Downtown SF.
I just redid the lens correction profile for this outstanding optic, and it can be downloaded here. Absolutely mint examples can be had for $80, which is top dollar. Most of these sell for around $50, and the lens delivers outstanding definition at all apertures, with slight vignetting at f/4.5 and minor barrel distortion, all corrected by my profile.
A great photographer passes.
The New York Times published a fine obituary of David Douglas Duncan who died yesterday at the great age of 102.
Duncan was famous for two things. His coverage of the Korean War (still unresolved after almost 70 years of American bungling) and his documentation of Picasso. Duncan chose culture over commerce, moving to the south France in 1962. Every day makes me increasingly think I should emulate his decision.
Duncan was renowned as a Leica photographer. In the image above he has a 400mm f/6.8 Telyt mounted on a Leicaflex SL. Leitz honored his Korean work with four special Leica M3 bodies, numbered M3D-1 through -4, fitting each with a custom adapted baseplate rapid winder which subsequently became a standard part which would fit any later Leica M2 without modification, becoming the Leicavit. Duncan’s M3D bodies sell at auction for over $1 million and you can bet they are confined to rotting in some jerk collector’s china cabinet.
Interestingly, while Leica dominated the reportage marketplace in the 1960s, Duncan unwittingly sealed their fate by adapting early Nikkors from Nikon to his M3 bodies, they were that good. These were made in a rangefinder mount for Nikon’s S series of excellent rangefinder cameras (the Leica M’s finder was far better, however) and once Nikon grafted on a prism and added a flapping mirror the Nikon F was born in 1962 and the Leica was toast, now sold to hedge fund managers and anti-talents like the Kardashians.
The Nikon F was tougher, there was no complex rangefinder to go out of alignment, you did not need viewfinders for anything shorter than 35mm or longer than 135mm and the lenses were as good or better than the contemporary Summicrons, Elmarits and Super Angulons from Wetzlar. I mostly use Nikkors of that vintage on modern Nikon Dx bodies and can attest to their wonderful optical and mechanical qualities. David Duncan had a great deal to do with Nikon’s (and Canon’s, for he also grafted their lenses onto his Leicas) success. The ensuing competition between the two great Japanese marques continues to this day, and all photographers benefit from it and from Duncan’s experimentation.
The University of Texas houses his archive and you can see more here.
An old flame.
Back in 2012 when I was racking out my Nikon D700 I wrote:
“It’s large, noisy, crass, threatening, bulky, heavy and few need it. Like an SUV, its owner is likely a poseur. One who extols off-road capabilities when he will never leave asphalt. The other boasts of professional gear quality when he would get better results with a point-and-shoot. For most, the D700 fulfills “wants” not “needs”. And while the SUV is a pain in the neck when you cannot see past one in traffic, the D700 with a “pro” zoom is quite literally a pain in the neck after you have schlepped it around for a few hours, as I did yesterday.”
All of this remains true yet, having sold mine when the D3x came along, I now find another in my hands! Looking at the Metadata in my LR catalog I find that I have more images saved from the D700 than from any other camera. There’s a reason for that. While no miniature, it is much smaller and lighter than the D2x/D3x and its modest 12mp sensor delivers tremendous dynamic range and very low noise. 40″ x 60″ prints from the full frame Nikon sensor are par for the course when used with good lenses.
Now a quick word of advice. You really want to buy a legal USA import version, not a grey market camera. The reason is simple. Nikon USA will not service grey market bodies. Yes, that’s asinine, but that’s their stance. It’s not possible to recognize USA imports by number as the serial number ranges were never published. But there are two easy ways.
First, look for the ‘Nikon USA’ sticker disclosed when the battery door is open and the battery removed:
Second, if your body came in the original box, looks for the ‘(U)’ on the label and the matching serial number:
If neither of these two methods yields an answer, call Nikon USA with the serial number and ask before plonking down your hard earned cash. Yeah, and good luck with that. And the amount you plonk down today is modest indeed. Mint bodies sell for under $600. Again, as with lenses, saving a few dollars on a beater is senseless. I paid $575 for mine, USA import, with two brand new Nikon EN-EL3a batteries (a $100 value), and stated by the seller to have been recently refurbished by Nikon. That compares with the similar used first D700 I owned, sold in 2012 for $1600. Digital bodies are most certainly not a storehouse of value.
