[Wesley Snaps]

Sorry for not noticing this sooner. The LX supports 1/15s, 1/8s, 1/4s, and 1/2s as manual shutter speeds. It looks like the camera has you covered.


Steve

Thank you Steve. That's the range I mainly shoot in. The way streams which have a certain volume of water, medium volume, show up in a really interesting way when photographed at those speeds. Still textured, not quite yet vaporous.

I've gotten used to being able to access 1/15, 1/13, 1/10, 1/8, 1/6, 1/5, 1/4, 1/3, 1/2.5, 1/2, 1/1.6, 1/1.3, and one second. I notice different appearances in how the water is picked up by my sensor. Although I just noticed the LX shutter dial can rest between clicks, and I will have to shoot a test roll to see if there is in fact variation in exposure when mid-click, it still comes only a little closer to the control I'm after.

On this past photo trip I just returned from, the river flow was extremely high volume. I started to enjoy faster exposures, freezing the droplets at times, or someplace between frozen and flowing. I bracket speeds, review, then take note of the speeds that provide a graphic photo that I find most pleasing. Then I'll shoot around 70 shots at each speed I've noted. One or two of those shots will be keepers.

In the case of shooting film I'll take the same speed I've decided from my digital shooting, and shoot an entire roll at that shutter. I'm still working on perfect metering. I chose to learn with slide film, which maybe wasn't wise, but the colors have been worth it.



---------- Post added 08-06-21 at 05:03 PM ----------

My guess is he is trying for 1/12, 1/6, and 1/3 as well. Today's DSLRs are far more refined in this regard than old film cameras.

Yes exactly Wheatfield, not enough stops.

The point I was meaning to get to in my last post, is that in the slower shutter speeds, 1/80 to 1/250, there's even less variation. Even if those mid stops do work. So in the spring, or in high mountain summer, when I want more of a frozen effect, I'll be even more out of luck.

I think I'll have to get myself the most recent film camera they made, and I fear I'll get tired of stop down metering and get new lenses too.

[stevebrot]

My guess is he is trying for 1/12, 1/6, and 1/3 as well. Today's DSLRs are far more refined in this regard than old film cameras.

The question might be whether one can tell the difference in blur between 1/3s and 1/4s. I do a fair amount of moving water work and have to admit to not approaching it from the position of metrics. I usually get the effect I wanted and sometimes with a bonus...(click through to Flickr and mouse over to see the boxed-in bonus)...


Pentax SV, Super Takumar 28/3.5 Rollei Retro 100


Steve

[Wheatfield]

Thank you Steve. That's the range I mainly shoot in. The way streams which have a certain volume of water, medium volume, show up in a really interesting way when photographed at those speeds. Still textured, not quite yet vaporous.

I've gotten used to being able to access 1/15, 1/13, 1/10, 1/8, 1/6, 1/5, 1/4, 1/3, 1/2.5, 1/2, 1/1.6, 1/1.3, and one second. I notice different appearances in how the water is picked up by my sensor. Although I just noticed the LX shutter dial can rest between clicks, and I will have to shoot a test roll to see if there is in fact variation in exposure when mid-click, it still comes only a little closer to the control I'm after.

On this past photo trip I just returned from, the river flow was extremely high volume. I started to enjoy faster exposures, freezing the droplets at times, or someplace between frozen and flowing. I bracket speeds, review, then take note of the speeds that provide a graphic photo that I find most pleasing. Then I'll shoot around 70 shots at each speed I've noted. One or two of those shots will be keepers.

In the case of shooting film I'll take the same speed I've decided from my digital shooting, and shoot an entire roll at that shutter. I'm still working on perfect metering. I chose to learn with slide film, which maybe wasn't wise, but the colors have been worth it.



---------- Post added 08-06-21 at 05:03 PM ----------

Yes exactly Wheatfield, not enough stops.

The point I was meaning to get to in my last post, is that in the slower shutter speeds, 1/80 to 1/250, there's even less variation. Even if those mid stops do work. So in the spring, or in high mountain summer, when I want more of a frozen effect, I'll be even more out of luck.

I think I'll have to get myself the most recent film camera they made, and I fear I'll get tired of stop down metering and get new lenses too.

The LX doesn't support setting shutter speeds between stops. In auto its got infinite speeds, but in manual it's just the click stops.

The Nikon F2 has infinitely variable speeds from sync up to 1/2000 second, and they incorporated a neat way of timing bulb exposures out to as much as 10 seconds by integrating the self timer into the shutter control.

[Wesley Snaps]

That's neat Wheatfield! I have an F2 as well, but I had scheduled it for resale after changing the seals. Maybe I'll have to rethink that choice. Nikon did away with this feature on the F3?

[Wheatfield]

That's neat Wheatfield! I have an F2 as well, but I had scheduled it for resale after changing the seals. Maybe I'll have to rethink that choice. Nikon did away with this feature on the F3?

The F3 was an electronically timed shutter except for the sync speed. When they did away with mechanical timing they lost those abilities.
My F3 had a remarkabky accurate shutter though. I recall it tested to +- 1/5 stop. This was a big improvement over the F2 which was bombproof and dependable, but wasn't necessarily accurate.

I still have an F2s, 35/3.5, 50/1.4, 85/1.8 and 105/2.5. The 105 is especially nice.

