

Aye, looks cell-shadey or something.
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Dillon
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Post by Dillon »

What're you using to convert to black and white? I've never seen anything like that before, but yeah, it is kind of cool :) As for the thing with the hair, that's a common problem shooting gigs, really, at least it is for me. Bright, colored stage lights tend to blow out the highlights. Maybe try metering for the brighter areas and using AE lock? And/or dialing exposure compensation down a bit. In my experience sometimes it's not possible to find a good balance between underexposure and blown highlights...so I often make the bright areas my subject and underexpose on purpose.

I'm still having fun shooting with the X-Pro1, but I take back what I said about it being easy to manual focus. Nailing focus is really a tricky business without a split image.

And I think I might also have to take back what I said about Superia 800...it was probably just the lens that I was using. It's a knock-off 28mm 2.8. It's branded "Access P-MC", and I can't turn up much on it...best I've found so far is that it could be a rebranded Sigma. Anyway, I've been using it on the Fuji and 90% of the results are throwaways. It's soft wide open (and what's the point of having a lens go to 2.8 if it's not sharp at 2.8?), and the colors are dull. But, I did get some decent shots with it. I think these were all taken with the 28mm, but it's hard to say, I was also using a 50mm 1.8 and forgot to switch settings to tell the camera that a different lens was on.

I am still blown away by the high ISO performance and the level of detail this camera captures. These are all at ISO 2000 and up, no noise reduction in post.

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DanHeron
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Post by DanHeron »

Dillon wrote:What're you using to convert to black and white? I've never seen anything like that before, but yeah, it is kind of cool :) As for the thing with the hair, that's a common problem shooting gigs, really, at least it is for me. Bright, colored stage lights tend to blow out the highlights. Maybe try metering for the brighter areas and using AE lock? And/or dialing exposure compensation down a bit. In my experience sometimes it's not possible to find a good balance between underexposure and blown highlights...so I often make the bright areas my subject and underexpose on purpose.
I was using Photoshop to convert it to b&w. I probably should've metered for the bright areas but I wasn't really bothered... I was just pointing and taking the odd shot. The bottom photo is how it looked pretty much straight out of camera. It was really smoky and the lights were bright blue at that point. I don't think the metering looks too bad, some nice detail in the guitar and amp on the left, just slightly over-exposed maybe.

Glad you're enjoying the X-Pro1. That last shot with the pool balls is really nice.
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Post by Dillon »

Thanks! I'm still hoping that a future firmware release will allow for focus peaking or some sort of virtual split image. I'll probably buy one of the Fuji wide angle primes so as to have auto focus again soon.

Has anyone tried the lens reversal technique, for interesting macro shots? Seems like I remember someone posting about that a long time ago. I'm thinking about giving it a go with a 135mm mounted on the Fuji and a 50mm 1.4 in front of it.
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Post by DanHeron »

I have done lens reversing but only in a very sketchy DIY fashion. I could see loads of the inside of the lens in my shots and had to crop just a small section from the middle but they came out OK.

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Post by Dillon »

Those are great! Now I have to try it, even if it's just taping lenses together.

This came in last night:

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It's an odd one. One of Canon's first "computerized" cameras. No direct control of shutter speed; just aperture control on the lens, which gives it aperture priority. And you can set several different "programs" for the meter: wide, standard, or tele. I'm not sure yet how that actually affects exposure.

The lens that's on it is a 35-105 f/3.5. It's a heavy bastard (about the same as the 70-210 f/4 I have) but I'm really impressed by it so far. On a crop body like the Fuji, 35mm (52.5mm equivalent) is a little too long for an all-purpose lens, but I think I'll still be using it a lot.

It also has a "macro" setting where you can focus on objects as close as 30cm. Nothing artsy here but I used that to take this photo of a 28mm I'm selling. I think I'll experiment with smaller objects.

