It started snowing yesterday afternoon, but we managed another 2.5 mile walk. We are just shy of 100 miles since September 7th, and I am finding that birds find me on a scooter a novelty. With nearby predator birds like bald eagles, hawks etc - other birds seems to be in copious abundance. I guess they like to keep an eye on the top of the food chain. Meanwhile, the human seemly to silently glide along in the seated position - is all they talk about. I had a dream night before last about mounting a monopod with a gimbal head on the scooter. A guy can dream... D7200 400mm f5.6 ais TC-16A 960mm EFL
Some D200 CCD color at the Phoenix zoo, 11/16/2022. 55 F3.5 Aid macro and last model of the 500 F8 reflex lenses used.
None real subjects are un altered in Elements with camera set on Nikons normal color program. Mandrill photo is using Godox TT350 flash. Non CPU data incorrect.
Harry Palmer
I know some of you on this forum look for the odd or creative ways to shoot Nikon glass. (Looking at you Samy)
So posting one for you folks. This one actually solves a problem. When shooting adapted lenses with a digital back, if the lens does not have a lens shutter you have to use electronic shutter in the back. This is fine most of the time if shooting static landscape or still life images. But when you have something moving in the frame you will get rolling shutter effect. Also if shooting in certain artificial lighting you can get banding in the image due to the AC electric frequency.
So what do you do? Find a way to adapt Nikon F mount glass to a Copal shutter and trigger the digital back with that
Below is a Kapture Group TrueWide sliding back camera from the early 2000's. There was no live view on digital backs then so you would frame and focus via a viewfinder, then slide the digital back into position and take the shot. Of course that is not a necessary step today, but still nothing beats seeing an image upside down on matte glass
The lens that is mounted is a Nikkor 75mm f/2.8 for Bronica medium format adapted to F mount.
Thanks for putting up with me and my off the wall gear shots
p.s. Shot with a Nikon Series E 100mm 2.8. On loan. Thanks Matt
Nice series and behind the scenes of your shooting! I think a scooter mounted rig would be awesome. I know I would be rigging something up like that
George
James Markus wrote:
It started snowing yesterday afternoon, but we managed another 2.5 mile walk. We are just shy of 100 miles since September 7th, and I am finding that birds find me on a scooter a novelty. With nearby predator birds like bald eagles, hawks etc - other birds seems to be in copious abundance. I guess they like to keep an eye on the top of the food chain. Meanwhile, the human seemly to silently glide along in the seated position - is all they talk about. I had a dream night before last about mounting a monopod with a gimbal head on the scooter. A guy can dream... D7200 400mm f5.6 ais TC-16A 960mm EFL
GeorgeBo wrote:
I know some of you on this forum look for the odd or creative ways to shoot Nikon glass. (Looking at you Samy)
So posting one for you folks. This one actually solves a problem. When shooting adapted lenses with a digital back, if the lens does not have a lens shutter you have to use electronic shutter in the back. This is fine most of the time if shooting static landscape or still life images. But when you have something moving in the frame you will get rolling shutter effect. Also if shooting in certain artificial lighting you can get banding in the image due to the AC electric frequency.
So what do you do? Find a way to adapt Nikon F mount glass to a Copal shutter and trigger the digital back with that
Below is a Kapture Group TrueWide sliding back camera from the early 2000's. There was no live view on digital backs then so you would frame and focus via a viewfinder, then slide the digital back into position and take the shot. Of course that is not a necessary step today, but still nothing beats seeing an image upside down on matte glass
The lens that is mounted is a Nikkor 75mm f/2.8 for Bronica medium format adapted to F mount.
Thanks for putting up with me and my off the wall gear shots
p.s. Shot with a Nikon Series E 100mm 2.8. On loan. Thanks Matt
James Markus wrote:
I had a dream night before last about mounting a monopod with a gimbal head on the scooter.
I'm sure you or some handy person on this thread can come up with that Jim. You get the right help they may even install hydraulic outriggers that would make the entire platform really rigid :-)
GeorgeBo wrote:
I know some of you on this forum look for the odd or creative ways to shoot Nikon glass. (Looking at you Samy)
So posting one for you folks. This one actually solves a problem. When shooting adapted lenses with a digital back, if the lens does not have a lens shutter you have to use electronic shutter in the back. This is fine most of the time if shooting static landscape or still life images. But when you have something moving in the frame you will get rolling shutter effect. Also if shooting in certain artificial lighting you can get banding in the image due to the AC electric frequency.
