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Good afternoon, having seen on a short screen at 1\8000 and taking it off to make a strong impression on only one side of the photo. So is there a problem with the matrix?
One more photo option
Hello. It looks like there is a problem with the shutter, it does not have time to fully work out at 1/8000. Isn't it the same at longer exposures?
Dyakuyu for vіdpovіd, at 1\3200 ice commemorated, but a present artifact.
To service.
You are right, I would like to avoid such a scenario, but I already know about such an “effect” (shutter capping / tapering)
Can someone tell me how to lubricate the old Soviet lenses Helios 44-2 and industrial 61l / d. The Industar in the FED generally spins tightly, even gets out of the f / a housing at the moment of focusing.
For example
Thick (or not very thick, to taste) silicone grease.
Hi all. I read on many forums that due to the scanning of the camera on the detector tapes at railway stations and airports, as well as during air travel, broken and hot pixels may appear on the camera matrix. Is it true? All topics on the forums were very old and dated back to 2008-2012 and were not supported by anything, but many assured that after scanning the camera on the tape and flying, dead pixels appeared on the camera. There is very little information on the web. Some write that it affects, others that it does not. Now I'm sitting, worried about the camera.
I have had several trips to Japan with the Nikon D90 and one with the Nikon D700.
I didn’t notice anything on the D90, although I didn’t spare the camera.
I drove D700 and Sigma SD1 Merrill back and forth once - also without problems.
All cameras were in hand luggage in a separate bag, but they always passed through the scanner.
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This year I went to Cuba with the ancient 1Ds_mk2, and there seems to be nothing criminal either.
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I've heard that airport scanners have had a negative effect on CCDs and film/film. This can be circumvented by carrying them in a separate bag and trying to explain to the airport service.
Dmitry Kostin, Understood. Thank you. Arkady also answered me by mail today that this only applies to CCD matrices.
Hello everyone, tell me, is it worth taking the Nikon d2022 in 700? The camera is needed for filming weddings, anniversaries, children's matinees, not on a permanent basis, only as a rare part-time job, once a month, since I have a main job. But since I really love to photograph and in the past I have experience in weddings, I would like to hear your opinion on what to buy. From the requirements, the carcass is not more than 50k used, a beautiful picture. I have experience with Nikon d5100 and lenses 18-55mm, 35mm, 18-105mm, 50mm. I would also like to hear advice for a universal lens for weddings. Thanks in advance)
If you find with low mileage and not killed, then why not. Relatively universal Nikkor 24-120 \ 4, Tamron 28-75 2,8.
Thank you)
Hello everybody! Please, could you recommend some cool classic wide-angle lenses for the landscape, I would like exactly what is called artistic. Bayonet Nikon F. So that in terms of pattern, and color, and contrast, and detail, depth of field at infinity. There are already fifty dollars, I'm interested in a larger angle, but not wider than 28 mm. That is, 28mm, 35mm, etc. Manual / non-manual does not matter, age is also not important, the main thing is not for $ 1000000000000000. I shoot mostly on film, but also on digital (Fuji S3 Pro). Any super newest Milvuses for the above price tag, I will immediately make a reservation, are not interested. Interested in classic optics, such as AF Nikkorov and others like them, the Soviet manual is also suitable. There is only one condition - the best and coolest of them. The maximum possible price range is up to the level of the current average cost of 85 1.4D, you don’t need more, and there aren’t any of them, since the same 85 1.4D, in principle, will be the most expensive.
Thank you!
Depth of field at infinity?) Milvuses and af nikkors will not help here. Samyang 14 mm. take it, cheap and cheerful. True, he also does not work separately from the photographer.
I apologize, a typo, I didn’t notice that I didn’t erase the “depth” when I wrote - I meant “sharpness at infinity”.
For advice on 14mm Samyang, of course, I am grateful, but I repeat once again, as I wrote above, I do not consider too wide angles. 24mm is already too much.
Look here on Radozhiv reviews on:
Nikon 28mm f/2 Nikkor AI MF
Nikon 28mm f / 1.8GN AF-S Nikkor
For some reason, the first one is valued about the same as the second one on the secondary market.
