Best Manual Film Camera - Best Online Camera Shop
Canon EOS Rebel GII 35mm Film SLR Camera Kit w/ EF 35-80mm Lens
* Focal Length * 35 mm - 80 mm * Focus Adjustment * Automatic, manual * Auto Focus * TTL phase detection * Auto Focus Points (Zones) * 3 * Min Focus Range * 15.7 in * Max View Angle * 63 degrees * Lens Aperture * F/4.0-5.6 * Optical Zoom * 3x * Lens Construction * 8 group(s) / 8 element(s) * Focus Type * TTL phase detection * Focus Modes * Single-shot, automatic, continuous Viewfinder * Viewfinder Type * Fixed eye-level pentaprism * Field Coverage * 90% * Magnification * 0.70x * Display Information * Shutter speed, exposure compensation, AE lock, AF-in-focus, flash charge completion, aperture Flash * Flash Modes * Fill-in mode, FP flash (high-speed synchro), night mode, auto mode, flash OFF mode, red-eye reduction * Flash Recycle Time * Recycling time - 2 sec Additional Features * Self Timer delay * 10 sec * Flash Terminal * Hot shoe80% (15)
Canon updates its popular Rebel G SLR with the affordable Rebel G II, which offers those experienced with point-and-shoot camera or beginning photography students an easy way to step up to a 35mm SLR camera. This kit comes complete with a high-quality interchangeable Canon EF 35-80mm zoom lens.
Compact and extremely lightweight, the fully automatic Rebel G II features a retractable built-in flash with red-eye reduction, a high-speed selectable 3-point autofocus system, and and settings for multiple exposures and other creative effects. It offers 11 exposure modes (full auto to metered manual with indicator) plus multiple exposure, exposure compensation, and autoexposure bracketing. The new Night Scene mode combines the perfect balance between natural light and flash for stunning portraits at sunset.
Other features include:
Metered manual mode for creative exposure flexibility
Partial metering and AE lock
Shutter speeds of 30 to 1/2000 seconds in 1/2-stop increments
ISO 25-5000 automatically set in 1/3-stop increments
The EOS Rebel G II is fully compatible with the complete line of Canon EF lenses, as well as a wide variety of optional accessories including a remote controller, a battery grip, viewfinder eyepiece accessories, and a comprehensive line-up of EX-Series Speedlites.
The camera measures 5.7 x 3.6 x 2.5 inches and weighs 12.35 ounces without batteries and 13.45 ounces with batteries loaded. It's powered by two CR123A/DL123A lithium batteries (3v) housed inside the camera grip.
Kodak Tri-X, circa 1975
One of the (now empty, obviously) canisters of mid-70s Tri-X that I developed a while back. Look at the thing. It's beautiful. I can't throw it out. - - - Over the past couple of days, I've had the opportunity to have a bit of a play with a brand-new, straight out of the box Canon Powershot G10. Yes, you're not mistaken. I have been using a digital camera. And now, because I can, I'm going to give you my thoughts on it. It's a surprisingly hefty little thing. I like heavy cameras. I like metal cameras. I like cameras that feel like they could inflict concussion, or at least a bad headache, in a self-defence situation. Which is not the impression I usually get when I hold a digital camera, be it a point-and-shoot or a dSLR. Or, to be fair, most cameras built after the '70s. Not so with the G10, however. Delicate electronic innards aside, the solid metal outer casing feels like it could take a bump - and leave a lump - or two*. Think a larger, heavier, better-constructed, doesn't-smell-like-oil Lomo LC-A. And quite good-looking, too. Some things that have annoyed me in the past annoy me less now. Shutter lag, for example. It's better than it has been in the past, but not as good as it should be. Other things that annoy me will continue to annoy me until the end of time. Autofocus, I'm looking directly at you. That's obviously not exclusive to the G10, however. I just wanted to mention that I don't like autofocus. The LCD screen is nice and bright. And big. A little too nice and bright, actually. As has been said elsewhere, shots look better on the inbuilt LCD than they do on a computer screen. Nothing a bit of photoshoppery can't fix, I guess, but it's initially a bit of a surprise to see the difference. The manual controls are pretty good. "Aha!" I thought to myself. "This is where you'll fall in a heap!" But no, the G10 shone through. Watching the image change on the LCD as I played around with the aperture and shutter speeds was actually quite enjoyable. While I'm still not comfortable doing all that with buttons rather than with actual analogue dials and whatnot - something in me doesn't trust it to do what I tell it to - the simple fact is... it worked. The G10 would make a great light meter for