Quote Originally Posted by Rudeofus View Post
Sun light normally blinds you so you turn your eyes away as quickly as you can, or you close you lids. Once you put an IR filter between the sun and your eyes, that natural reflex stops working, it looks dark after all. But the strong IR light is still there, frying your eyes.

There are a few things which make it quite unfeasible to mount an RZ67 to a telescope. First, you have a crop factor of about 0.5 compared to 35mm, and it already takes 1000-1500mm focal length to fill the frame with sun or moon on 35mm. Next thing is the shutter of your RZ67 sits in the lens, so apart from physically fitting a telescope to your camera you'd have to give it a shutter and control this shutter with the electronic signals coming from your RZ67. Also note that most telescopes are mounted such that they track the movement of stars, which means a heavy camera like the RZ67 is not something you want attached at the end of your telescope.

Ansel Adams was a true master of the dark room. His shot "Moonrise, Hernandez" is paramount to that. He needed intensifier to make the neg work, which tells me it was underexposed. Not bad for an estimate but no magic either.
Thanks all wise comments, I'm really paranoid about my eyes, I've had eye surgery and really never look in the sun, and if I do have a shot with the sun I pull back my eyes from the viewfinder so it's only a vague glimmer, I focus and recompose to the sun after I'm away from the viewfinder and at an angle from it, but thanks for the reminder.

The RZ67 CAN be fired from the lens itself, so triggering it with a cable can be done in mirror lock up mode, however, I suppose you're right, I just would LOVE to have a transparency of the moon the size of a 6x6 frame, it would just be friggin awesome! Oh well... I guess it's Canon for me...

That's true, he was a darkroom master... but I'll just be shooting at the sun, not giving it surroundings, however it's a good point for sure. I think it was magic, darkroom magic...