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Post by pieter on Dec 10, 2018 5:42:03 GMT -7
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Post by pieter on Dec 10, 2018 5:55:41 GMT -7
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Post by pieter on Dec 10, 2018 6:07:24 GMT -7
I love to take images with my Minolta XD-5 ( a camera which was developed with Leica technology) and Canon Eos 1 Analogue Single lens reflex camera's. And still love my Yashica T5 compact camera with it's Carl Zeiss lens too. I use the professional German Reflecta RPS 10M Filmscanner. How about you folks, do you still have analogue camera's and do you the same popularity of analogue camera's and films in your area's? I use by the way analogue photography next to digital photography, because I take a lot of images with my I-phone and digital SLR Canon 5D too. I love to work with different camera's and the different qualities and possibilties of these camera's. Minolta XD-5 The Minolta XD5 is developed by Leica, who based it's Leica R4-R7 on the Minolta XD-7 but with Leica developed exposure metering, mirror box, and newly designed body, the R4 followed the trend setting Olympus OM-1 and was much smaller and lighter than all earlier Leica SLR cameras.
The Minolta XD-7 (sold as the XD-11 in North America and as the XD in Japan) is a 35mm SLR film camera manufactured by Minolta from 1977 until 1984. It was the first camera to feature both shutter priority and aperture priority automatic exposure modes. The camera also offered fully metered manual exposure as well as depth of field preview and an eyepiece shutter. Also, included were fully mechanical "O" (1/100 sec) and bulb settings, which allowed it to operate without a battery. The XD-7 was the top-of-the-line Minolta camera when it was in production and retains a reputation for quality. It was Minolta's last metal-bodied SLR design before the company switched to plastic with the X-700.
There was also a less-expensive version of the XD-7 called the XD-5 (Pieters -my- camera). Introduced in 1979, the XD-5 was mostly identical to the XD-7 but without some higher-end features like the eyepiece shutter or the display of the selected shutter speed in the viewfinder in manual exposure mode.
Many professional photographers have used the XD-7. One of the best known is Harry Benson, who often acknowledged the XD-7 in the various photography books he published in the 1980s.Source: en.wikipedia.org/wiki/Leica_R4-R7 Minolta XD5Type: SLR camera body Exposure: automatically controlled shutter speed or automatic shutter preferred control of aperture and shutter speed Metering: through-the-lens (TTL) measuring by a photo diode at the back of the pentaprism controls automatic exposure Shutter speeds: 1 - 1/1000 sec. (metal lamellae shutter) Films: 35mm film with speeds from 12 to 3200 ASA Viewfinder: pentaprism viewfinder showing 94% Lens: Minolta MD-Rokkor lenses (SR-bayonet lenses with additional lever for automatic aperture control) Of course nearly all SR-bayonet lenses can be used with the XD-5, but the older SR-lenses and MC-lenses only without shutter preferred mode. [/i] Canon EOS 1 The EOS-1 is a 35mm single lens reflex (SLR) camera body produced by Canon. It was announced by Canon in 1989, and was the professional model in the range. The camera also had a successor, the Canon EOS-1N, in 1994.
The original EOS-1 was launched in 1989. (My Eos 1 is a 1989 one) It was the company's first professional-level EOS camera and was aimed at the same photographers who had used Canon's highly respected, manual focus professional FD mount SLRs, such as the Canon New F-1 and the Canon T90. On a physical level the EOS-1 resembled the T90, which had been designed for Canon by Luigi Colani. The EOS-1 had a single centrally-mounted autofocus point, plus basic weather sealing.
Features
The EOS-1 with the PB-E1 Power Drive Booster. I (Pieter) have this PB-E1 Power Drive Booster too.
At the time of its creation, The Canon EOS-1 was placed at the top of Canon's EOS camera line. The camera featured a plastic shell (polycarbonate) over diecast aluminium frame and anti-slip artificial leather.
The fixed eye-level pentaprism viewfinder has 100-percent vertical and horizontal coverage.
Shutter speeds range from 30 seconds to 1/8000 of a second in all exposure modes.
