I lived in a tall building surrounded by suburbs. Unfortunately, a few houses went up in flames over the years. This photo documents one such fire.
As far as I know, nobody got hurt. The fire crew was able to put it out within minutes, which is very impressive, especially considering that the flames were over three stories tall in each case.
My experience was a pleasant one. I have average-sized hands; the control rings aren’t as comfy as some of the other lenses I have — but it is a small piece. The copy I got looked like new, and the lubricant was still good. So I figure it depends on what you’re used to and the quality of your copy. 🤷♂️
I’ve also seen some complaints online about vignetting on this lens, but it’s likely due to the issues adapting to digital bodies — on film, the results aren’t bad at all.
I’m generally an advocate of the school of thought that says there are no bad lenses, just interesting or quirky lenses, but I must confess that I have found very little to reccomend in the Industar 50 — rather fiddly to use and with a focusing action that seems designed to take the skin off your fingers. Having said that, I’m rather impressed by the sample images you have supplied here.
I think you have your registration distance wrong — the Zenit 3m registration distance was 45.2mm, not 17.35mm — I think you might mean that the registration distance is 17.35mm more than the more common m39 screw (aka Leica screw).
Congratulations on a very nice portrait series! I also really enjoyed reading the text. It is true that photography in the rain can be thoroughly enjoyable and often provides for great shots. I try to go out in the so-called “bad weather” as often as I can, provided I can protect my old gear from being damaged.
SX-70 is so good I’d still use it for the 600-series Polaroids (with a flash or using the backlit exposure method). But for the I-Type film, this is the way :)
Thank you so much for this review! I love instant photography and own an original SX-70, but I can’t just buy film for it at the store like I can the 600 and I-Type films. I’ve been thinking about buying a Now and now I think I will.
Do you have a favorite guide for servicing these? I’ve got a pre-war(!) copy with a stiff aperture that I’d like to re-lubricate but I hesitate to take it apart without some sort of service manual…
From my experience I can confirm what you say about Kodak Gold. I worked professionally as a photographer and lab tech during the 80s when Gold came out. We shot all of our work on professional stocks but occasionally we did see clients’ Gold negs come through our lab. Our observations of it were that it exhibited larger grain (for the format used), and a warmer (yellow and red) overall cast with less colour separation (and by extension less precise colour rendition). It also appear to lack the dynamic range…
When using the Spot Healing Brush tool in Photoshop, I default to the “Content-Aware” type brush. However, if you’ve got scratches that run parallel to gradients or edges of objects, it’s best to switch to the “Proximity Match” type. This will preserve your gradients better.
It took me a minute to finish this but the thread replies are now functional. There’s only one level (so more like Slack). I’ve also just pushed them live, so hopefully, there aren’t too many bugs! 😅
That’s comparable to adjusting colour balance in PS. Should work just as well (you may need to combine it with the “tint” slider), although a filter could save you the trouble of figuring out how much to adjust and any colour corrections afterwards (I’ve since found that photographing snow on this film yields too much teal which may be difficult to fix in post).
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