When I first started in photography, a few times I did not get the film leader inserted fully and correctly into the take up spool!
I NEVER make that mistake now.....!!!

Bingo...but not just a "run-of-the-mill" vintage 'Brick', but an exciting pre-release DIGITAL C-3..! Sure to become a classic, order YOURS NOW!!

Fun fact...the C3 was one of the very longest products continuously marketed. Introduced in 1939, it continued in production until 1966. How many of today's cameras do you think will still be sold in another 27 years?? Amazing...

They don't call it an 'end'oscope for nothing....!!!

Have a look at the Manfrotto 026. It also allows for mounting an umbrella, if needed. And...there are lots of other, similar and less expensive options. eBay has tons of them.... Good luck...

In Photoshop....and this will depend on what version you might have installed...mine is Photoshop CC 2019, YMMV...(Your Mileage May Vary!)...but in these later versions there are a LOT of 'perspective' tools, look under the "Edit" tab, about half-way down there should be 3 options, Transform, Free Transform and Perspective Warp. They all do somewhat similar functions...some of them require that you have the image 'Selected'.... I have not used ALL of the 'tools' available in them, but basically you click on your image, say at the 4 corners of a building, press Enter, then drag those any of those points to a place where things look "right" to you... This is a very simplified description of these amazing tools, best thing is to open your 'problem image' and play around with it.... Hope this helps... What E.L. Shapiro did is a very good example of the technique.

The "Perspective Warp" takes this to the next level, in that it can produce an image that looks as if the camera was shifted around the corner of a building...LOTS of fun working with that one....[G]

After many, many years of using the 'conventional' half-press focusing method, I decided a few months back to make the switch....and even though it took a few weeks to 're-train' my 'muscle memory', I am now a real fan of using Back Button Focus. For me, it combines the best of both worlds...press to focus, release and focus is locked...press and hold and you are in continuous focus mode. Now, using the AE-L/AF-L button (I have Nikon D-750s) is second nature. You never have to go to the menu or change any other setting on your camera, it's either press the button and release, or press and hold...simple!
And...I agree that Steve Perry has the best info in general and a great video on Back Button Focus.

[quote=JeffDavidson] "I do not believe the Kodachrome ever had an a SA-200 Kodachrome was 25 and 64 exit from was 200 and 400."

Jeff, Since I shot K200 for many years, I'm assigning "Expert Level" to myself..[G] You are correct that most Kodachrome was ASA 25 and 64...in fact, some of the very early Kodachrome stock was actually ASA 10. Thanks for bringing up this question as many people are not aware of the ASA 10 and 200 stocks.

Here is a Cut-N-Paste from the Kodak website that should help clear up the ASA 200 question.

"KODACHROME 200 Film features fine grain and extremely high sharpness. With its faster speed, the film is ideal for low-light situations and photo shoots requiring increased depth of field."

I was very happy with the 1700+ slides I shot using this film...especially because many of the photos were taken in a good amount of shade or later in the evening. No chance of just "Dialing an ISO of 1600 or more" to get the shot in those earlier days....!

Please keep in mind that when we are on a safari...or other trip, we are "Guests" in other people's countries, so don't act like the Problem Visitor that too often are seen in foreign locations. An extra bit of courtesy, plenty of patience and good manners will go a long ways in helping to navigate situations that might not be 100% to your liking. Be sure to ask before pulling your huge camera/lens out and shooting tons of "Street Photos"...remember that in some places, there is a real taboo in allowing oneself to be photographed at all. Keep in mind the phrase, "On Africa Time"....which means that many schedules are, to say the least, flexible. A smile and pleasant conversation can really help break the ice, so even though the initial purpose of your trip is probably photography, take some time away from your camera to enjoy the many warm people and interesting places in Africa.

For about 99% of the time, I carry two Nikon D-750 bodies and they are paired with a Nikon 28-300mm and a Sigma 17-35mm zoom. I never have to change lenses or remember where a knob, button or menu item is and both of these cameras use the same battery...so I carry 2 extra batteries (total of 4, counting the cameras) at all times. (Do NOT forget your charger....whoops!!) So...if I were lucky enough to go on another safari, I'd take the same gear...identical camera bodies and versatile lenses with a slight overlap.
I have been on an African safari, back in film days...so I have some experience with this. As an earlier poster said, space on a van will probably be an issue, so having to manage 3 camera bodies in a cramped vehicle will be a real challenge....and will NOT make you popular with others who have to dodge the camera(s) that you are not using....
On our safari, the routine was to load into the Toyota or Land Rover 'pop up top' vans and head out early each morning and evening for a couple of hours of 'game runs' when the animals were more active. The driver/guides were excellent at finding a lot of animals to photograph...if we requested that they turn off the engines to make for a more steady shooting platform, they always complied...after all, photos were the main purpose of our trip. Most of the time, we had 4-6 people in a van...so that gave everyone a chance for lots of pix...since film was a precious commodity...not like digital cards now...it was important to make each shot count. I took about 60 boxes of 36exp. Kodachrome ASA 200 film...and ended up with 1700+ images...today, that would be just a day or two of shooting...(Yes, I'd love to return!!) I would generally shoot 2-4 rolls of 36exp film each day, depending where we were.
Keep in mind that many of the things we take for granted here, might not be available in Africa...depending on where you might be going. I would not plan on being able to find anything critical to your photo needs...so taking extra SD cards, batteries, etc. is advised. I'm sure that many places will have SD cards, for example, but I'd not take the chance...and I have no idea about pricing...just better to rely on yourself...
Not sure where you are going, we went to Kenya, a beautiful country, had a great time...saw tons of wildlife, great plains and forests....a trip of a lifetime. I'm sure you will enjoy your time there, too!