[Wesley Snaps]

The question might be whether one can tell the difference in blur between 1/3s and 1/4s. I do a fair amount of moving water work and have to admit to not approaching it from the position of metrics. I usually get the effect I wanted and sometimes with a bonus...(click through to Flickr and mouse over to see the boxed-in bonus)...





Pentax SV, Super Takumar 28/3.5 Rollei Retro 100





Steve

Btw, great shot! This is exactly the type of scenario I do most of work in. I find it's the most invigorating place to spend time. Soaking in the sounds and fresh air. Doesn't get better. Editing my images, I'm transported back....

I just had an idea. I also do own a Pentax MX. Perchance, as it's fully mechanical, are 0.5 stops available through the shutter dial? Not sure why I didn't think of this possibility.

What do you guys think?

I hope you're having a great weekend

[Wheatfield]

Btw, great shot! This is exactly the type of scenario I do most of work in. I find it's the most invigorating place to spend time. Soaking in the sounds and fresh air. Doesn't get better. Editing my images, I'm transported back....

I just had an idea. I also do own a Pentax MX. Perchance, as it's fully mechanical, are 0.5 stops available through the shutter dial? Not sure why I didn't think of this possibility.

What do you guys think?

I hope you're having a great weekend

No, none of the Pentax mechanical shutters offer anything other than full stop adjustment resolution. To get what you want, you will need a camera with an electronically timed shutter, but I don't think any of the Pentax film cameras with electronically timed shutters will do what you want either. I just checked the MZ-S specifications, and there was no indication that manual shutter speeds could be selected in anything other than full stop increments.
Shutter speed adjustment resolution down to 1/2 or 1/3 stop seems to be something that only appeared with the advent of DSLR cameras.

[pschlute]

I am confused as to why the OP sees a difference between 1/4 and 1/2 shutter speed ? I mean practically ?

[Wesley Snaps]

I know, I know, it seems minuscule. It's only occasionally, on some bodies of water it actually does provide a different look. It's something you would never be aware of unless you do a massive amount of shooting.

On my mirrorless camera I time bracket each composition, throughout the entire range of appropriate speeds, in 1/3 stops. Then on the spot I examine the results in high resolution in the EVF. There's sometimes 2 or 3 speeds that hit the sweet spot. This sweet spot might be different for foreground and background, as water moves at different relative speeds when the distance to camera changes. At each of the sweet spot speeds, I'll set the camera to interval shooting, once a second. I snap around 70 shots for each speed.

I just came back from six days of exploring a turquoise mountain river. Yes, the 5000 images are a chore to sort. I am extremely happy with some of the captures on the composition.

This process has spoiled me for shooting film, I suppose. Just heard from the lab, my films arrived for processing. We will have to see.

In the meanwhile, I will continue packing the LX on my roadtrips, and improving at center weighted metering on Provia 100f.

[Wheatfield]

I am confused as to why the OP sees a difference between 1/4 and 1/2 shutter speed ? I mean practically ?

Well, that was my thought too, but since all I know about landscape photography would barely fill a novel, I decided not to ask.

[stevebrot]

I am confused as to why the OP sees a difference between 1/4 and 1/2 shutter speed ? I mean practically ?

Well, that was my thought too...

I shoot a lot of landscape stuff, much of which involves turbulent water in a field setting and to be honest, the approach and method being used with the digital kit goes counter to my experience with that type of subject. That being said, the proof of the pudding is in the eating and if that approach provides the desired results, more power to it.

As far as applying the LX in this setting...I dunno. In many ways turbulent water operates like a clockwork driven by a chaotic motor. When you see something happen, wait patiently and it will happen again, though with limited predictability.

That is how the photo below was made. Most of the time there was an unremarkable modest of water moving through this sluice, but every so often a second source broke through to create a breaking wave. I don't remember for sure, but it am pretty sure I nailed it on about the third try after watching the behavior for about 20 minutes or so while setting up the shot.


Pentax K-3, Sigma 17-70/2.8-4.0 (C), 1/25s, f/5.6 manual exposure
Color version HERE

The result reminded me of "Dali Atomicus" sans cats and Dali.


Steve

[UncleVanya]

The pz-1 and pz-1p are very much like digital cameras in their controls. The pz-1 allows 1/2 stop settings of shutter speed in manual modes (infinitely variable in auto) from 1/8000th to 30s. Exposure compensation is available in 1/3 stop increments as well - which might allow getting results in between the 1/2 stop increments but it would be hit or miss.

This is the camera that lured me away from my Nikon F2.

[leekil]

The pz-1 and pz-1p are very much like digital cameras in their controls. The pz-1 allows 1/2 stop settings of shutter speed in manual modes (infinitely variable in auto) from 1/8000th to 30s. Exposure compensation is available in 1/3 stop increments as well - which might allow getting results in between the 1/2 stop increments but it would be hit or miss.

This is the camera that lured me away from my Nikon F2.

The Super Program has infinitely variable shutter speeds as well (down to some resolution). But it only has full click-stops for exposure compensation, though you could adjust the ASA in 1/3 stops as an alternative.

And probably some of the top cameras between the Super Program and the PZ-1 also have similar capabilities.

Though you could adjust the ASA settings in 1/3 stops for the LX as well.