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  1. #61
    benjiboy's Avatar
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    Quote Originally Posted by Les Sarile View Post
    Ben, You apparently made comparisons without even knowing it. After all, how else can you repeatedly declare that in your opinion, "Canon New F-1 as the best and most robust professional manual focus SLR ever". Anyway, given your extensive background and enthusiasm of the New F-1, I simply wanted to know the basis of your opinion. No doubt that some 30+ years later, there isn't much we don't already know regarding the technical specifications of these fine machines. Myself, I simply have an appreciation of them.
    I don't have the time or inclination Les to write an academic thesis on the relative merits of all the pro SLR's of that era, all I can tell you is that after due consideration over many years I put my own money where my mouth is and bought three F1N- AE bodys and have never regretted it.
    Ben

  2. #62

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    Quote Originally Posted by fstop View Post
    I have F's F2's F3's and Canon F-1's and like all of them however...

    My worthless opinion and I don't have much experience with 35mm SLR's ( see signature) I feel the F3 is the best of the era and the most durable pro SLR.
    No doubt that much can be said (much has been said!) about the Nikon F3!


    Quote Originally Posted by benjiboy View Post
    I don't have the time or inclination Les to write an academic thesis on the relative merits of all the pro SLR's of that era, all I can tell you is that after due consideration over many years I put my own money where my mouth is and bought three F1N- AE bodys and have never regretted it.
    Too bad given your seeming enthusiasm about the New F-1 but I can understand that not everyone is so inclined. Putting your money where you mouth is is a good testament for it.


    Personally, I thoroughly enjoy the history and can appreciate the fine qualities of these fine AE capable light boxes . . .


  3. #63
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    I sort of agree

    Quote Originally Posted by fstop View Post
    I have F's F2's F3's and Canon F-1's and like all of them however...

    My worthless opinion and I don't have much experience with 35mm SLR's ( see signature) I feel the F3 is the best of the era and the most durable pro SLR.
    The Nikon F3 is better balanced with a motor drive. However, Nikon lens focuses backwards
    "Photography, like surfing, is an infinite process, a constantly evolving exploration of life."
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  4. #64
    benjiboy's Avatar
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    Quote Originally Posted by Les Sarile View Post
    No doubt that much can be said (much has been said!) about the Nikon F3!




    Too bad given your seeming enthusiasm about the New F-1 but I can understand that not everyone is so inclined. Putting your money where you mouth is is a good testament for it.


    Personally, I thoroughly enjoy the history and can appreciate the fine qualities of these fine AE capable light boxes . . .

    I don't want to have a museum, I don't collect cameras I just use them, and don't treat them as devotional objects.
    Ben

  5. #65

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    Quote Originally Posted by benjiboy View Post
    I don't want to have a museum, I don't collect cameras I just use them, and don't treat them as devotional objects.
    I have to admit I do own a few of what I consider fully functional "classics" for the purposes as you said in your previous statement of doing my own research but I wouldn't consider it as having a museum. It has been a good source of entertainment as friends and family who come to the house always seem to want a picture of themselves next to the showcase . . .

    Quote Originally Posted by benjiboy View Post
    I'm not seeking comparisons Les you are, I'm not a camera reviewer this is just my personal opinion based on my experience if you want what you consider a more objective view I suggest that you do your own research, all I can tell you is I have used sold and handled all these cameras for years,
    There is no doubt in my mind that as much as we can all read about these from other's personal experience, these really must be handled and used in order to appreciate it.

  6. #66
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    Quote Originally Posted by benjiboy View Post
    I don't want to have a museum, I don't collect cameras I just use them, and don't treat them as devotional objects.
    I have pristine examples of the bodies pictured above except for the LX but will have one at some point. Yes I do collect fine examples but also maintain a stable of user cameras of the same bodies just for the purpose of forming my opinion.
    APUG: F, F/FTN,F2,F2A,F2AS,F3,F3HP,FA,FE,FM,FM2,FE2,XK,XM,XD, XD-5,XD-7,XD-11,XE,XE-5,XE-7,SRT101,SRT102,XG9,XG7,XG1,XG-SE,XG-M,X700,OM-1,OM-1n,OM-2,OM-2n,OM-4,F-1,F-1N,AE-1P,R5,500C/M,SCII
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  7. #67

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    Quote Originally Posted by fstop View Post
    I have pristine examples of the bodies pictured above except for the LX but will have one at some point. Yes I do collect fine examples but also maintain a stable of user cameras of the same bodies just for the purpose of forming my opinion.
    I started as an EOS3 user and the limited 30 second maximum aperture priority AE duration was an annoyance. Not knowing any better, I assumed all these aperture priority AE types were all limited until I read about the Olympus OM4 and Pentax LX and found in their technical specifications that they can go 240 and 125 seconds respectively. After I acquired both, I found out that the OM4's 4 minute limit is hard coded while the LX will go on for as long as it takes to properly expose the scene - while monitoring it in real time and changing accordingly, or the batteries are depleted. Certainly a good argument for not strictly relying on the spec sheets!

    BTW, if this is an important function to anyone, I tested the maximum aperture priority AE durations on numerous cameras and found that only the Pentax LX can do this but let me know if you are aware of any other. I have 3 LX bodies and all three have been tested to expose the same duration up to an hour given the same exposure but I have conducted individual tests with >2 hour durations. I also found all the Canon's I tested have the 30 second limit and most all other brands and models vary unpredictably but typically not dependable past a few minutes.

  8. #68
    Tony-S's Avatar
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    Quote Originally Posted by Les Sarile View Post
    I read about the Olympus OM4 and Pentax LX and found in their technical specifications that they can go 240 and 125 seconds respectively. After I acquired both, I found out that the OM4's 4 minute limit is hard coded while the LX will go on for as long as it takes to properly expose the scene - while monitoring it in real time and changing accordingly, or the batteries are depleted. Certainly a good argument for not strictly relying on the spec sheets!
    Do these cameras also have a facility for reciprocity? I imagine that could be quite bad without one.

  9. #69

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    Quote Originally Posted by Tony-S View Post
    Do these cameras also have a facility for reciprocity? I imagine that could be quite bad without one.
    There are no cameras that are programmed to account for reciprocity as far as I know. Heck, I doubt that even the Fuji, Kodak - and other, folks would know the reciprocity for their films given these extreme durations and various lighting conditions.
    Here is one such test I conducted using the LX with Kodak Gold 100. The results without any compensation looks "normal". I've conducted similar tests with other films and the results all look "normal".

    Last edited by Les Sarile; 04-28-2013 at 10:24 PM. Click to view previous post history.

  10. #70
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    Quote Originally Posted by Les Sarile View Post
    There are no cameras that are programmed to account for reciprocity as far as I know. Heck, I doubt that even the Fuji, Kodak - and other, folks would know the reciprocity for their films given these extreme durations and various lighting conditions.
    Here is one such test I conducted using the LX with Kodak Gold 100. The results without any compensation looks "normal". I've conducted similar tests with other films and the results all look "normal".
    While I'm sure that's fine for some color negative films for shorter duration exposures, I'm also sure that longer exposures with slide film will cause all kinds of problem. Thus, the use of autoexposure without some means of compensating for the reciprocity effect, which varies by film, seems to obviate the need for such a mode.

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