Thanks jeweler...you...and others are correct, it does not get to 1:1. And the 6T is very pricey, however it's still a very versatile lens. When I have used it, the lack of a true 1:1 has never been an issue, and the ability to change focal length...and field of view...without changing position, has made this lens a pleasure to work with. But....if not having an absolute 1:1 is a show stopper for anyone, that's your call. Personally, I think it's a good trade off.

Some years back, Nikon made a very useful Macro lens...it was a 70-180mm lens and I've found mine to be extremely handy and super sharp. Having this zoom range gives a lot more options in the wide variety of situations where a macro lens is most useful. This lens is still readily available in the used market, but is not cheap...

My advice...FWIW..(For What It's Worth)...is to
1. Rely on the K.I.S.S. (Keep It Simple System..) Unless you have a goodly amount of experience, it's really best to not get into making multiple changes to your camera settings AND...before ANY photo session, take a few minutes to make sure that your camera settings are as you prefer them to be...of course, this would mean keeping to the "Auto" settings for the most part. Remember that you have probably paid Big Money for an advanced camera, and the goal of the manufacturer is to make a product that CAN make all of the decisions for you.
2. Do all of the 'dry firing' that is possible in a no-stress situation. "Dry Firing" is the term that was used in film days where you would practice using your camera with NO film in it...to get used to holding it steady, releasing the shutter slowly and generally getting familiar with your camera. With today's digital cameras, you have the additional advantage of being able to see immediately if your photos are as you want them to be....so shooting photos in your own living room, pix of your pet, flowers in the garden...all of these 'controlled' situations can both give you confidence in your knowledge of your camera and allow great feedback immediately.

3. The previous advice to take a few shots and 'chimp' them carefully is a practice that is always good, no matter how confident or experienced we might be as photographers. It's all to easy for a knob to be turned or a button to be pressed before you take any critical photos.

4. The 'theme' of my comments here has pretty much been, "Practice, Practice, Practice"..!! Make your mistakes in the 'privacy' of your own home, then you will be ready for those 'one time' opportunities..!

Fred..GREAT observation....and it's BOTH..! This means that if you ask for it, you will NOT be disappointed whether you get photo background material...OR a nice helping of some pasta based treat. Talk about a win-win..!!!

Adding a few suggestions here... A fabric that I have found very satisfactory is similar to velvet, but MUCH less expensive. It can be found at the larger fabric stores...JoAnn's, etc., and is called "penne".
It's pretty much 'wrinkle resistant' and will 'drape' nicely if needed. I've bought it in several good 'photo colors', such as maroon, black and grey. It's textured surface reflects very little light, so it tends to fade into the background....and isn't that what we want most of the time?

(P.S. the nice ladies in fabric stores will be VERY impressed when a GUY asks for "penne"..!)

Secondly....consider using a grey background for your product photography, especially if your subject is black...such as a camera or lens, or white, such as a dinner plate. The idea is to reduce the contrast with your subject...and use more or less light on the background to alter it from total darkness...i.e. black, to near white, by controlling the light that falls on the background. This will give you a lot more control in Post Processing.

A final thought...shooting smaller items in one of those collapsible "Photo Tents" can work great. The fact that any light falling on your object will be nicely diffused can make your task a lot easier, especially with product type photos. A strobe or two placed at the sides of the tent will give great soft lighting or some of these tents have openings that allow more direct lighting for a more contrasty light. Scale models, vases, watches, keepsakes, etc. all look great with what amounts to 360 degree lighting. A simple "drop" of a contrasting color in the back of the photo tent can also add a nice touch. Many of these tents actually are sold with a small selection of drops just for this purpose. These 'tents' are available in a large range of sizes...I have one that is nearly 5' square. The larger sizes can work great for babies and small kids, too. Look on eBay for a huge selection of sizes and prices.

I keep my backgrounds rolled up when not using them. Carpet dealers will give you the rolls of cardboard that they have removed rugs from...and if you roll your backgrounds smoothly on these, all of the wrinkles will come out while they are in storage. This is a good task to do with some help, although I do mine by myself most of the time. I store fabric backgrounds that are mostly 7' wide.