There are 14 custom functions to change the way the camera operates, which set options such as exposure steps, mirror lock-up,
Power comes from one 2CR5 battery, an optional BP-E1 Battery Pack housing four AA alkaline or lithium batteries or the PB-E1 Power Booster drive housing eight AA batteries and allowing for 5.5 frames per second to be photographed, depending on the type of battery and the shutter speed selected.
The camera weighs in at 890 grams loaded with a battery.
Background
There were two versions of the Canon EOS-1 available on launch. There was the Standard body only option, and a more premium High Speed option called the Canon EOS-1 HS. The HS kit came with the body and the additional Power Drive Booster E1, which allowed for up to 5.5 frames per second. The HS option was mainly used for sports and wildlife photography.
The EOS-1 was discontinued in 1994 with the arrival of the EOS-1N.
Canon EOS 5D The EOS 5D is a 12.8 megapixel digital single-lens reflex (DSLR) camera body produced by Canon. The EOS 5D was announced by Canon on 22 August 2005,[2] and at the time was priced above the EOS 20D but below the EOS-1D Mark II and EOS-1Ds Mark II in Canon's EOS digital SLR series. The camera accepts EF lens mount lenses.
The EOS 5D is notable for being the first full-frame DSLR camera with a standard body size (as opposed to the taller, double-grip "professional" camera body style). It is also notable for its price, suggested at US$3299 without lens, which set a significant new low price point for full-frame DSLRs; its only full-frame competition at the time was the Canon 1Ds Mark II, which cost more than twice as much.
Overview
Type Digital single-lens reflex
Lens
Lens Interchangeable (EF)
Sensor/medium
Sensor 35.8 x 23.9 mm CMOS (full-frame)
Maximum resolution 4,368 × 2,912 (12.8 megapixels)
ASA/ISO range 50-3200
Storage CompactFlash (CF) (Type I or Type II)
Focusing
Focus modes One-shot, AI Servo, AI-Focus, Manual
Focus areas 9 user points + 6 assist points
Exposure/metering
Exposure modes Full auto, programmed, shutter-priority, aperture priority, manual
Exposure metering TTL, full aperture, 35 zones
Metering modes Evaluative, Partial, Spot, C/Wgt Average
Shutter
Shutter electronic focal-plane
Shutter speed range 30 to 1/8000 s and Bulb
Continuous shooting up to 3 frame/s.
Viewfinder
Viewfinder Optical, pentaprism
General
Rear LCD monitor 2.5 in (63 mm), 230,000 pixels
Battery Li-Ion BP-511A Rechargeable
Optional battery packs BP-511A, BP-514, BP-511, BP-512.
BG-E4 grip allows use of AA cells.
Dimensions 152×113×75 mm (6.0×4.4×3.0 in)
Weight 810 g (body only)
Made in Japan
Chronology
Released October 2005
Successor Canon EOS-5D Mark IIYashica T5 Yashica T5 camera with it's Carl Zeiss lensReflecta RPS 10M Filmscanner |
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Post by pieter on Dec 10, 2018 7:10:18 GMT -7
There is something magical about these old mechanical analogue camera's. I have a bigger connection with them. Love the limitation of 36 shots, and the fact that you have the process of developing them, and that you can't immediately see the result, and that you have to work harder for analogue photo's. Maybe that is a Calvinist idea or pleasure of mine, that limitation and that you have to work hard for an image!
