Monthly Archives: March 2012

Pachino

A reminiscence.

He remembered those lazy Saturday afternoons when granddad would ask all the family round to his restaurant. There were no tall buildings back then, the area full of Italian immigrants and artisans. Stonemasons, painters, bricklayers, plasterers, plumbers, cooks. Most, if they spoke English, did so with difficulty and Italian was preferred at work or play.

It was the smells he remembered best.

He remembered how Grandpa would have an immense pot on the stove to which the whole family had to add tomatoes, spices, pepper and salt and the obligatory bottle of chianti. As he sat on his knee, Grandpa would recount stories of the Old Country, and the magnificence of the opera house in Palermo. “My boy, if you ever want to say you have arrived in the world of opera, there are but four venues which testify to talent. Palermo, La Scala, Covent Garden, The Met.” And it was invariably Tosca or La Traviata or La Bohème or (Mario’s favorite) Rigoletto which would be playing in the background on the old Victrola. “Lad” Grandpa would say, “Verdi and Puccini. That’s all you need to know about music.”

He remembered how his job was to change the discs, a task he adored. You would have to flip the huge 15″ acetates every five minutes or so, but it was his job and he was immensely proud of it. He never broke one, fragile as they were.

He remembered how his father had once told him that granddad was known to one and all as ‘The Don’, but to young Mario he would only ever be Grandpa. He never quite knew what Grandpa did for a living but the family never lacked for anything. Tables bursting with all manner of meats, condiments, breads, cheeses, cakes, bottles of wine, as often as not dropped off by grateful friends.

He remembered how obsequious these donors always were, how cowed, always behaving with exaggerated politeness to the young boy. “What a beautiful boy” they would say, as cheeks were kissed, hair tousled.

He remembered when Grandpa had passed away – it must be twenty years now – young Mario leading the procession of mourners, his three brothers and four sisters in lock step behind. Now, he was a man.

He remembered the long black limousines, the unending garlands and bouquets, his father and his father’s friends all dressed in black suits and white shirts, the priests, the ceremony. Hair slicked back, a touch of pomade, scent, heavy gold watches. His mother with all the other veiled women, solemn in their grief for The Don, upright yet broken.

He remembered how on those afternoons, all those years ago, the old man had always told Mario how one day the restaurant would be his. It would pass to his father on The Don’s death and his father in turn would leave it to young Mario. And so it had been. And while Mario, now a successful businessman, had no interest in running the humble eatery, he had kept it out of sentiment for Grandpa and, every now and then, would take the wife and kids there of a Saturday afternoon to hang out with the cook in the kitchen and reminisce about those lovely warm times from far away.

To remember.

Now the place seemed a lone survivor in a sea of mindless high rises, but the neon sign still proudly proclaimed the family name. And when he went there it was as if time stood still and nothing had changed. He was still that little boy who sat proudly on Grandpa’s knee, watching the pot bubble and the pasta cook. He was home.

Pachino, Kearny Street, San Francisco. March 3, 2012.

Nikkor-H Auto 50mm f/2 lens

Move over, Mr. Hemmings.

When I wrote recently about early manual focus Nikon lenses, I suggested that the 50mm f/2 Nikkor standard lens was a competitor for Leica’s vaunted Summicron. That opinion was not exactly guesswork. I had used the Nikkor extensively as a kid and a succession of Summicrons over 35 years with Leica M bodies. Both optics were beautifully engineered in metal with performance to match. Plastic was not a concept. Nor was multi-coating, AF or VR/IS. That does not take away from the performance of either. My favorite 50mm Summicron was the first black version, and the last with the removable head, made by Leitz Canada. It took on more of the gutsy rendering offered by Nikon and Pentax at the time and deleted one element from the earlier design, making do with just six glasses, not coincidentally the same as the Nikkor addressed here.

With the intention of testing my ‘new’ 50mm MF 1971 vintage Nikkor, I took to the streets of San Francisco the other day with the D700, and had at it. I used the classic metal hood of the period, given to me for no charge by a nice person at Kaufmann’s Cameras in San Mateo, the same location where I had bought the 75-150mm Series E lens for a song. No filter was used. This 50mm lens is not the later “HC” version which was multicoated, and distinguished by a black front ring. This is the earlier single coated version, a classic symmetrical six element Gauss design. Apertures used in the snaps below were f/2 through f/5.6, and f/4 looks like the sweet spot, just like with those Summicrons of yore. Post processing in LR3 was minimal, and my standard Sharpness setting on import of 86 seems just right. Even at f/2 definition is more than adequate to permit large prints to be made, though micro contrast improves a couple of stops down.

Manual focusing proved easy, with the D700’s screen more than up to the task. While there’s always the focus confirmation light as an option, I found I rarely needed to use it, except in very poor light.

Here are some results:


Umbria


Speakeasy.


Biker bar. I had to beat this guy up for a better view of the bike.


Self portrait. Unlike Mr. Hemmings, below, I’m holding the camera right!


Things go worse with Coke.


