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  1. #11

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    Quote Originally Posted by Chris Lange View Post
    For laughs here's a video of my dad shooting for the SI swimsuit issue back in 1993... all Nikon F4s and FE2s with motors, and lots of Ektachrome.

    His segment begins at :30 seconds in...

    http://www.youtube.com/watch?v=dpV2c2UZ3_o
    Thats a great video, thanks for sharing!

  2. #12
    Klainmeister's Avatar
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    Awesome
    K.S. Klain

  3. #13

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    I knew a successful photographer in SF in the early naughties. He only shot chomes on MF, specifically Hasselblad. He was politely dismissive of my OM-4.

  4. #14

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    Is that an 85mm 1.4 AF-D at 6:19?
    Fun Video, I remember this issue. It was pretty saturated if I recall.

  5. #15

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    There are a few shots of a photographer loading film in this F4. Looks like the colors on the canister were yellow and red. Kodachrome!

  6. #16
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    Quote Originally Posted by Chris Lange View Post
    For laughs here's a video of my dad shooting for the SI swimsuit issue back in 1993... all Nikon F4s and FE2s with motors, and lots of Ektachrome.

    His segment begins at :30 seconds in...

    http://www.youtube.com/watch?v=dpV2c2UZ3_o

    thanks for reminding me why I love the 90's so much

    the SI models these days aren't as curvy as those in the 80s/90s IMO...so not as good

    SPLASH
    "What was that?..."
    <picks camera out of water>
    "Loaded or unloaded?"

    Dan


  7. #17
    Chris Lange's Avatar
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    It's a 180/2.8 AF. We still have that one at home, but the AF drive is totally dead, Nikon and Nippon Photo Clinic say it's not worth replacing, would be cheaper to buy another lens used. Still great as a manual focus lens though.

    Speaking from having retouched and spotted a few of these frames a few summers ago to help my dad prepare some older pictures for a talk he was giving, I think it was EPR, although it could have been Kodachrome, too...I know my dad stopped using kodachrome around 1992/3 for the majority of his 35mm because E6 processing and film had gotten good enough to supplant Kodachrome in a fast-paced world like the fashion industry.

    Also the Kodachrome processing wasn't as consistent in NYC as it was for E6, which was getting a higher throughput...
    Last edited by Chris Lange; 10-02-2012 at 10:58 AM. Click to view previous post history.
    See my work at my website CHRISTOPHER LANGE PHOTOGRAPHY

    or my snaps at my blog MINIMUM DENSITY
    --
    If you don't have it, then you don't have it.

  8. #18

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    Yep, EPR was the Playboy film, great for skin and looked really good pushed 1/3, gave nice healthy glow. Great fun segment, thanks for sharing.

  9. #19
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    Awesome! It's a shame people don't have the creativity to do stuff like this anymore.
    www.EASmithV.com

    "The camera is an instrument that teaches people how to see without a camera."— Dorothea Lange
    http://www.flickr.com/easmithv/
    RIP Kodachrome

  10. #20

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    I worked through those times. Nikons and Hasselblads were the order of the day, plus the Rolleiflex was a very popular "Press" camera to use with flash. However, Yashicamats, Canons and Pentaxes were also in use. Olympus OM1's had a flurry of popularity around 1979-80, because of their compactness and excellent Zuiko lenses. However their dubious long term reliability and flash sync of only 1/60th, caused them to fall out of favour against the 1/250th of the Nikon FM2n, particularly when colour became the norm for press work.
    The Mamiya RB67 began to replace the Hasselblad for many magazine photographers, due largely to its unique revolving film back enabling easy portrait mode shooting in the 6x7 format on a tripod which fitted the upright format of magazine pages.
    As for film, Fuji was favourite for colour, although Kodachrome hung around for a time, particularly for non-urgent work. For black & white HP5 and Tri-X was the normal choice.

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