At one time I also wanted to buy Nikkor 28 / 1.8G, but a new Sigma 28 / 1.8 EX DG Macro of late releases turned up very inexpensively and refused to buy Nikkor.
Optimal 28 1.8G, kmk
Nikon Nikkor 28 1.4d was also praised for artistry.
But it is rare and expensive. And in good condition, you can most likely buy only from the Japanese.
On eBay, it usually has 3-4 offers. At a price of 1500 to 2500 Euros depending on the condition. It's more of a collectible lens.
Mikhail, tell us what you mean by the "artistic" of the lens? What qualities should he have, in particular, the desired width?
For example, the “artistic” and very expensive Nikkor 28 1.4D was advised below
It became interesting, I look at the photo and here is one of them:
https://live.staticflickr.com/65535/51892152241_925fdecb13_o.jpg
And, for example, a photo of a fairly well-known comrade on a whale 18-55 (this lens was not scolded only by the lazy):
https://www.robertmekis.com/photos/landscape/med/mekis0fm200e1a.jpg
https://www.robertmekis.com/photos/landscape/med/mekis0fm201b1a.jpg
Do you feel the advantage of an artistic lens for 2000 euros over a plug for 20 ... 30 euros?
I did NOT recommend buying 28/1.4D
The price on the secondary at 28 / 1.4D is due to its rarity and the long absence of such proposals for aperture ratio from Nikon at this focal length.
28 / 1.4G was not, and 28 / 1.4E appeared closer to 2018.
There is only one review for 28 / 1.4D at the photo_ru club.
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My recommendations remain the same:
“Look here on Radozhiv reviews on:
Nikon 28mm f/2 Nikkor AI MF
Nikon 28mm f/1.8GN AF-S Nikkor”
Victor, I wrote about that in my first message. “...according to the drawing” - I think it’s clear here, no need to explain, the factor is partially subjective (in fact, it’s still objective, just not everyone can feel it). As well as a factor that develops from the rest, which I will list below. “...by contrast” – moderately, not too hard, but not sluggish, microcontrast also plays a role, which affects the refinement of the image and its microplasticity. “... by color” - how the color conveys, how adequately, what gradation, balancing of tones, richness, saturation, and at the same time moderation, so that the smudge does not come out and without a parasitic bias into one or another tone dominant. “Clearness, sharpness” - without soap (read Radozhiva, he has reviews and Arkady has completely unflattering ones on some not very well-known lenses, for example, on some kind of Soviet telephoto, if I’m not mistaken, 500 millimeters. Review with convincing examples of your words). And at the same time, without the “sharp” excesses that modern optics are often stuffed with for the sake of plasticity and liveliness of the image - I don’t need this. A landscape lens should no doubt either be “very sharp” or simply “sharp enough”, but at the same time especially delicate, the organicity and smoothness of the transition from pixel to pixel, which should “flow” into each other, should not be lost. Well, according to your examples - good optics, like a film, the matrix still needs to be opened. Even lenses such as 85 1.4D need to be opened. And how many copies have recently been broken (again, for the umpteenth time) on the Fuji S5 Pro camera beloved by Arkady (and me) ... There was a blogger here on yntyrnets a year ago, a bald one named Vadim. Very “convincingly” he explained to all of us and Arkady, you know, fools that, they say, this “piece of plastic” from Fuji is really worth nothing. It is enough to look at what examples he explained this with - with this approach to photography, not a single camera and lens will ever open up, in general, nothing interesting and sensible will come of it. There are scenes that can and should be photographed, let's call them conditionally “good”. And something, on the contrary, is elementary photographically impractical to shoot, since it is inherently unremovable - it's all about zones and plot, composition, and for good it is better to refuse to shoot such scenes, since this is a “bad scene” by its photographic essence. So it is in your examples: the first photo does not match the last, third. Compare at least the sky and there, and there. On the first one, there is just a white, characterless background, almost a good third of the entire frame. But, by the way, the water turned out not so bad, with texture. In the third picture, the author captured a very interesting atmospheric phenomenon, beautiful velvet clouds and haze with a mirror reflection of them in the water. This is always easy to shoot in order to get an interesting result on anything (with the ability to shoot, of course).