So what do you do? Find a way to adapt Nikon F mount glass to a Copal shutter and trigger the digital back with that
Below is a Kapture Group TrueWide sliding back camera from the early 2000's. There was no live view on digital backs then so you would frame and focus via a viewfinder, then slide the digital back into position and take the shot. Of course that is not a necessary step today, but still nothing beats seeing an image upside down on matte glass
The lens that is mounted is a Nikkor 75mm f/2.8 for Bronica medium format adapted to F mount.
Thanks for putting up with me and my off the wall gear shots
p.s. Shot with a Nikon Series E 100mm 2.8. On loan. Thanks Matt
Ray, Jim, Jay you're killing it ! That hotel looks sooooo nice, the colour of the shots is perfect for the style of hotel. As a drone user, deffo scope for a gimbal / steadicam style set up for that scoot
Congrats on the kit rejig Siphewe, I've never owned a pro body but put a grip on every camera I have owned, including the GFX50S which has a unique take on the usual Nikon attempts. Have you tried the grip George ?
Leighton, I think we all covet the Z9 don't we ? I have used my Z6ii a couple of times on this trip but only for night/astro stuff. It's just not up to BiF so I'd swap it for a Z9 in a heart beat. Apart from thaqt it's GFX all the way !
Only fair I post some more pics while I'm here. Following on from my last shot of Mt Taranaki, this is a DOC hut I paid to stay in for 1 night. It has small rooms of the main kitchen and lounge area with 4 sets of bunks in each. It was originally 1 of 9 prefab huts sent by ship from England in 1843. I was the ONLY person there on Halloween
The Camphouse at North Egmont is one of the oldest surviving corrugated-iron buildings in the world. It is one section of barracks imported from Melbourne in 1855 to house imperial troops in New Plymouth. After the last troops left in 1870, the colonial Armed Constabulary occupied the complex.
For a few years in the mid-1870s part of it was used as temporary housing for new immigrants to Taranaki. This part of the building was moved to North Egmont in 1891 for tourist accommodation. The hand-wrought iron sheets are several millimetres thick, and gun slits were cut in some of them.
One more of Mt Taranaki. I had to do a LOT of mooing to get them all to look at me. They must have thought I was mad. (I've badly cloned out the low single strand electric fence wire that is keeping them all in a line, not easy using a 13" laptop and touchpad. Will have to do it properly one day as I fully intend to print it large, probably as a present as I no longer have any walls to hand it on )
(The mountain is or has been used as a double for Japan's Mt Fuji in various films over the years, is covered from top to bottom in snow during winter. (it's Spring here now)
SiMuMe wrote:
Sixteen lenses and three cameras departed. Out went the D300s/D700, and D5500. Cameras I loved for years. Reacquiring a D2X after ten years broke me for them. Reminded me how great the ergonomics of the single-digit bodies are, how nice its files are. In came a D3. It is making me very happy. 50-135mm handles so much better with it I'm shooting it a lot more than I used to.
One of the first pictures with the combination.
That is an impressive turnover, Siphiwe! It feels revivifying to do this, doesn't it? I've just sold off two cameras (D7000, X-E2), five AF lenses, three TC's, and an X-T2 battery grip, and I am renewing my interest in my trusty old D800E (with grip) and my D7200. With my various camera bodies and my many lenses, I feel like I have what my mother would have called an "embarrassment of riches" that still feels slim and streamlined compared to the way it was prior to the sell-off.
GeorgeBo wrote:
I know some of you on this forum look for the odd or creative ways to shoot Nikon glass. (Looking at you Samy)
So posting one for you folks. This one actually solves a problem. When shooting adapted lenses with a digital back, if the lens does not have a lens shutter you have to use electronic shutter in the back. This is fine most of the time if shooting static landscape or still life images. But when you have something moving in the frame you will get rolling shutter effect. Also if shooting in certain artificial lighting you can get banding in the image due to the AC electric frequency.
