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Noise from Single Lens Reflex
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Dec 16, 2018 21:10:07   #
E.L.. Shapiro Loc: Ottawa, Ontario Canada
 
burkphoto wrote:
Great story! We used Photogenic Flashmaster 400 systems in schools for decades. Bulletproof...


Still have two Flashmasters in use- 2 power packs, 8 heads, 1 Umbrella head, a dolly, 6 power ratio plugs, and a box full of taillight modeling lamps. In the studio we still have an Aurora Light with a 800 w/s pack and a Studiomaster. Boom Master with a Fresnel head. Good thing is all my old Studiomastr 16" reflectors, barn-doors and snoots fit the current Photogenic Powerlights that we are using nowadays.

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Dec 18, 2018 18:39:41   #
Bipod
 
burkphoto wrote:
When you are in the moment of photographing a subject, it is annoying and frustrating and quite possibly disturbing to your process to have to think about where the controls are on a different camera.

For a time, I used two FTn bodies in the field. One was for Black-and-White, the other for color slides. I used HP5+ and Ektachrome 400, so both had the same basic exposure. It was a piece of cake to switch bodies. Then I swapped one FTn for an F3. The F3 was MUCH easier to use, and subsequently, I fought the FTn every time I picked it up. The shutter release was in the wrong place. The double exposure feature was entirely different. The flash PC connector didn't screw in. The finder screens were different. The eye points in the viewfinder were different. The back had to come off to reload film. It was most annoying, so I wound up using two F3s. I still have one FTn and one F3... just for conversation pieces.

With digital imaging, there are even more reasons to have identical bodies. Chiefly, you want to set up their menus exactly the same way, so you can switch back and forth without encountering significant color changes. This is necessary for JPEG capture, and saves time during raw file processing. It is ESSENTIAL for video, since color grading is a black hole time sucker! You want different angles of the same scene to match in color and exposure, without having to fiddle in post.
When you are in the moment of photographing a subj... (show quote)

It is nice to own two identical bodies. Even small differences (e.g., firmware revision)
can be frustrating.

But Digital cameras rarely stay in production long enought buy a second body.

And you shouldn't have to buy two bodies to get two cameras with the main
controls in the same locations. Control should be standardized -- as they are
in automobiles.

You may not be able to find the headlight switch in a rented car, but you will be
able to find the steering wheel, accelerator and brake pedal. Guaranteed!
And maybe even the ignition switch.

Most rangefinders copied Leica control placements: shutter button and shutter
speed knob on top right (seen from the back).

Beginning in the 1960s, SLRs (except Olympus) were fairly standardized,
although you had to hunt for depth-of-field preview (Mamiya DTL 1000
put it on the rewind lever!). And finding the Door latch on a Argus C3 was a
bit of a Chinese puzzle box.

The crazy thing about the Nikon F2 was the hot shoe that slid over the rewind
knob. That really took some getting used to.

But the worst difference between roll film cameras was in loading the film.
By the 1980s, Minoltas were practically impossible to misload (and sensed
if the film wasn't advancing), but Nikons were still finicky.

On digital P&S cameras, anything goes. DSLR controls are bit more
traditional, but not as much as SLRs were. And cell phones....

Camea buyer need to insist on controls in hte usual locations. Otherwise
these controls will be located hapharzardly in whatever it's cheapest to
put them.

When electronics are miniaturized, it gets harder and harder to find places to mount
swiches.. Generally, push-buttons, knobs and leves all get replaced by a couple of
tiny membrane switches.

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