Rasul
Rasool 16:45
problem. my main camera is Canon EOS 3 (film). there was an idea to use manual lenses from the medium format Pentax 67 II with this camera. I put one of the Pentax lenses on Kenon with this adapter for testing. after that, the Kenon camera began to consider Kenon autofocus lenses as manual. focus does not work. I aim manually, in this case the camera only confirms the focus. this is how both of my Canon lenses work. what a failure - I do not understand. the adapter contact board is externally undamaged. also the camera mount is fine. I will take a Kenon number from a friend and check the operation of my lenses
When putting back Canon AF lenses, what shooting mode and AF do you use?
Are there any errors on the top display?
The camera is a little confused - if there is no error on the upper display, if Av and AI Servo AF are on, then in theory everything should work. Alternatively, if a glitch has occurred, there is a button to reset the “usual user functions” on the right side of the case under the cover (page 104 of the instruction).
It might help.
The camera is a little confused - if there is definitely no error on the upper display, if Av and AI Servo AF are installed, then in theory everything should work. Alternatively, if a glitch has occurred, there is a button to reset the “usual user functions” on the right side of the case under the cover (see page 104 for instructions). By the way, there are enough unusual settings, the existence of which the owner may not even guess if he does not read the instructions to the end and does not climb under the cover on the right after reading.
It might help.
Good afternoon, please tell me a camera for travel. When traveling, I always took pictures with a smartphone camera, but there is a desire to improve the quality of the photo. I don’t want a very large and heavy camera either. I only take photos of landscapes and a small part of urban photography. Rarely portraits. Recently I came across Olimpus pen 8. It seems that the price is not expensive, and the lenses on them are not expensive. (But there are very few offers on Avito, but there are no new ones). As for the DSLR, I thought about the Canon 80D. But so far there was no experience with a camera while traveling. Wouldn't it be hard to carry it over all the mountains ... ..
Look at the mountains...
I had 2 climbs at 3700 meters.
The first with a Nikon D90 with a light fix D series (as a result, the weight is about 1kg of the lens and camera), the second without it.
With every thousand meters, excess weight is felt more and more and more negative attitude towards it.
If you walk on all sorts of mountains, then both the lens and the camera must have dust and moisture protection. I just got caught in the rain with snow and strong wind during the first ascent. There was no place to hide and no raincoat. As a result, the camera got wet through and then refused to turn on, it had to be dried under the air conditioner then all night. It is also not advisable to buy an expensive camera and lens - in the mountains there is a chance to attach it to something.
In short, it’s better to have a light bzk and with dust and moisture protection (and preferably with a matrix stub or in the lens).
But if the budget is limited and there are extreme climbs, then it doesn’t matter - you can take any cheap crop camera from a flea market (at least Nikon D40-D50-D60-D70s) with a whale lens.
By the way, the 80D you mentioned weighs a little lighter than the 5D mk2, which may be more interesting and cheaper than the used 80D.
Thank you very much for your answer, just in our city, I looked at just a couple of ads for the same Olympus. There are simply no used ones, and you can’t buy new ones now. Will the Canon 80d + Sigma 17-50 2.8 be a more or less comprehensive choice? I don’t plan to buy a bunch of lenses either) I looked at Mark 2, everyone has more than 200 tons of mileage there.) I watched Fujifilm, but it’s not so simple with them either, there are very few used ads))
"Future" is a very vague concept))
Both DSLRs and mirrorless cameras have their advantages, the problem is that the former are no longer being developed and are about to stop being produced. However, there are still plenty of them on the secondary market.
For mirrorless cameras, dimensions, technical features, quality of optics (usually higher, not without exceptions, of course)
Behind DSLRs - autonomy, prevalence, price.
It's up to you to decide, but for a hike in the mountains 80d + 17-50 is so-so choice, IMHO.
What choice do you think is the best? It is the UPC with protection against moisture, etc.? Or just a more budget-friendly DSLR? At first glance, the UPC seemed to me more fragile, it seems to me that they should be treated more carefully. (If it falls, I think there is a big chance of damage). And the same Nikon D7200 or Canon's analogy is stronger or something .. (I may be wrong.)