San Franciscan.


101.


Spotted!


Bubble Lounge.


Blue. At f/2 – definition is even across the frame.

Looks like a keeper to me. All in cost with AI conversion by John White for my mint specimen was $75. Conversion is required for ‘pre-AI’ lenses to permit mounting and metering on modern bodies. Thank you, John, for a job well done!

And if you absolutely must make out like David Hemmings, this lens may even get you a hot date – I suspect he is using the f/1.4 variant:


Click here to read A Fantasy.

Nikon D700 Guide by Thom Hogan

The book the factory never published.

I wrote earlier about the poorly thought out Nikon factory manual which comes with the D700. So when esteemed New York photographer Joseph O. Holmes recommended the one written by Thom Hogan, I paid attention. Joe’s life is all about making pictures, not collecting gear, so that opinion meant a lot. On his blog, Joe writes:

A bit of checking on the author disclosed he is a long time Nikon expert, so I ponied up the $80 for the book and PDF version. Hogan does not sell a downloadable PDF, probably to control theft, so you have to wait on the USPS to do its thing. Now that the Apple iBookstore is up and running, hopefully he will offer the upcoming book for the D800 through that distribution medium, where DRM protection should prevent illegal copying far better, and where shipping and packaging costs are zero. The offset is the 30% distribution fee charged by Apple.

As shipped.

While you can get just the PDF on CD with the spiral bound pocket guide, I opted for the version which also adds the 800 page (!) paperback, all for $80. In retrospect that was wrong. The $47 CD version is the best choice if you have an iPad. I moved the PDF to my iPad 1 and it’s a far better reading experience, using GoodReader. In addition to all the quick search and find, bookmarking and annotation functions offered by GoodReader in the iPad version, the definition in photographs is far better – and in color – than that offered by the mass market printing adopted for the book, an understandable economy. Let’s also hope that the D800 version has dynamic links in the index, so that the reader will simply be able to touch a page number to go there. Finally, the next book should also include the handy ‘To Go’ 120 page summary in electronic format, for use on an iPad. In the one I received the ‘To Go’ booklet is available in spiral bound, printed form only.

The CD and the To Go spiral bound summary guide.

Neither the DRM Apple distribution channel (or Kindle for that matter) or easy dynamic linking were available when this PDF was put together some four years ago, so it’s not so much a criticism as a request. Excluding shipping the CD sells for $40, so sell it for $56 through the Apple Bookstore and you still net $40. Would I pay $56 for this download? You bet. The book is excellent. For a $2,000+ camera body, and additional $50 or so to get the best out of the hardware is a modest sum.

Thom writes in response to the above:

“I don’t sell downloads because downloads aren’t actually sales, they’re rentals covered by a license agreement. The way I sell my ebook means that people can treat it just like a regular book. In other words, it has value, and can be sold when you’re done with it (assuming you don’t keep copies). Try that with a DRM book. I’m considering making a change in the future, however, that will also means drastic changes in what you can and can’t do with my books, which is a shame.”

An 800 page manual is overwhelming at first, but once you learn to take it in small installments, camera to hand, you quickly realize just how expert Thom Hogan is and how well he writes. It was no surprise to learn that he was the software architect behind the wonderful Osborne One computer, my first, which I bought in 1981. That machine taught me Wordstar, Supercalc and dBase II, all of which came packaged with Gary Kildall’s superb CP/M operating system and gave me a massive jump on the competition when it came to computer competence – the word processing, spreadsheet and database skills readily transferred to the fabulous IBM PC when that machine was announced. Thom Hogan’s skill with software design transitions easily to his technical writing, which is of a high standard.

As an example, take a look at this extract where he explains the vagaries of matrix metering in the D700:

“Wow! I didn’t know that!” is a recurring reaction when reading this manual.

Here’s a case in point. Try as I might, I simply could not get exposure bracketing to work using the factory manual. The D700’s capabilities in this regard, along with the time lapse intervalometer which is built into the body are extraordinarily flexible …. and complex. I didn’t even know there was an intervalometer! Thom Hogan’s manual made it easy to understand how to set up auto-bracketing and how to avoid the need to have to count how many exposures in the bracketing sequence have been made. As the D700 can bracket up to nine (!) exposures that’s a non-trivial capability. The benefits of bracketing in conferrring massive 11-12 stop dynamic range with minimal noise are exceptional and the Hogan guide makes it all clear. And I thought my (second hand) D700 was faulty until I learned better! Worth the price of the manual alone.

Another example. Did you know the camera can be set to take multiple exposures – up to 10 – merging these into one file? Another lesson learned.

If you are prepared to take the time to digest this book you will come away far better informed and superbly equipped to really wring the very best performance out of the D700, or for that matter, any Nikon for which you buy one of Thom Hogan’s guides. I would expect his D4 and D800/D800E versions to be hot sellers, based on this. Highly recommended. This is the user guide the factory never published.

A cheap wireless remote

RF is the way to go.