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Post by karl on Dec 10, 2018 7:47:07 GMT -7
Pieter It has been some years since using analogue 35mm cameras, being of this, was very surprised to hear it is coming back,,do you suppose this is the new trend? Many years past, my self started out in camera life with a Yashica 35 automtic. Being ignorant, I thought it was better then bananas at that time. After that was to graduate to the Rolliflex SLR 35 with the 50mm Carl Zeiss lens. Fairly much had used it up and then once again graduated to the Canon EOS1 D, which I currently have. What I have against the Canon EOS1 D, is the very large and heavy battery, but no matter the conditions, it always worked very well and suited my needs. www.ebay.com/i/263584655328?chn=pswww.adorama.com/us%20%20%201065889.html?gclid=Cj0KCQiAurjgBRCqARIsAD09sg_PEpLhEj2BQzotNmYt4RJUUYDuXo0-VR4cIgX-92Ky9AOkyEyc-fsaAqi_EALw_wcBThe Canon has the EF 24-70 mm f/2.8L USML lense. At present, the Canon is in storage, the Yashica is gone, the Rollie Flex is gone, and I use the I phone camera application. Karl |
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Post by pieter on Dec 10, 2018 10:06:17 GMT -7
 This Is Why Film Photography Is Making a Comeback Harpo Marx, Groucho Marx and Chico Marx examining the negatives from a photo-finish in a scene from the comedy 'A Day at the Races', directed by Sam Wood, 1937. American Stock Archive—Getty ImagesBy OLIVIER LAURENT January 26, 2017CES, once known as the Consumer Electronics Show, is usually the stuff of drones, smart home gear and other high-tech gadgets. But this year, as thousands of people attended the annual tech gathering in Las Vegas, a 129-year-old brand stole the limelight. Kodak Aliris, the firm that bought Kodak’s film segments, announced during the event that it would reintroduce Ektachrome, a color reversal film discontinued in 2012.  Ektachrome’s revival, which surprised and pleased many photographers, comes as the film photography market is on the up after more than a decade of decline. “ The film market peaked in 2003 with 960 million rolls of film, today it represents roughly 2% of that,” says Manny Almeida, president of Fujifilm’s imaging division in North America. But in the last three years, companies like Kodak, Fujifilm and Harman Technology, which manufactures the popular Ilford Photo black-and-white films, have been experiencing a comeback. “ We’re seeing film growth of 5% year-on-year globally,” says Giles Branthwaite, the sales and marketing director at Harman. “ Our professional film sales have been increasing over the last two or three years,” confirms Dennis Olbrich, president of Kodak Alaris’ imaging, paper, photo chemicals and film division. Professional photographers are primarily fueling this growth, thanks to a new generation of practitioners who grew up with digital but have begun dabbling in film, says Olbrich: “ They discover the magic of film photography and many of them simply fall in love with it.” Many modern film photographers are portrait and wedding photographers in their 20s and 30s who are looking to “ differentiate their art and their work by shooting film,” Almeida tells TIME. “ That usually allows them to charge for a premium product because film has a different look and feel than digital.” That look is key, adds Olbrich. “ At Kodak, we’re very data-driven,” he says. “ We look at every aspect of an image and try to quantify it, but there’s just a depth and richness in a film image that’s hard to replicate otherwise. That’s really the reason why a lot of influential motion pictures cinematographers demand to use film.” And now, professional photographers are making the same demands. “ This group of photographers often uses the fact that they shoot film as a competitive advantage in their marketing.” The Best Film Cameras You Can Buy Right NowFilm, meanwhile, pushes photographers to rethink how they shoot. “ You can’t just shoot a hundred shots of your subject and review them immediately,” says Olbrich. “ Film forces you to think about the image, plan the image and really create the image mentally before you actually do the shoot. Film photographers believe that this process results in much more artistic and, in some cases, much more spectacular images.” Film manufacturers have taken notice. They’re now rejuvenating their sales and marketing efforts, with Harman pushing for the creation of new courses, new darkrooms and exhibitions across the U.K. and the U.S. Kodak is retooling its entire social media strategy and if this year’s CES is any indication, Kodak has certainly struck a chord with film-curious photographers. While it will take a year for Ektachome to be available again, the company is already working on what comes next. “ That gave us some confidence to start to look at what films we would consider bringing back into the marketplace,” says Olbrich. The Best Film For Every Photo SituationsFujifilm, on the other hand, is looking at another segment to grow its film business: instant photography. “ It’s a huge market for us,” says Almeida. Fujifilm believes it sold more than 6.5 million instant cameras last year, up from 3.9 million in 2014 (a full accounting of those sales will be published at the end of the month.) And new products continue to come out of Fujifilm’s factories. Last year, it launched a black-and-white instant film, and in the coming months it will unveil a new film that will mimic Polaroid’s famous