Protected models are, as a rule, professional tops. Autonomy is also relevant for hiking. With this, bzk is worse.
If it falls, then any camera can fail. For amateur shooting, protection is not important in 99% of cases. Everything is as usual - the camera is cheaper, the lens is more expensive.
You shouldn't drop any camera))
Whether mirrored or mirrorless.
Issues of autonomy in a mirrorless are solved elementarily - a power bank. For very harsh autonomists - in addition to the power bank - a solar panel.
Moisture protection too - its absence is not as scary as it is painted)) You still won’t shoot in a downpour (so as not to get wet - put the camera in a bag), and any camera will survive a light rare rain.
An expensive camera is useless, the initial one will do. It's good when the stabilizer is in the carcass, in extreme cases in the lens, but even when they are not there, it is not fatal.
The lens is for tasks. It’s good if it’s universal - for a crop something like 18-200, in extreme cases (if you are looking for a middle ground) - something like 16-85.
Look, if you drop it, then you should go back to pick it up only because of the flash drive. So you don't have to worry about impact resistance.
As for moisture protection:
My D90 got soaked through while in my purse. It was raining with snow at an altitude of 2 km. I was through and through, waterproof sneakers through and through, and the D90 was all wet and would not turn on, although I managed to put it in my bag. The lens was foggy and I dried it quickly at night when returning to the hotel. The camera only dried out in the morning (pulled out the battery, opened the battery compartment, removed the bayonet cap. The viewfinder was fogged up and also dried up in the morning. If the camera fogs up in the mountains, then it is problematic to revive it in the mountains.
“Will the Canon 80d + Sigma 17-50 2.8 be a more or less comprehensive choice?”
I have a 2 question:
1) How high are you planning to climb?
2) What mountains have you already climbed with cameras?
3) Where do you plan to put the camera? Why the question - usually in a backpack that you will have when you climb behind your back, there will probably be a set of warm dry clothes, food, 2-3 liters of water. Where are you planning to put the camera?
“Canon 80d + Sigma 17-50 2.8”
To lift such a weight on yourself for 3-4 kilometers, and in addition to carry a set of clothes, 2-3 liters of water (this is necessary, dehydration for 3-4 km comes quickly, you really want to drink there), food? The camera at 2-3 kilometers will rewind your neck or back for sure. Although, of course, it all depends on sports training.
Well, under the mountains, I don’t mean extreme climbs, and I don’t want to take the camera for extreme sports. And if you look in general, a camera for traveling, for light tourism on foot. (Camera on the neck or in a briefcase). We just traveled around the cities, to another country, and took photos purely for ourselves) So far, only on a smartphone, but somehow it’s not convenient to take pictures on it, the process itself is not the same. Haven't gone on a serious trip yet.
Any camera, really any.
90% of your result will depend not on the camera, but on you personally. As an example, there are pictures of Arkady here (I hope he won’t take this as flattery, I wanted to write on a photo camera, but there happened a “SBO” by cutting him out from the site along with pictures :( ), taken on a penny d40, all so tattered, with partly broken off flash, but nonetheless not useless ©
Or is it already better to buy a BZK for the future?
Hello, help me find the cause of the problem with Nikon TTL. I shoot with a flash in the forehead (with reflection the same), the aperture, shutter speed and ISO are fixed, the exposure is regulated only by the power of the flash pulse. Camera D500, optics 17-55 2,8G. There are no overexposures at f/2.8, but the more you close the aperture, the stronger the overexposure, for example, at f/5.6 it's bright, at f/11 it's very bright. I noticed by chance when I wanted to increase the depth of field by closing the hole. It would be understandable if it were the other way around - you open a hole, and there is too much minimum impulse for the flash and overexposure is obtained. And here, when the diaphragm is closed, it should, on the contrary, increase the power to the correct values, but the camera raises the impulse strength the more, the more the diaphragm is covered.
I want to say right away that, logically, there can be one reason - the calculations are made based on the set aperture value, but immediately before taking the picture, the aperture is not physically covered, hence the overexposure. Moreover, without puff, the frames at f / 5.6 and f / 11 really seem to be the same in terms of illumination.
Please let me know if you have had the same issue, thanks.
Yes, the diaphragm is not covered, you need to figure out why.