The Oppilas wireless remote uses radio waves at 2.4gHz, in preferences to Infra Red beams. This means line-of-sight between trigger and camera is not required and also results in an enormous range. I gave up counting at 50 feet and 100 feet is claimed. The camera end goes in the hot shoe, where it can be locked down, and the Nikon bodies using the provided ten pin connector are listed above.

On the D700. The ten pin connector can also be secured using the chrome ring.

The trigger, just under four inches long and very lightweight, has four settings in addition to the on-off and firing buttons. They are single frame, continuous, Bulb and a very handy self-timer. To get Bulb to work the camera’s Mode has to be on ‘M’ and the shutter speed set to ‘Bulb’. Thereafter a first pressure on the remote’s button opens the shutter, a second one closes it. The self timer delay is some 5 seconds. Its use is not so much to allow you to rush into the picture – with a 100 foot trigger range you just take the transmitter with you, of course – but to let vibrations die down in the camera when on a tripod. Use the mirror lock-up feature to further help things and you can get away with shutter speeds in the critical 1/15-1/60th range where mirror slap tends to make for a significant definition robbing effect.

The trigger.

I bought mine from eFraud in the US for all of $22.90 shipped. One of the best features, in contrast to similar remotes I have bought for my 5D and G1/G3, is that neither receiver or transmitter uses exotic, costly batteries. Each makes do with two AAA cells, and four such batteries are provided with the device, along with the usual comical Chinglish instructions. The maker claims a 300 hour standy-by life for the receiver batteries, and 3 years for those in the transmitter! In practice, the receiver is switched off when not in use, and it’s hard to forget as it blinks a red diode when on, so the practical receiver battery life is likely many times that stated.

The only anomaly I have encountered so far is that when the receiver is plugged in to the D700’s ten pin socket, the LCD on the rear of the camera goes dead. Neither menus nor image preview can be invoked. You can fix this by using the receiver with a 2.5mm cable connected to a GPS receiver inserted in the nine pin socket – see the Comments below for details.

A friend in the UK bought one from eFraudUK for a Canon 40D – only the connecting cable differs, and has had like success with it. This device is highly recommended.

I cannot find a Nikon branded device with like specs, but if it exists prepare to have your wallet emptied.

Converting old MF Nikkors

Bringing classics back to life.

Nikon’s Nikkor lenses, made through the early 1970s, were strangers to plastic. Brass and alloys were the order of the day, right down to that gorgeous scalloped metal focusing collar. These come with the meter coupling prong used on the old Photomic metering heads on the Nikon F and Nikkormat bodies of the era, redundant on modern digital bodies. But, while Nikon made their later lenses ‘AI’ (Auto aperture Indexing), these old masters will not fit a modern DSLR. A sector has to be milled from the rear of the aperture ring to permit fitting and to index the lenses’ maximum aperture if the metering system is to work correctly.

You can get a sense of what I’m talking about by simply feasting your eyes on my latest acquisition, a 200mm f/4 Nikkor-Q lens, made in 1971. Simply gorgeous to handle and behold, with optical quality to match. Markings are engraved and paint-filled, and of very high quality. The whole thing is a beautiful, thoroughly engineered tool.

They simply do not make them like that any more. The lens hood is built-in.

Here’s the rear of a Nikkor of that era before AI conversion:


Arrow denotes lip.

As you can see, the small lip protruding from the rear of the aperture ring does so all the way around. It prevents the lens from mounting on a modern DSLR body.

And here’s a Nikkor which has had the AI conversion done:


The arrows show the limits of the milled arc.

I own two such classic Nikkors, a 50mm f/2 and the 200mm f/4 above, and had both converted to AI specifications by John White of Ann Arbor, Michigan, a highly regarded source for such work.


Click the picture to go to John White’s site.

The turnaround time is about a week, and the cost $33 including shipping. Mr. White is polite, answers emails promptly and is a pleasure to deal with. After conversion, lenses work perfectly on my Nikon D700 body, though you have to remember to dial in the right ‘non-CPU lens’ setting if you want correct EXIF data stored with the image file.

And the cost of that mint 200mm gem? Would you believe $29? Yes, twenty nine dollars. With conversion and shipping the total cost came to $75.

1972 50mm lens on a 2012 body.

It’s not easy to describe the sensual pleasure of using these old lenses. The best I can do by way of analogy is to say that, after using their modern equivalents, it’s comparable to the difference in telling time on a mechanical watch compared to a digital timepiece. Both serve identical purposes but there’s only one you return to with eager anticipation and that silent thrill that has you thinking “Wow! Do I really own this?” Form and function are one.

These classics are abundantly available and, if you can live without VR and autofocus, worthy of serious consideration. You can be sure of two things. They will outlive you and they go for the price of a sushi dinner.

Obligatory snap of the long suffering Bert, at f/5.6.

Some people use a brick wall to test lenses. Chez Pindelski the test chart is none other than Bertram, the Border Terrier.

For more snaps taken with the 50mm Nikkor lens, click here.

For DIY instructions on AI conversion of old Nikkors, click here.