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What a Performance!
Not the music, getting a usable image out of this stereo pair.
Sony A7r3, Vivitar Series 1 24-48mm f3.8.
I had used this lens only once before.
The brightness in not stage lighting. There is haze from the sky about the stage, brightish 100% cloud, facing north. I didn't have a hood, now on order.
I had been photographic Classic American cars, setting mostly f11.
It was only when I got home that I found out that everything was at full aprture.
The lens is in Canon FD breechlock mount. There is a ring on the adapter "lock<-> open" which looked much like it was meant to keep it on the lens. After much experimentation, I found "lock" kept the aperture wide open. I had seen stop-down levers but never this nonsense.
Anyway f3.8 is not as bad as it might have been.
I have done a lot of work to make this presentable.
Update:
I thought the above problem might have wrecked my car images. Not the case! I have dozens of usable images with no flare problem either.
Maybe I was fiddling with it while I was sat at the table, waiting for the band to play? Moral: Leave the fiddling to the band. :D
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Portraits of Classic American Cars
I had some issues with whether the aperture set was always the one used. Anyway here are some mugshots.
Sony A7r3, Vivitar Series 1 24-48 f3.8.
The first is a Lincoln 1956 Continental Mk2 or "Great White".
The second is a 1969 Cadillac DeVille convertible.
The third is a 1954 Cadillac Series 62 Coupe de Ville
The fourth is a 1959 Ford Fairlane 500 Galaxie, specifically the Skyliner retractable hardtop model, identifiable by the distinctive "19 BEAUTIFUL 59" license plate frame and "BRITISH COLUMBIA" text.
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Plymouth Road Runner 6.2L 1968 Engine Compartment
Sony A7r3, Vivitar Series 1, 24-48mm f3.8.
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