square format. “ We’ve done a lot of consumer research to try to understand how consumers feel about the product, what’s their behavior, how do they buy it,” Almeida adds. “ A lot of consumers indicate that they don’t even look at Instax as photography. It’s fun, it’s relaxed, it’s social communication.” Despite its different appeal, the popularity of Instax benefits the entire film market as more people experience analogue photography’s distinct appeal. “ What surprises me, really, is that it’s taken 15 years since digital penetrated the photography market for this resurgence to happen,” says Branthwaite. Olivier Laurent is the editor of TIME LightBox. Follow him on Twitter and Instagram @olivierclaurentFollow TIME LightBox on Facebook, Twitter and Instagram. Contact us at editors@time.com. time.com/4646116/film-photography-inspiration/ |
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Post by pieter on Dec 10, 2018 11:37:01 GMT -7
Dear Karl, I come from the world of art academies, art galleries, Museums of Modern art, photography museums, photojournalism (often meet photojournalists as tv cameramen during my work), and various kinds of photographers. Next to these photo journalists I know art photographers, commercial corporate photographers, portrait photographers, product photographers and even army photographers. Let's look at my circle of friends. Marinus, Ernst, Han, Ivonne and Floris. 5 of my friends are busy professionaly with photography. A large part of their income comes from photography assignments (photography jobs). Since the nineties their conversations on my birthday parties were about bodies, lenses, lighting installations, professional color and black and white negative films and reversal films (slides). Some of them worked with medium format (120 mm) Bronica, Mamiya and Rolleiflex cameras and large format (4x5 inch, 7x5 or 8x10 inch) Linhof camera's. Other medium format camera's used by famous photographers (Dutch, German, American, English, French, Italian and etc.) are Hasselblad, Pentax 645 en Pentax 67, Cambo camera's (Dutch, high quality, mainly large format cameras), Horseman 980 Technical Camera's. For decades I heard the discussions of these photographers friends of mine, whom each have a different unique personal style, way of working, their own set of camera's and photography equipment. Discussions about the photography market, discussions about contemporary photography and art historical and photo journalism historical photography history. Most of them read Susan Sontags book ' On Photography' about the role and meaning of photography ( en.wikipedia.org/wiki/On_Photography ). They differ in tastes, esthetics, styles, preferences and I remember fierce discussions and arguments on my birthday parties. That is of course normal and essential in the art world and the world of professional photography. Because Marinus, Ernst, Han, Ivonne and Floris are professionals. I love having them as my friends. It is like you have arguments about soccer teams, Ajax Amsterdam vs Feijenoord Rotterdam, Legia Warsaw vs Lech Poznań or Arsenal vs Chelsea or in historical sense Poland vs Russia, USA vs SovjetUnion. In photography terms I had the rivalry between Canon based photographers and Nikon based photographers. (It's like the difference between people who only use Apple and refuse to use Windows PC's or vice versa Windows PC persons who loathe everything which has to do with Apple). Fact is that often people invested a lot in lenses. So they bought for thousands of Euro's or dollars (New York B&H or Adorama) Canon and Nikon lenses. For instance my friend Ivonne was Nikon based and the others Canon based. I myself are Canon based to and I love the fact that I can use the same EF Canon lenses for my Canon Eos1 analogue SLR and my digital Canon Eos 5D SLR camera. I won't say that Nikon is worse, but I prefer Canon, and had some difficulties when I suddenly had to work with a Nikon. It works slightly differently. You could compare Nikon with a Mercedez Benz and Windows PC and a Canon with a BMW and a Apple computer. I prefer the Canon, BMW i8, and a fast Apple MacBook Pro. Ivonne (who is half German) will prefer the Nikon, Mercedeze Benz and Windows PC. Other friends prefer a Sony camera, Leica camera or a Fuji camera. Most of these friends have an analogue art academy nineties professional photography training with photography teachers, photography doca assistants. So they have a analogue photography base, had their own analogue photography exhibitions, assignments and photographic art books collections. They started working with digital photography in the late nineties and early 21th century. So, I want to say in a strong way no camera is better or worse. Both Nikon and Canon are exellent camera's. I know many very good and professional photojournalists and art photographers who work with Nikon camera's. I work with Canon and I belong to the Canon clan with Marinus, Ernst, Han and Floris, my friends. Ivonne, who I am fond of, love as an artist and AV professional and art curator and photography teacher at art academies (Arnhem/Rotterdam) is from the Nikon clan. Due to work pressure, modern demands and fastness, deadlines and commercial motivations all of them switched to digital photography and working in the 21th century. But during the years many of them started to buy analogue camera's, lenses and films again and worked analogue next to digital. Partly for esthetic reasons and