Buying your first medium format camera can be confusing. I find it helps to point out that you probably will end up with more than one type of medium format camera over your photography career. For me, exploring and enjoying the different types and formats of medium format equipment is much of the fun of photography. By comparison, 35mm SLRs are boringly alike.
Choosing a medium format camera is usually much more difficult than it needs to be. It seems that everyone has an opinion while almost no-one has sufficient, multi-system experience to back their opinion. To the surprise of most, most every opinion you'll hear is agenda-laden rather than sincerely spoken.
Article written by Danny Gonzalez in 1998 comes from archive.
The first thing that anyone looking for a 645 camera should consider is whether an interchangeable back option is of paramount importance. Though interchangeable inserts are almost universal in 645 (only the Fuji RF cameras don't have them), only a mid-roll changeable back offers the freedom to switch to Polaroid at will.
The company was founded in 1873, during the first decade of Japan's industrial revolution, by Rokusaburo Sugiura, who suggested that his employer, the Konishiya apothecary in Kojimachi, Tokyo, begin to sell the new cameras and photographic materials that were being imported from Europe and the United States. The apothecary owners consented and gave Sugiura permission to use the Konishiya name. This was seven years before Kodak was founded.
All-round color slide film for every outdoor shooting situation: snapshots, landscapes, and portraits. Fine grain, brilliant and natural colors.
FUJICHROME Sensia 100 [RA] is an ISO 100 high-image- quality daylight color reversal film. Features of this film include beautiful skin tones, natural and true-to-life color reproduction, and smooth textural depiction. Its high color-temperature tolerance during exposure makes it easily and widely applicable for slide production not only for snapshots, scenery, and other general photography, but also for medicine-, science-, and industry-related photography. Sensia 100 is ideally suitable for slide projection and for making big enlargements, as well as for printing on FUJICHROME paper and making high-quality duplicates using duplicating film.
This problem is hard to fix . You have to remove each blade of the diaphragm and then remove any "grease" dirt from them with "gasoline" for lighters (or "dry" solvents) and inspect the blades to see if they are not oxyded on their edges ! Then , you have to polish the blades with polishing media , then clean one more time with dry solvent and if your polishing give a too "blank" aspect , you have to "reblue" the steel with a gun blueing chemistry.
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Unlike smaller Asahi lenses, the Super-Takumar 200/4 is a rear-entry lens. This means that it is not necessary to remove the name plate around the front element of the lens to gain access to the aperture blades, focussing ring and the aperture control lever. It is necessary however, to remove the front name plate in order gain access to the first three lens elements in order to clean them. This guide will show how to gain access to various parts of the lens.
Less known lens than famous SMC Takumar and lot more rare.Very well built mechanically, real competitor of many famous lens like Carl Zeiss Jena Pancolar 1.8/80mm or Nikkor 85mm f1.8 Perform well as short tele-photo lens. Amazingly sharp even at wide open,it has beautiful color rendering, nice bokeh. I love this lens it's draw magnificant images like a paint for story books. It has very own character.
This lens was introduced in 1979, as the final evolution of the reflex version of Summicron 50, probably the most successful Leica lens of modern times.
Compared to the first version of this lens, released in 1964, this third version features, just like the second version (introduced 1976) a completely recalculated optical scheme, and a completely different barrel design. The most important change is of course the optical redesign, which improves the performance of the lens wide open, and improves the sharpness too, perhaps (like someone says) a little at the expense of wide open bokeh. There is no optical difference between the second and third version of the lens, the latter one being compatible only with the R reflex cameras (thus not any more with Leicaflexes).
SUPERB!! I guess don't need to say more. I didn't find any weakness of this lens, color, sharpness, macro capability just excellent, if compare all this features with other 300 mm lens this is the number one. Better than Carl Zeiss Jena Sonnar 300mm f/4, Pentacon/Meyer Orestegor 300mm f/4 , Nikkor 300mm f/4.5 AI or Tair 3S.