You also want a body with a low shutter count. Nikon’s stated mean time between failures for the D700’s shutter is 150,000 exposures. Mine had just over 35,000. Here’s the quickest way of determining the shutter count – tell your seller and have him put it on the record so you do not get cheated. Shutter replacement costs money, around $300. Load an image into Apple’s Preview App, then go to Tools->Show Inspector, then click on the Nikon tab, and you will see the shutter count. Shutter count has nothing to do with frame number which can be reset manually:
So I got a mint, boxed, factory refurbished D700 USA import body for $550 with some 75% of its life, or over 110,000 exposures left on the shutter, a limit I will not be threatening in my lifetime. And two new Nikon batteries! Avoid after market batteries. There are too many stories of jams and fires to risk your camera.
Pictures from the D700 will be cropping up in this journal again. I splashed out $18 on a SanDisk 16GB Ultra CF card which store 606 14-bit, lossless compressed RAW images (the battery is good for over 1,000 images a charge – Panasonic, are you listening?) and a further $8 for a tempered glass rear LCD protector to replace the ghastly, grainy translucent plastic one provided by Nikon with the BM-9 model number. My host of Nikkors, both MF and AF works perfectly on this high quality, rugged body which does everything I need. It will not take videos which is fine with me, and the small, built-in pop up flash does a nice job of filling in shadows on bright days. Yes, there’s a motor drive attachment (MB-D10) to be had for under $100 used, but then you are back to D2x/D3x bulk and weight. Do you really want that? As a poor man’s D3 that works, for the sensor is identical. I don’t need one.
Here are the key settings from the Import dialog in Lightroom – a tad more sharpening than stock is just what the doctor ordered for the D700’s sensor:
A mixed bag.
For an index of all my Film related articles, click here.
I sold my first – and last – Leica 35mm film camera 12 years ago after 35 years of use, and that tragic tale is related here. Maybe the lesson from that experience is that no modern camera is going to last 35 years as technology marches on, for in all key regards film camera technology did not improve after the first Leica M3 was introduced in 1954. Heck, you might argue that the outstanding Zeiss Contax II really defined the genre, and that was in 1936! The only material improvement added in the M3 was the suspended, illuminated frame lines, admittedly a stroke of design genius.
When my first serious digital camera came along, the magnificent full frame Canon 5D it was clear that film was toast. The flexibility and resolution of that 12mp Canon sensor was an order of magnitude above anything film could do, even if it was Kodachrome in a Leica with a Summicron lens fitted. And the sensor in that 5D delivered excellent colors, to boot. And booting was never necessary as this complex machine was as reliable as a hammer.
So it was with some apprehension that I awaited the processing of my first two rolls of Kodak Gold 24 by TheDarkroom.com, exposed primarily to check for any malfunctions in my newly acquired $100 Nikon FE body. I say that but a related goal was to take good photographs and hope that nothing went wrong.
I opted for the highest resolution 6774 x 4492 byte scans, which figures to a 30.4mb file though Lightroom reports less, likely due to compression of continuous tone areas:
Exposures seem to be bang on using the camera’s Auto function, and no light leaks were noted. Maybe 1/4-1/2 stop over-exposed, but nothing to worry about. The scans are clean, scratches notable for their absence.
Anomalies? One frustrating finding is that the perspective correction controls in LR (Lens Correction->Basic->Level/Vertical/etc. are useless. They simply do not work with the film scans making a hash of things, so you have to round trip the image to Photoshop which works fine. Mystifying. These LR controls work perfectly with original digital images from any number of cameras and I use them often in architectural images. Frustrating and mystifying.
How is the resolution? Meh. It compares to a decades old 5mp Olympus C5050 point-and-shoot digital with a stated stated 1920 x 2560 byte sized image coming out at just 2.3mb in the file below. In the images below I have selected enlarged sections which would, as a whole deliver prints sized 60″ x 40″. In other words, very large. There is more detail in the film image but also a lot more grain.
Olympus C5050 at 40x.
Kodak Gold 200 at 40x.
