Ah, those russian junk cameras. How could we live without them? I still can smell that rotten leather bag in which a clunky Kiev88 was resting.
By far... the Miranda, with the shutter on the front, the shutter speed dial on the front, the 'grainy' focussing screen, and the "clunkiest" shutter sound on any 35mm camera I ever handled... and I still have two of the ugly suckers.
There are holes in the sky where the rain gets in,
But they're ever so small that's why rain is thin.
the brand and model escapes me now... the shutter leaked like cheese cloth and leaving the thing on a café table for a sunny minute would result in nasty pinholes (that is, if you managed to put it on the café table without knocking the flimsy rangefinder out of alignment), a couple of whitish rectangles were permanently stuck in the middle of the viewfinder, the focus ring would turn the wrong way, shooting close or far was out of the question, changing film required three hands and, as my friend once remarked, the revolution was over before you finally did reload, there was no way to even grasp the thing firmly... i ran, not walked, to upgrade to my first zenit, a marvel of design compared to that, whatever it was called, didn't bother to write the name down, eh...
I can't stand the Pentax 645. Operates like a microwave oven out of the 80's and sounds like tearing velcro with every shutter release.
Last edited by F/1.4; 05-11-2012 at 11:45 PM. Click to view previous post history.
Let the brickbats fly: I have never warmed to the Nikon F4s. I picked up one on ebay several years ago (on a whim) and have wondered why ever since. Yes it was Nikon's first foray into building a camera with an integral motor drive, and yes the camera - for those of us who shoot transparency films - had a great metering system...but the ergonomics just did not feel quite right. And, compared to the later F5 and F6, the F4s (and I am sure the F4e) feels...well...a little ad libbed, shall we say.
The camera has seen so little use by yours truly that I even went so far as to give it away to my sister ( a certifiable "F3-a-phile"), who, after a few short weeks (time enough for a few rolls of her favorite film (Fuji Astia) to be run through the camera) returned the camera, basically saying "no thanks" to the gift, and comparing the F4s' ergonomics to those of a brick.
I have the camera - temporarily - back in my arsenal (loaded with E100G) and I am prepared (keeping an open mind here) to give it another go. This weekend I am going to shoot some architectural details while visiting my sister in Calgary. We will see how I feel about this camera by Monday. Given past experience...
Last edited by BradleyK; 05-12-2012 at 12:33 AM. Click to view previous post history.
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I don't like the F4 either, great meter, tough as nails, but an ergonomical disaster.
Never liked it much either. I checked it out at a dealer when it first came out, and was underwhelmed. The controls and the dim viewfinder with the notch out of it just turned me off. The 645n is much better all around, IMO.
Originally Posted by F/1.4
I do use a digital device in my photographic pursuits when necessary.
When someone rags on me for using film, I use a middle digit, upraised.
All digital cameras have terrible design, never succeeded to load a film in any of them, couldn't find any help to the f...... manual either.
Any camera which only has automatic exposure without manual compensation has a flawed design: the engineer designed it right, and the marketing department made it "easy to use" and "not intimidating for the inexperienced".
(And I own and use one of those cameras, the Yashica T3, only because I never found a camera with the same qualities and some form of exposure compensation. Should try the Olympus XA I suppose).
Any camera where the designer gave up on placing the viewfinder on the edge of the camera (like in a rangefinder) shows lack of effort.
Where am I supposed to put my nose while looking inside my SLR viewfinder? Do I really have to spread my nose on the back of the camera and rotate my eye to look inside a viewfinder?
I know it's complicated, but do invent something!
Cartridge and Receiving roll on the same side of the camera, to the right. Mirror box entirely on the left. Film makes a "turn" and comes back! Camera a bit thick but not so large.
Mirror box on the center, Porro prism to move the viewfinder to the side.