medium-format work. The G10 takes a great photograph. But with 14.7 megapickles, you sorta expect that it would. I've read quite a bit about the images being overly noisy, but I've not really been bothered by it. Probably the most important point in this whole rant. No idea why I've buried it here in the middle. Especially considering the fact that if it didn't, I'd be shouting it from the rooftops. The debt digital owes to film photography makes me chuckle. When not shooting Raw, there is a "My Colours" option: basically, a bunch of colour presets. There's a "black and white" setting (more on that later), a wholly underwhelming and pointless "sepia" setting (should have just called it "brown and white" and been done with it), vivid (blows everything out), neutral (sorta flattens everything out) and a few others (vivid red, vivid green, vivid blue, ligher skin, darker skin** and custom colour) that I'm going to ignore to focus on my favourite: the "positive film" setting. According to the manual "it can produce intense natural-appearing colours like those obtained with positive film". A couple of things stand out here. Firstly, the use of the word "can" doesn't really inspire confidence. Secondly, "natural-appearing colours"? Apart from it being a clunky phrase, it seems to suggest that the camera - whether using presets or not - doesn't produce natural-looking (see, that reads better) colours. So, then, why all these presets? Why not just set "positive film" as the default colour setting - as, by their own description, it's the best of the bunch - and be done with it? Or, at the very least, make this the "vivid" setting. If people want to go over-the-top, they can just ramp up the colours in photoshop. The black and white setting does an acceptable job. The results are quite similar to the C41 black and white films. Contrast tends to be a little on the flat side, though. There was a contrast boost feature that I noticed in one of the menus but didn't actually get around to trying. Nothing that, once again, photoshoppery can't fix. The image stabiliser... works. Phrases like "autofocus" and "image stabiliser" usually get my back up: a great idea in theory, but in reality, probably next to useless. Not in this case, though. I was able to hand-hold the camera at shutter speeds under half a second. In comparison, the best I can do with a film camera is about 1/8. Sure, it's not going to work in every situation, but it makes a noticeable difference. ISO gets its own dial. No scrollNew Toy
This just got delivered from the states, much cheaper second hand than in Australia. Looking forward to having a go at film photography having come from a generation where digital was the norm. My first camera was a M42 SLR of my mums but since I've really become interested in photography I haven't used film at all. This is a top of the range pentax from back in the 70's and costs only a fraction of the price now than it did then. Pictured with one of the few lenses (has an aperture ring) that I own that I can use with it, mind you it is one of the best manual focus film lenses pentax made.
The most comprehensive, accessible, and completely up-to-date guide available for today’s photographer: whether beginner or advanced, using a film camera or digital.Similar posts:
Award-winning photographer Tom Ang provides a thorough, explicitly detailed bottom-to-top understanding of modern photography, explaining all the techniques that will help anyone who uses a camera—in a professional capacity or as a snapshot shooter—improve the quality of his or her photographs. Here is everything you need to know: from the most practical advice (the fundamental facts about light sources) to the most sophisticated nuances (how light is measured through photometry), from the basics of the camera (which button controls which function) to the finer points of framing with an LCD viewfinder, featuring a selection of Ang’s most inspiring images. For users of film cameras, Ang explains the differences between types of film and details the various methods of processing and darkroom techniques.
Ang delves into the development and transformation of photography by digital techniques. For the digital-camera contingent, there’s a specificity of previously unavailable information about the cameras and about processing, digitizing, and outputting the images. Ang also discusses subjects usually ignored in manuals but of interest to all photographers, including critical theory, the presentation of images, the function of the human eye in the perception of images, and ethical and copyright issues.
Fundamentals of Photography is an essential book for every photographer.
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