So what do you do? Find a way to adapt Nikon F mount glass to a Copal shutter and trigger the digital back with that
Below is a Kapture Group TrueWide sliding back camera from the early 2000's. There was no live view on digital backs then so you would frame and focus via a viewfinder, then slide the digital back into position and take the shot. Of course that is not a necessary step today, but still nothing beats seeing an image upside down on matte glass
The lens that is mounted is a Nikkor 75mm f/2.8 for Bronica medium format adapted to F mount.
Thanks for putting up with me and my off the wall gear shots
p.s. Shot with a Nikon Series E 100mm 2.8. On loan. Thanks Matt
George, your gear porn is second to none! Don't hesitate to keep it coming.
Here are a few more images from my seemingly bottomless IR archive to keep things rolling along, including two from the 50 f/1.2 Ai-s and one (the second) from the 24 f/2.8 NC.
GroWeb wrote:
That is an impressive turnover, Siphiwe! It feels revivifying to do this, doesn't it? I've just sold off two cameras (D7000, X-E2), five AF lenses, three TC's, and an X-T2 battery grip, and I am renewing my interest in my trusty old D800E (with grip) and my D7200. With my various camera bodies and my many lenses, I feel like I have what my mother would have called an "embarrassment of riches" that still feels slim and streamlined compared to the way it was prior to the sell-off.
Absolutely, Glen. It was a long time coming but I just couldn't get myself to do it. Even my family could not believe I was about to do it. Kids were saying things like "but those are family and your other babies, you're going to be miserable without them". I have some empty camera bags now, and, as you say, a slim and streamlined kit that makes choices much simpler. I find I'm happier and looking forward to the future.My wife is adopting a wait and see approach. She thinks I'm going to buy things back. I think I have a fighting chance of winning that bet.
Mine is loose, you can feel it/see it move in the evf when focusing and now there seems to be a light leak especially when pointing downwards, which I can fix by holding and pushing the front of the lens back towards the camera body.
(Also discovered light leaks past the join between a Pentax-A 645 35mm f3.5 mounted on the fotodiox adapter 😡 so ended up have to mount the native 50/3.5 AF lens on the gfx 😮 )
By move do you mean when shifted it will move on its own and the adjustment knob will spin? I.e. gravity
Mine did that and I tore down the shift knob mechanism and cleaned and greased the components and set tension within the enclosure of the knob. I have a schematic and manual and I think a couple pictures where I did it. But I am away from home right now. Will be later this weekend.
George
Edit: Tried to post a link to the archived thread, but not working. It was from Feb 27, 2017. Let me try to copy the photo and attach here. Limited signal were I am at and working from an iPad
cadman342001 wrote:
Anybody ever tightened up a P.C. 28mm f3.5 ?
Mine is loose, you can feel it/see it move in the evf when focusing and now there seems to be a light leak especially when pointing downwards, which I can fix by holding and pushing the front of the lens back towards the camera body.
(Also discovered light leaks past the join between a Pentax-A 645 35mm f3.5 mounted on the fotodiox adapter 😡 so ended up have to mount the native 50/3.5 AF lens on the gfx 😮 )
…Going to clean and lube the axle (#60 in the illustration if you can make it out in the picture) and adjust the tension/pressure of the bearing (#63)…
And the picture…
FYI - 5 years later and still good. So it worked 🙂
GeorgeBo wrote:
Andy,
By move do you mean when shifted it will move on its own and the adjustment knob will spin? I.e. gravity
Mine did that and I tore down the shift knob mechanism and cleaned and greased the components and set tension within the enclosure of the knob. I have a schematic and manual and I think a couple pictures where I did it. But I am away from home right now. Will be later this weekend.
George
Edit: Tried to post a link to the archived thread, but not working. It was from Feb 27, 2017. Let me try to copy the photo and attach here. Limited signal were I am at and working from an iPad
George,
Is this the PC Shift Nikkor 28mm f3.5 AIS?
Jim
GeorgeBo wrote:
Andy,
From the 2017 post
…Going to clean and lube the axle (#60 in the illustration if you can make it out in the picture) and adjust the tension/pressure of the bearing (#63)…
And the picture…
FYI - 5 years later and still good. So it worked 🙂