The digital image shows pixelation, the film one coarse grain.
The film image was from the Nikon FE using a superb 135mm f/3.5 Nikkor stopped down to f/8 and correctly exposed.
Practically speaking the film image would deliver a decent 16″ x 20″ print, but forget selective enlargement or pixel peeping.
Here are some images from that first outing, all snapped in downtown Phoenix:
Sheraton downtown. 135mm f/3.5 Nikkor Q.
Crooks’ HQ. Grain in the sky is visible
even at modest enlargement. 135mm Nikkor Q.
Hyatt with trumpeter. 135mm Nikkor Q.
ASU. 135mm Nikkor.
Ambulance chaser. 35-70mm f/2.8D Nikkor.
Vet. 35-70mm Nikkor.
Basketball. 20mm UD Nikkor.
Art Deco. 35-70mm Nikkor.
Red. 20mm UD Nikkor.
Central Avenue. 20mm UD Nikkor.
Signature cocktails. 135mm Nikkor Q.
Downtown Deli. 35-70mm Nikkor.
Adding EXIF data:
I like to have camera and lens data in the EXIF data for each image as that’s how I tend to remember images, rather than through clunky keywords.
As scanned the EXIF data shows the name and model of the Noritsu film scanner used by the lab.
To confer proper camera and lens data I purchased an app named ‘EXIF Editor’ from the OS X App Store. It’s a tad clunky but can be integrated into LR for the roundtrip in Lightroom->Preferences->External Editing:
Then, after restarting Lightroom, choose the photo or photos (this functionality permits batch processing in EXIF Editor) to be round tripped thus:
Here is an example of ‘before’ and ‘after’ EXIF data:
I generally find that you have to restart LR with each batch of images to be round tripped; while EXIF Editor is clunky, you can set up presets with favorite camera/lens combinations, electing the preset once the image batch is in EXIF Editor. Hit ‘Process’ and the images will be saved as additional photos in a stack for each image in LR. The originals in LR can then be deleted as they add no value.
Here is the LR metadata display after adding correct camera/lens data for the folder:
Once you establish a workflow it’s less effort than it seems and, after all, there are one 36 images on a roll!
This film processing and scanning service is in Los Angeles and came recommended. Their 6774×4492 scans are the largest HQ ones I could find and unlike other services I looked at, TheDarkroom.com offers online image download from their servers which store your images for 60 days, unless you want to pay for extended storage. This is what you see once your scans are on their server:
There were two snags. First this, which is simply inexcusable:
I selected just two images and got this idiotic message:
That means you have to download one image at a time.
Second, the selection box for checking images to download returns a green check mark when clicked but then clicking ‘Download’ does nothing. I managed to beat direct download links out of them – after two tries for they sent me the wrong ones. Next time I’ll take my business elsewhere. Meanwhile, they got what they deserved in my Yelp review:
An excellent mid-range zoom.
For an index of all my Film related articles, click here.
Technical considerations underlying the use of the Nikon Zoom Nikkor 43-86mm f/3.5 single ring zoom are addressed here.
In field use I found the lens has a relatively long focus throw, making critical manual focus using the focus confirmation light in the finder of the Nikon D3x a simple matter. Balance on the big D3x body is just fine, the lens presenting a very solid, yet compact, bundle in the user’s hand.
The Village at Pinnacle Peak in Scottsdale is over 25 years old and was the only construction at the time in what was undeveloped desert. It’s absolutely gorgeous, an unspoiled expanse of Spanish architecture, beautiful to behold. I racked out the 43-86mm there.
The contact sheet. All have my lens correction profile applied
and minor shadows/highlights tweaks. No sharpening used.
Click the image for the map. At f/11.
At f/8. Rare clouds in the Arizona sky.
19th century ox cart. At f/11.
Cloisters. At f/11.
Staircase. At f/16.
Fountain. At f/16. There is no diffraction fall off at small apertures.
Roof. At f/11. McDowell mountains in the background.
Bird bath. At f/3.5.
Geometry. At f/8.
Ox cart/test target. At f/8.
Display plaque on above, greatly enlarged.
Stucco. At f/8.
This is a wonderful walk-about lens and highly recommended. Heck, at $30-60 a pop, get several!