And one more question on Nikon TTL - can the camera in TTL mode set the pulse power to less than 1/128 (the minimum possible power value of the SB-910 in Manual mode). Personally, I was sure that it could not, but in TTL mode the close-up is correctly lit, and when you turn the flash to manual mode (ISO, aperture and shutter speed are fixed), the power of 1/128 is excessive. Thanks in advance for your reply
In TTL mode, all cameras change the puff power not in the same steps as in manual mode, but with very small discreteness. This is especially noticeable on film cameras, where the interruption of the discharge in the lamp occurs "on the move" by reflection from the film.
Yes, probably, as with the AUTO-ISO mode, intermediate values are also set there, which are not available for manual setting. And interrupting the impulse “on the go” is an interesting assumption of the practical implementation of a smaller impulse, I didn’t think about it. Thank you for your attention to the problem
In DSLR cameras, it will not work to turn off the lamp on the go, because the mirror is raised and the exposure meter matrix is closed, which is why “pre-puff” is used, usually at 1/32 power. Well, then recalculation based on the aperture on which the shooting will be. Although there are external puffs that can determine the power themselves - they have a photodiode in front to receive the light reflected from the subject, the microcontroller programs the ASIC, in which the light flux is integrated (because it will not work in time purely by software) and the discharge is interrupted by locking the IGBT upon reaching the desired illumination.
Hello. Tell me, is this camera worth considering for purchase? The mileage is small, no traces of opening are visible, but the dusty matrix and the very tired lens mount lead to different thoughts. The price is very pleasant. Thank you!
You can draw any mileage. If you really want Nikon crop, then there are many much more interesting cameras.
Yes, I understand that there are more interesting options. But, unfortunately, the budget is limited😔
In your opinion, what can you see on the used market for 2022?
If Nikon, then only “screwdriver” cameras. D7xxx, D300s, D2Xs are good old cameras.
Nikon D90 not worth considering?
Ivan, my best shots (in my opinion) were shot on the Nikon D3100. The only point is the 50 mm 1,8G lens, since the regular 18-55 is simply not good (it's not even about aperture and bokeh, but just a very poor quality picture). After buying the D500, I thought it would be a safety net, but it turned out that for many tasks it is still enough, quite a working old man - compact, focuses without misses (even 3D tracking), allows you to use an external flash and interchangeable lenses, shoots in RAW - what else do you need ? I have been shooting since 2011 to this day. I tend to choose the lens carefully, and take the camera for the money, which will be enough for your tasks and do not regret buying it, then you will have the best camera. Moreover, even new equipment is not immune from breakdowns.
No, it's not worth it. The reason is simple - the gear on the shaft of the diaphragm and mirror drive motor cracks in all these cameras just from time to time. By itself, it costs a penny, but to replace it, you need to sort out the entire camera. Personally, I'm already tired of repairing them))
Alexey, Nikon will not be able to draw any mileage. As far as I know, exif contains the serial number of the frame, which can be found using the program or the corresponding online service
You are wrong, Konstantin))
Ivan
24.08.2022/21/11 at XNUMX:XNUMX Reply
Nikon D90 not worth considering?
From personal experience. I worked with Nikons D1x, d300 for a long time, I used d80, d50, d100, d60, d3000, d3100 now I have d70s and d90. There is something to compare with, although the opinion is purely personal and based on specific experience: reportage, photo hunting, the use of homemade autofocus lenses and manual optics. At d90, I lack the tenacity and agility of autofocus, especially after d1x and d300. otherwise, the average Nikon of an advanced amateur level. my camera is picky about memory cards, but this is most likely some kind of individual cockroach. with low mileage and at a normal price (I bought for $ 95) is a completely normal option. rating of camera models by survivability here https://olegkikin.com/shutterlife
I came across this rating, but there is not a very visual selection and it is strange.
It is not clear what mileage is critical for each camera.
And then, it would be nice if this rating was led by a large service center ...