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Post by Mages »

yes, my dad has a T50. it was the camera our family used in the 80s and 90s. it's completely automatic though unlike the T70 which gives you some control over things. if you adjust the aperture manually it will only use 1/60th shutter speed which actually is somewhat useful for low-light photography because it basically allows you to force shots with all the way open aperture.
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Post by Dillon »

For those who shoot with manual focus lenses, do you have a good technique for making sure focus is spot-on precise in dim lighting? And by dim I mean very dim. Like shooting bands in a small club with minimal stage lighting. My fastest wide angle lens is a 28mm f/2.8...and even at ISO 5000, in a situation like that, I'm finding I need a shutter speed of around 1/15 to 1/30 for proper exposure. At that shutter speed, if the subject isn't absolutely still, or if the focus isn't nailed, the subject looks blurred. It's not an issue of metering, either; the Fuji's meter is probably the best of any camera I've owned. It's easy enough to just turn the exposure compensation down to adjust for a faster shutter speed, but then images are underexposed.
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Post by Mages »

Dillon wrote:For those who shoot with manual focus lenses, do you have a good technique for making sure focus is spot-on precise in dim lighting?
nope. that's something I've wondered about as well.
BacchusPaul wrote:
Mages wrote:what is wrong with my FE? when I turn the film advance lever with the back open everything appears to work perfectly. is there some trick to loading the film in the FE or nikon cameras in general? I've read the FE manual and I seem to be doing everything correctly.
Never had any problems like this myself with the Nikkormat that haven't been user error. It's so frustrating when it happens, but I suppose it's a learning process.

Are you taking out the slack using the rewind arm before you start shooting?

If you have a spare roll of film that's been ruined and that you're not too bent on developing, it might be worth loading it and cranking and shooting your way through a roll with the back off to have a look and see if you can spot a problem?

Keeping an eye on the rewind crank to make sure it's turning is always a good idea too, I've found.
so I've done this now. the film attaches to the take up spool fine enough. it's not user error (unfortunately. if it was it would be a lot easier to fix), there actually is some sort of problem with the take up spool. there are two parts to the spool, an inner shaft, and an outer movable cylinder around the shaft that you thread the film through. by examining the service manual I've been able to learn that there is a clutch that connects them. it seems the clutch is slipping. I've gotten it to work a little bit better.... somehow... by fiddling with it for a while but it still doesn't work 100%. it still slips towards the end of a 36 roll, only advancing a small portion of a frame each time you lever the film advance. the clutch just doesn't have enough friction to pull that much film.

I'm just not sure how it got so loosened before where it couldn't even advance one full frame from the very beginning of the film to now where it seems to be doing better. I think something with the outer cylinder must be tightening/loosening the clutch. for now though I think I can just stuff a bit of card paper into the film take up slot along with the film and it seems to increase the friction so it works.
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Post by Dillon »

Yikes. Sounds like it might be cheaper to get a new one than to repair, unless that part is readily available.

Dan, were you using any of the "film modes" on the X100 when you took those gig photos with the blue lights? I was at a pub that night and they had a cover band playing with similar lighting. Using the X-Pro1, the guys who were lit up by blue came out just like those shots you posted. I shoot pretty much everything in Velvia mode as I find it looks similar to how my edited photos would typically turn out.

A couple colorful shots from that night:

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Mages
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Post by Mages »

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Post by Mages »

can I just talk about the Canon T50 for a minute though? because wow, what a great camera that was (now sadly deceased, R.I.P. :cry: ). some pics I took with it:
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it's the program mode from the AE-1 Program repurposed in a simple easy to use consumer oriented package. that's all it has, one auto-exposure mode. but wow is it one heck of an auto-exposure mode. this essentially makes it a point and shoot but like a really feckin good point and shoot. it uses canon FD lenses, bloody brilliant by P&S standards. it has TTL metering, exceptionally accurate for a P&S. oh yeah and it's an SLR so every picture is exactly as you composed it when you took the shot.

it's made of black plastic, has a very lightweight feel and a very inconspicuous look to it which all adds to it's P&S like nature. you can't put it in your pocket but other than that it's very portable for an SLR.

the program mode is fantastic and will almost always do a better job of choosing exposure settings than you would. this is partly because of it's use of stepless shutter speed settings (or in any case the steps are very fine) which allows extraordinarily accurate exposure. and it seems to tend towards widest depth of field / smallest aperture which you may or may not like but it has the effect of keeping things bang-on sharp.

if the camera alerts you that it's out of it's exposure range you can actually take it a little further with it's simple manual mode. the camera locks to 1/60 of a second when you take the lens out of auto, so just estimate the EV value you are trying to attain and set the appropriate aperture and you should be able to go a few stops beyond the program mode.

it has some limitations like it cannot do bulb mode without the proprietary remote cable.

it's such a joy to use. the only things you need to worry about is composing the shot and focusing and quickly checking for exposure warnings. that's it.