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11-26-2022, 05:14 PM - 2 Likes   #8701
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QuoteOriginally posted by LesDMess Quote
I was always under the impression the FM2Ts are more expensive? Checking on sold listings on auction seems to confirm that. If one didn't already have both - or already have an FM2 looking for the next acquisition, the deciding factors may be different.

If by smoothness you mean the film advance, then you have to experience the Minolta XE-7 - if you haven't yet, as it encourages you to shoot more film! Smoothest in my collection!

I recently bought the sister camera to this, the Leica R3. Beautiful build quality, classy looks and silky smooth operation. Sadly the electronics had failed, so I had to send it back.

11-28-2022, 03:06 AM   #8702
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QuoteOriginally posted by andrewd Quote
I recently bought the sister camera to this, the Leica R3. Beautiful build quality, classy looks and silky smooth operation. Sadly the electronics had failed, so I had to send it back.
I've had two R3 MOT's never had trouble with them, sold one kept the other. The minolta's on the other hand, nothing but trouble, sold the complete collection just kept a black Sr1 and the XM.
11-28-2022, 10:56 AM - 7 Likes   #8703
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Contax evolution

Some 80years of contax evolution.
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NIKON D3  Photo 
11-28-2022, 04:32 PM - 1 Like   #8704
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QuoteOriginally posted by LesDMess Quote
I was always under the impression the FM2Ts are more expensive? Checking on sold listings on auction seems to confirm that. If one didn't already have both - or already have an FM2 looking for the next acquisition, the deciding factors may be different.

If by smoothness you mean the film advance, then you have to experience the Minolta XE-7 - if you haven't yet, as it encourages you to shoot more film! Smoothest in my collection!

My FM2/T was between a FM3a and FM2n in price, which seems about fair.

It's not just the film advance which is smoother but also the shutter seems more refined.

Yes, I own both an XE1 and an XE7. The same cameras, just a different classification for the European and US markets. They are utterly beautiful to behold and to use, when working. Both of mine have developed faults though and it is just not cost effective to get them repaired anymore here in the UK unfortunately. I used my XE1 for quite a few years as my primary camera. Luckily my XD7 and XDs are still both fully functional. They are also super smooth and much more compact.

11-30-2022, 01:29 PM - 13 Likes   #8705
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I'd like to find a new rangefinder for it. The one on this works but the internal mechanism is band-aided together.



Pacemaker Crown Graphic
by tuco, on Flickr



Crown Graphic
by tuco, on Flickr



Crown Graphic
by tuco, on Flickr
12-01-2022, 05:41 AM - 2 Likes   #8706
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QuoteOriginally posted by tuco Quote
I'd like to find a new rangefinder for it. The one on this works but the internal mechanism is band-aided together.
So many great, classic images have been taken with a Crown/Speed Graphic or similar 4X5 press camera. For really beautiful B&W images, they still set a very high benchmark.
12-01-2022, 07:55 AM - 4 Likes   #8707
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QuoteOriginally posted by tuco Quote
I'd like to find a new rangefinder for it. The one on this works but the internal mechanism is band-aided together.



Pacemaker Crown Graphic
by tuco, on Flickr



Crown Graphic
by tuco, on Flickr



Crown Graphic
by tuco, on Flickr
My father did carpentry work as a side business and he was building a commercial film processing darkroom for one of his clients. In the tear down process of the room he came across 2 boxes underneath a stairwell. They contained Crown Graphics, so he asked the client if he'd sell one, but he wouldn't, but he let him take it home for a week for me to play with. I was around 20yo at the time. The case had film holders, flash with bulbs, and a fairly modern Crown Graphic with the top mount rangefinder. I ran out and got a box of 4x5 b&w film and loaded up the film holders. The lens was a 127mm f/4.5 Kodak Ektar in a Supermatic (X) shutter. I shot a bunch of film and was blown away by the depth of detail and tonal range. I didn't have a 4x5 enlarger so all i could make were contact prints.

Also in the box was an exposed film pack that I developed and it must have been shot in the 50's because there were photos of what looked like business men in suits with the wide lapels and wide ties.

My father did have an old 4x5 speed graphic and developing tanks, etc. I still have his Speed Graphic but it needs a lens and a new mounting board.

12-01-2022, 10:23 AM - 9 Likes   #8708
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QuoteOriginally posted by WPRESTO Quote
So many great, classic images have been taken with a Crown/Speed Graphic or similar 4X5 press camera. For really beautiful B&W images, they still set a very high benchmark.
Yes, the Speed Graphic has a focal plane shutter with faster shutter speeds than the leaf shutter lenses used on the Crown Graphic making it a popular choice for the press photographer back in the day.

QuoteOriginally posted by tonyzoc Quote
The lens was a 127mm f/4.5 Kodak Ektar in a Supermatic (X) shutter. I shot a bunch of film and was blown away by the depth of detail and tonal range.
Mine came with a old Schneider Xenar 135/4.7 lens. That lens has an image circle just large enough to cover the film so you can't use lens rise and front tilt movements the camera has with it. I have some more modern lenses I use.

Of course the more grain there is on the film to define an image, the richer its tonal tonal scale can be. And naturally the film area difference between sheet film and a frame on small format canister film is significant.