To be honest, I don't see any fatigue. You can dust the matrix in one fell swoop without firing a single shot. I look at the buttons - the degree of their filthiness. Although I bought myself a fotik thinking that he had a mileage of a million, but it turned out that the owner simply did not feel sorry for him and there were only 450t. If there is no experience, then you can take the D90, then buying additional optics for it “for growth” for a full frame and high quality. When you understand what you want, buy what you want there. And so you can still torment camspex.com with questions which is better
By the way, in your photo it is not a matrix that is dusty, but a mirror, if I understand correctly. And to clean the matrix from dust today is not a problem at all, even on your own
Sorry, I'm just taking the first steps in studying photography. How critical is a dusty mirror, unlike a matrix?
Generally not critical.
However, even a dusty matrix is not critical:
1. Dust appears only on a light background at sufficiently closed apertures (from f / 8 usually and more) - you will most likely use them infrequently.
2. The most noticeable dust particles are easily removed in the FSH, and if this gets boring, cleaning the matrix itself is a simple matter.
If the lens mount is “tired”, as you write, you should not take it. Watch cameras where nothing will alarm you. But it is necessary to carefully check before buying, no remotes from used ones. Even an outwardly perfect camera can have problems (drowned, dropped, hit, etc.). Especially at an "attractive" price.
And it is highly desirable to look at the error log with the service software.
Where can I find this service software)
and request a certificate from the place of work
to Konstantin
The answer is a bit off, but still. I can draw any mileage in any Nikon / Kenon / Sony camera without any problems. And any user of the camera can change the numbering of files at all, this is described in the manual.
Hello!
Wanted to get advice
I have already looked at many reviews on lenses and no longer know what to choose. It would be better if I just bought Helios and that's it.
I have a Canon 50D.
I would like to buy a full-length portrait lens with relatively good bokeh. I also don't know if they will have good bokeh for a normal portrait.
The budget is small - within 6 thousand rubles. I thought just to start, and then save up for a better lens, because I already looked at reviews and prices, and there the price is different.
Can you advise please?
What do you mean by "good bokeh"?
Blur power? Or all sorts of distortions in the form of lemons / curls / swirls?
For growth? On a crop camera? With bokeh?? And even for a penny? Nothing will come out))
And although I’m lying - Jupiter-37A is just right for these requirements
And don't forget to buy a couple of walkie-talkies to contact the model :-]
Without problems and tension of the vocal cords, I shot at 80-200 2.8 (both systems) on crop cameras.
No doubt. But it's still better to be realistic.
135mm on crop is VERY long for a full-length portrait.
But it’s beautiful, and 200mm is even prettier)) In autumn, in nature ...
I want to buy everything 200mm 2.0
Hello. I am not a professional photographer, I recently bought myself a Sony A65, but I can’t decide on a telephoto lens. There are many different options for the A mount, but I don’t know which one is better to stop at. I would be grateful for advice, maybe someone from their experience can tell. I plan to shoot objects of nature at a distance (birds, animals, etc.), aperture and sharpness are important here, what options can be optimal for my camera? Thanks in advance.
Minolta AF 70-210mm f/4 - "Beer Can" - "BeerCan" is just a great, classic glass for such purposes.
Thanks, I'll take a look at this option!
With 200mm, except to shoot pigeons in the park.
Monsieur can offer something more telephoto and budget for a Minolt mount?
Like a big bank.
There are Minolta 75-300 4.5-5.6 and 100-300, it is about 4 to 10 thousand analogue of the Sony SAL-75300.
Well, 70-210, as they said above, will be better in sharpness. And there are also a lot of analogues from Sigma, tamron, tokina 70-210 and 75-300, but you have to look at the quality, they are different. But they cost less than 2-4 thousand rubles.
I took a TV set, sigma 150-500. dark already at dusk. but sharp. I shoot animals and nature for them.
iso800 500mm Ф11 1/800, cropped (probably up to 750mm)
gluing from two frames. 350mm Ф6
Hello. Acquired Medical Nikon macro. Can you tell me how to connect the flash? They say it can burn the fotik. Or tell me in a nutshell how the flash is ignited with a fotik. As far as I understand now, 3-5 V is supplied to the shoe to fire the flash, before the camera simply closed the contacts from the flash. It turns out you can connect a hedgehog with a snake through an optocoupler? The signal from the shoe closes the contact of the optocoupler, through which it passes to the flash.