party for personal reasons. They love old camera's, the technique, but have a dualistic approach, digital & analogue. A large reason for analogue photography is that analogue products are material, touchable, physical and digital products are more imaginary and binary in the sense that a digital photo is a collection of digital zero's and ones. A negative film is a negative film and a slide is a slide, a real subject or form. That has a lot to do with it and the fact that Analogue camera's are more attractive due to the mechanical way of working, the click while taking a photo and that you have the limitation of 36 shots. But to be honest I also know photographers who say, thank god analogue photography is something of the past for me. They love digital photography and the fact that they are relieved of the chemical process of the dark room, the photo doca with the development process (development spools) of the film, and then laying the photo negative under the enlarger and putting the photographer under the enlarger to make the photo when the image from the negative or transparency is projected through a lens fitted with an adjustable iris aperture, onto a flat surface bearing the sensitized photographic paper and after that the process of the immersion in a photographic developer, halting development with a stop bath, and fixing in a photographic fixer. So I live inbetween analogue photography lovers and digital photography diehards. I use analogue photography with a minimal of chemicals, because I don't use a doca. But my films are developed by a professional photo firm in Amsterdam, because I use professional reversal films (slides) like Fuji Provia, Fuji Velvia and Agfa Precisa and scan them with my German Reflecta RPS 10M Filmscanner. I like your reply Karl, I like the camera's you worked with. I remembered that your talked about your encounter, study and professional use of photography earlier. I like your Yashica Electro 35 (1966-1977; GSN: 1971-1977) camera, and your Canon EOS1 D, because in contrast with you I love heavy and maybe rather robust camera, because I get a better steady shots with it due to the weight. Maybe there is a little bit of a Zealander sailor, coastal farmer and fishermen left in me. I contrast with others I often like heavier, bigger and strong things which work like work horses for me and can't be broken easily. Maybe that's the stormy aspect (Sturm und Drang) in me. I also I prefer to work with larger tv camera's than with smaller Camcorders. Cheers, Pieter |
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Post by karl on Dec 10, 2018 18:33:39 GMT -7
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Post by Jaga on Dec 10, 2018 22:48:16 GMT -7
I like analogue photography also!
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Post by pieter on Dec 14, 2018 17:20:05 GMT -7
Jaga,
You are from the analogue generation also. You probably took analogue photo's in Poland and in your early United States years. We are the generation that witnessed the transformation from analogue photography into digital photography. Analogue photography has a different form, style, content, contextuality, meaning, atmosphere, different sharpness, different colors, different temperatures, feels different and is a different technology and different in time. Analogue photography is set in time between halfway the 19th century until the late nineties.
Cheers,
Pieter
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Post by pieter on Dec 14, 2018 17:27:50 GMT -7
Karl, I love my small compact camera, the Yashica T5 and loved the blog of Hamish Gill. Nice family and library photo's. The Carl Zeiss lens in combination wit the Yashica T5 menu and good films made great images for me. It is small, fine, sophisticated little camera. East to take photo's with an if you use the camera right you can make great photo's with it. Cheers, Pieter |
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Post by karl on Dec 14, 2018 18:05:08 GMT -7
Pieter
I think I would also like the little T5 for the compact and light weight. I must say though, only speaking for my self, I am very happy using digital and more happy away from analog. For digital is instant photo check whilst the delay with analog for developing. With digital, it is all on the chip, for my work. With the camera, if very fine is desired, then it is to simply adjust for fine, and use more room on the chip. The down side of course, is if after a time the battery goes down, well, that could be time for tears and darns. But then, I do remember some bad times when on the Rollieflex the light meter battery went down and I was not aware at the time. It was after film developing that this become apparant. It then was to a film technition to do his magic to save my bacon out of the fry pan.
There is a trade off in camera use that is reality. If to do camera work in very hazard conditions where there is a good chance the camera may be damaged, then being a bit more careful with focus, film choice for prevailing conditions, a less expensive camera may be the best choice for that type of work.
Of recent years, most of my camera use has been for work in the stead of pleasure. If a mistake is mine fault, then I must find the the means to do a work over, and fairly often, that time is past. Then it comes to head scratching for another means of documenting what the camera was to make simple.
Karl
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