Here are some shots using that Crown Graphic:


Manspreading
by tuco, on Flickr


Mukilteo Lighthouse
by tuco, on Flickr



Independence Day Fireworks
by tuco, on Flickr
12-02-2022, 02:53 AM - 6 Likes   #8709
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Lightmeters I've collected over time. I prefer the analog dials on the two Pentax one-degree spotmeters over the LCD screen on the Minolta Spotmeter F.


Lightmeters
by tuco, on Flickr

Last edited by tuco; 12-02-2022 at 03:29 AM.
12-02-2022, 04:24 AM - 1 Like   #8710
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QuoteOriginally posted by tuco Quote
Lightmeters I've collected over time. I prefer the analog dials on the two Pentax one-degree spotmeters over the LCD screen on the Minolta Spotmeter F.


Lightmeters
by tuco, on Flickr
In that set, the Sekonic at the upper left is the real classic. As I remember, it was very popular with professional photographers and especially movie cameramen.
12-02-2022, 10:34 AM   #8711
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QuoteOriginally posted by WPRESTO Quote
In that set, the Sekonic at the upper left is the real classic. As I remember, it was very popular with professional photographers and especially movie cameramen.
Yes, it is a Sekonic Studio Deluxe III, Model L398A (does not require batteries). The other Sekonic in the upper right is a Digi Lite F, model L-328 with a 5 degree spot meter attachment next to it. I used that mostly for metering and balancing strobes plus used the 5-degree attachment before I picked up the Pentax Spotmeter V. The Minolta Spotmeter F came with a purchase of some camera gear and I never really used it because I had the Pentax Spotmeters by then.

I started using that Lightmeter app on my phone because I forgot bring a light meter one day and out of desperation I downloaded the app on location. It does a good job. Not shown is the Sunny 16 Rule which I have used many times too.
12-02-2022, 11:05 AM   #8712
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QuoteOriginally posted by WPRESTO Quote
In that set, the Sekonic at the upper left is the real classic. As I remember, it was very popular with professional photographers and especially movie cameramen.
You can still buy them new.
12-02-2022, 11:11 AM   #8713
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QuoteOriginally posted by andrewd Quote
You can still buy them new.
I should be more explicit and say studio professional photographers, especially those doing advertising/fashion photography with a Hasselblad. I seen images of such pros checking the light around a model with one of those domed Sekonic meters many times. I think it was favored because it was a particularly good incident meter.
12-02-2022, 09:15 PM   #8714
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QuoteOriginally posted by WPRESTO Quote
I think it was favored because it was a particularly good incident meter.
Was the meter of choice when I was at Brooks Inst. in the 1980s, was part of the recommended kit.
Simple, durable, reliable, no battery to worry about.
I really got used to the linear display, and being able to "see" minute variations in light with it.
I've still got mine packed away with other legacy gear.
About the only down side to them was not very sensitive in low light, but fine in just about any daylight or studio (continuous source) situation.
The other thing that used to drive me nuts about them, is they came with a very long neck cord which many folks left long, they would swing around and knock into things, damaging either the meter or the other object.
I cut mine off short so it could be looped around my wrist when needed,
12-03-2022, 02:16 AM   #8715
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QuoteOriginally posted by K-Three Quote
Was the meter of choice when I was at Brooks Inst. in the 1980s, was part of the recommended kit.
Simple, durable, reliable, no battery to worry about.
I really got used to the linear display, and being able to "see" minute variations in light with it.
I've still got mine packed away with other legacy gear.
About the only down side to them was not very sensitive in low light, but fine in just about any daylight or studio (continuous source) situation.
The other thing that used to drive me nuts about them, is they came with a very long neck cord which many folks left long, they would swing around and knock into things, damaging either the meter or the other object.
I cut mine off short so it could be looped around my wrist when needed,
I used one for quite a few years between about 1983, when I bought it, to around 1998 when some unfortunate circumstances meant most of my photo equipment got vandalised. Using a Minolta SR1 or X700 in manual mode during this time with slide film I found it to be unfailingly accurate using the incident mode. I much preferred it to Weston or other meters because of its swivelling head which meant you could read the meter at the same time as taking the light reading. There were a couple of issues though. The various slides and grids were very easy to lose and the swivelling head was prone to cracking. Despite these flaws it's still my favourite meter and I have replaced my original. I find the analogue design so much nicer to use than a digital one and you can see at a glance all your available choices of aperture and shutter speed combination, which I particularly like.

I found the incident meter to be especially good for taking sunsets or sunrises. Just point the cone towards the sun and take a reading. Set your desired shutter and aperture combination, add a grey grad filter to your lens and jobs a good'un.

As for them being pretty poor in low light, it must be said that in the days of film, the film was also pretty poor in low light! Most shots necessitating a tripod or very grainy fast film. Even if you got a reading you would have had to factored in reciprocity failure for longer shutter speeds.There were handy tables published in magazines and photo books about what shutter speed and aperture setting to use in such circumstances which were pretty accurate in my experience. I wish :-
1. that I had kept hold of at least one of these tables
and
2. I had memorised one!

Last edited by richard0170; 12-03-2022 at 02:22 AM.
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