Photo challenge: post a pic of a non-music related piece of gear
- Thread starter mrpinter
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that isn't used for a musical function. Here is mine: one of the last pieces of film camera equipment I sold off after migrating to the digital realm.
SustainerPlayer
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I've done a lot of slide duplicating using that Nikon bellows in my old work.
Surf n Music
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This is my favorite board. I am usually looking for a new one 3 to 6 months later but I have had this over a year. She is a magic one for me.
Steve_Karl
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Frame grab from Vegas -
Panasonic GH2 + Olympus 11-22mm lens, sitting on a Bogen Manfrotto - 3046 sticks and 3063 head
Panasonic GH2 + Olympus 11-22mm lens, sitting on a Bogen Manfrotto - 3046 sticks and 3063 head
SustainerPlayer
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SkuttleFunk
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all the photog gear make me wish I'd have snagged images of my Pentax67 and accessories before shipping it to a new home around 2006. still one of the "glad I did / wish I hadn't" kinda deals
how about woodworking gear? it's not music related ... well, not directly related
how about woodworking gear? it's not music related ... well, not directly related
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swarfrat
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I still got an RB67 and a bunch of 120 film in a box. I should get rid of my 35mm film, I don't see shooting 35mm any more. But 120 is fun.
Cagey
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There's a lot to be said about large format film. Not that 120 is particularly large, but it's a lot bigger than 35, so you can get some nice prints.
On the other hand, digital resolution is getting to the point that even 120 doesn't bring anything to the party that you can't get more easily otherwise, so... why?
I sorta miss the film days. Lotta involvement with the whole process, so you felt more like an artist with some rare skills. But, being able to take almost unlimited shots at a next to zero cost is a fine thing, too. Plus, you can have almost instantaneous feedback for your work, so your skills increase faster. No waiting to process the film and print it, etc.
On the other hand, digital resolution is getting to the point that even 120 doesn't bring anything to the party that you can't get more easily otherwise, so... why?
I sorta miss the film days. Lotta involvement with the whole process, so you felt more like an artist with some rare skills. But, being able to take almost unlimited shots at a next to zero cost is a fine thing, too. Plus, you can have almost instantaneous feedback for your work, so your skills increase faster. No waiting to process the film and print it, etc.
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swarfrat
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I'll add to that - I probably won't shoot any more color 120 either. But B&W I can dunk & scan at home, and that's fun in its own nerdy way. Not that I've ever done anything that I needed the resolution for. I want a TLR though. Waist level viewfinder absolutely rocks for kids, and TLR's have lightning quick reflexes if you have stable lighting and focus. EVF may have the shutter lag of the TLR down, but we still haven't figured out that WLV was actually a cool idea and not just a quirk of how cameras used to work a long time ago. WLV can coax natural smiles out of the shyest or hammiest kids.
SkuttleFunk
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WLV is the ultimate for close range adrenaline shooting IME - I once shot a drug deal in the bad part of mid-80's Tacoma less than 10 yards from the action. I had a Nikon F w/WLV hanging on a strap around my neck, and a cable release in my jacket and down my sleeve that I used to covertly capture the deal. I also had a FE with winder hand-held
I made sure everybody in the area 'knew' I was shooting architecture, and made a point of loudly firing off my FE. I'd occasionally lift the F, hold it like a TTL, and pretend to shoot something as well, but in reality I was simply using this motion as a means of advancing the film; would let the F rest on the strap and go about shooting more images with the motor driven FE.
I got the whole deal from when the customer crossed the street, thru the exchange, and as they departed ways. 5 min tops for the whole encounter and 10 B&W images captured to film. I remained in the area 'shooting architecture' for another 10-15 min before walking off to another area to shoot.
still get a little bit of raised pulse thinking of the experience ... and hindsight reveals just how stupid it was. :doh:
a key to pulling it off was to never allow a camera to point even close to their direction while I was holding it. nobody seemed to care that the one on the strap pointed right at them. guess it paid off that people don't know what a WLV is, eh? the other part was 400 speed film and a reasonably deep depth of field so I didn't need to adjust the focus ... when I moved a bit closer/further away, I was sure to adjust the distance on the focus
so many features these auto everything digital everything cameras can't easily do. never could have pulled this off with an AF motor running the lens back/forth with every shot
I made sure everybody in the area 'knew' I was shooting architecture, and made a point of loudly firing off my FE. I'd occasionally lift the F, hold it like a TTL, and pretend to shoot something as well, but in reality I was simply using this motion as a means of advancing the film; would let the F rest on the strap and go about shooting more images with the motor driven FE.
I got the whole deal from when the customer crossed the street, thru the exchange, and as they departed ways. 5 min tops for the whole encounter and 10 B&W images captured to film. I remained in the area 'shooting architecture' for another 10-15 min before walking off to another area to shoot.
still get a little bit of raised pulse thinking of the experience ... and hindsight reveals just how stupid it was. :doh:
a key to pulling it off was to never allow a camera to point even close to their direction while I was holding it. nobody seemed to care that the one on the strap pointed right at them. guess it paid off that people don't know what a WLV is, eh? the other part was 400 speed film and a reasonably deep depth of field so I didn't need to adjust the focus ... when I moved a bit closer/further away, I was sure to adjust the distance on the focus
so many features these auto everything digital everything cameras can't easily do. never could have pulled this off with an AF motor running the lens back/forth with every shot
mrpinter
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I've been around, working in the industry, for long enough that I've shot hundreds of magazine ads on film. I used 35mm, 120mm and 4x5 cameras. I held out before going digital until just a relatively few years ago simply because scans from film still gave me better quality and more information (by pixel count) than the digital cameras I could actually afford to use. But I was also spending a lot on high res scans from 4x5 transparencies. Now a Nikon dslr gives me enough quality and file size for at least standard magazine sized ads, and in a pinch, things like trade show banners. Do I miss film? Sure, there is still something impressive about a well lit and exposed 4x5 shot that you just can't quite reproduce yet with a dslr - I don't care what anybody thinks. But it's almost impossible anymore to put up with having to wait a day or so for the processing, and then another day or so for a scan, before you can show the client or finish the ad. Here is the kind of stuff I used to use a big camera for (this is a flatbed scan from a magazine page, so don't get on me about image quality, lol; but I think some of the "presence" of that big piece of film still comes through):
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swarfrat
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Best WLV story ever.
