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Post by pendennis on Jan 24, 2018 10:30:01 GMT -5
The earlier Petri's were underdogs in the late 60's and early 70's. My first was an FT. All manual, stop-down metering, but a very sharp 55mm f/1.8 lens. Mine was as reliable as a camera could be, although late in its useful life, the meter got rather "iffy", and needed repair several times. One of the things I really liked was the breech-lock lens mount; very positive and strong. Shutter was very accurate, and kept great time over the years. I added the FT-EE to it, but later opted for the Pentax, even though they still had the M42 mount. The FT-EE wasn't as sturdy, even tthough it had open-aperture metering.
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Post by pendennis on Jan 1, 2018 16:47:03 GMT -5
I've been a Nikon user for most of my life. And I've recently expanded my horizons into some older Canon SLR's. I currently own the A-1, and tomorrow I'm going to pick up a T90.
Not having a lot of familiarity with Canon, I notice that there are a couple of 50mm f/1.4 lenses out there in the FD mount. It appears the bright breech lock ring models have "S.S.C." etched on the barrel face. I know the SSC was supposed to be a real jump in lens coarting, but I'm wondering if a newer 50mm f/1.4 would be a sharper alternative. Price isn't really a factor, and I already own a 50mm f/1.8 that came with the A-1.
Thanks.
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Post by pendennis on Dec 5, 2017 19:10:07 GMT -5
I've seen a few around here, and own a black ES-II. Have yet to run across a brushed chrome finish. Nice grab!
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Post by pendennis on Oct 21, 2017 18:44:36 GMT -5
One of my early SLR's was a Petri FT. I always got good photos with the camera, and its 55mm f1.8 was tack sharp. After I owned it for a couple of years, though, the meter would stop working; I'd take it to the repair shop; they'd "fix" it; and a couple of months later, the same song and dance. I thought about buying the FT EE, but instead opted for a Pentax SP-II.
I always liked the lens mount, which if anything, was completely over-engineered. That breech-lock mount was secure.
At one time the Petri Color 35 rangefinders were pretty highly rated by Modern and Popular Photography.
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Post by pendennis on Oct 17, 2017 8:06:30 GMT -5
Sometimes lenses come cheaper mounted in a body than alone. You may want to look for cameras with lenses, not only for the lens you want. I know, this is how you get to too many cameras! I can vouch for that. Even in the film days, I bought a few junkers that had a great lens. Most of the time, I donated the bodies to a friend of mine who repaired cameras, and could use the parts. I found a like-NIB Nikkor AI 50 f1.4 that way, attached to a nearly destroyed Nikkormat.
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Post by pendennis on Sept 27, 2017 8:54:51 GMT -5
Part of the problem finding lenses for older SLR's, is that a lot of the better lenses have ended up in the hands of the folks who shoot the 4/3 digital format. I shoot manual focus Nikons and Pentaxes, and there's a dearth of good Nikkors and Takumars. The ones that are available tend to be priced high, or if they are priced reasonably, they have fungus or other flaws. I still long for a Super Takumar 17mm f4, but they're priced almost as expensively as they were new.
Hang in there. They're out there; you just have to be patient.
Shooting Nikon FA, FE2 - Pentax ES-II, SP-II, Super Program, Program Plus
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Post by pendennis on May 31, 2017 18:43:20 GMT -5
Great snag! Those are great cameras, and the 50mm f2 seemed to be the "standard" supplied lens at the time. Lots of Kiron zooms out there, also.
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Post by pendennis on Jan 5, 2017 20:44:13 GMT -5
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Post by pendennis on Nov 9, 2016 19:37:45 GMT -5
My first serious flash was a Honeywell 700 Strobonar in 1970, a lot of light output in those days. Until about ten years ago, I owned a number of Strobonars from 700, 710, 770, 800, and 880 models. I used them with photo umbrellas for studio work. You could always count on warmth from the tubes, and not cold blue light from others.
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Post by pendennis on Nov 3, 2016 9:38:08 GMT -5
Several years after selling off all my medium format equipment, I decided to start taking medium format transparencies. I looked around locally for some good Mamiya 645 equipment, but the well was very dry around here. Next stop, eBay. I wanted a Mamiya 645 Pro TL. I found several packages from Japanese sellers, and opted for one from a seller in Tokyo. Included were: - Mamiya 645 Pro TL body with AE prism finder
3 film backs50-110mm zoom lens 45mm f2.8 W/A lens All four extension tubes 2x Mamiya teleconverter
The price for the package was $500, plus $30 shipping from Tokyo. Next came a number of lenses:
500mm f5.6 300mm f5.6
210mm f4 (new, with box) 120mm f4 macro
80mm f1.9
With the exception of the 210mm lens which came from a local camera shop closure, all came from Japan. The condition of every item was immaculate, and very conservatively graded. The glass is all extremely clean, with no haze, fungus, separation, etc. The only lens which was more than $300 was the 500mm, and it came in at $350. I know that many fewer folks are shooting medium format, but for those who still like the format, it's very difficult to beat the pricing.
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